Bose Portable PA Knowledge - User contributions [en]

L1 Advertisements

2010-02-05T15:50:05Z

Kjacob: Article that shows historical perspective of L1 advertising

{{Bose Reviewed}}

[UNDER CONSTRUCTION -- PLEASE IGNORE]

<table><tr>
<td valign="top" width="500">__TOC__</td>
<td valign="top">

</td>
</tr></table>

== Launch Ad ==
[[Image:launchAd.jpg]]

[[Image:Feedback fig 1.jpg|800px|Microphone Feedback]]

[[Image:Ferrin_eat_mic.jpg|Charlie Ferrin at Bose: Nov. 9, 2007]]

[[Image:MicGoodBad.gif]]

----
<references/>

[[category:Feedback]]
[[category:Performance]]
[[category:Reference]]

Room Acoustics for Performers / Ken Jacob

2010-02-04T15:20:22Z

Kjacob:

[[Image:KenJacob.png|right|Ken Jacob]]
<html>
<script type="text/javascript" src="/thickbox/jquery-compressed.js"></script>
<script type="text/javascript" src="/thickbox/thickbox.js"></script>
<link rel="stylesheet" href="/thickbox/thickbox.css" type="text/css" media="screen" />
<table cellpadding="20" cellspacing="0"><tr><td valign="top" width="350">

<table cellpadding="5" cellspacing="5">
<tr><td>1  
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP01.htm?TB_iframe=true&width=720&height=540" title="introduction: Ken Jacob" class="thickbox">introduction: Ken Jacob</a>
</td></tr>

<tr><td>2  
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP02.htm?TB_iframe=true&width=720&height=540" title="noise" class="thickbox">noise</a>
</td></tr>

<tr><td>3a 
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP03a.htm?TB_iframe=true&width=720&height=540" title="reverberation time and absorption" class="thickbox">reverberation time and absorption</a>
</td></tr>

<tr><td>3b 
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP03b.htm?TB_iframe=true&width=720&height=540" title="absorption and sound level" class="thickbox">absorption and sound level</a>
</td></tr>

<tr><td>3c 
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP03c.htm?TB_iframe=true&width=720&height=540" title="reverberation and music" class="thickbox">reverberation and music</a>
</td></tr>

<tr><td>4a 
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP04a.htm?TB_iframe=true&width=720&height=540" title="reflections" class="thickbox">reflections</a>
</td></tr>

<tr><td>4b 
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP04b.htm?TB_iframe=true&width=720&height=540" title="reflections from concave and convex surfaces" class="thickbox">reflections from concave and convex surfaces</a>
</td></tr>

<tr><td>4c 
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP04c.htm?TB_iframe=true&width=720&height=540" title="reflections from scattering surfaces" class="thickbox">reflections from scattering surfaces</a>
</td></tr>

<tr><td>4d 
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP04d.htm?TB_iframe=true&width=720&height=540" title="reflections and wavelength" class="thickbox">reflections and wavelength</a>
</td></tr>

<tr><td>5  
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP05.htm?TB_iframe=true&width=720&height=540" title="stage and audience shapes" class="thickbox">stage and audience shapes</a>
</td></tr>

<tr><td>6  
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP06.htm?TB_iframe=true&width=720&height=540" title="echoes" class="thickbox">echoes</a>
</td></tr>

<tr><td>7  
</td><td><a href="http://toonz.ca/bose/wiki/images/flash/KenJRAP07.htm?TB_iframe=true&width=720&height=540" title="putting it all together" class="thickbox">putting it all together</a>
</td></tr>

</table>

<br />
Want to talk about this? Please join the discussion on the Bose Musicians Community Message Board.

<a href="http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/2611023745" target="_new">Video Ken Jacob: Room Acoustics for Performers</a>

</td>
<td valign="top" bgColor="whitesmoke" width="275">

<center>
<br />Ken Jacob
<br />Senior Research Engineer
<br />Bose R&D
<br />

<br />The presenter would like to acknowledge the work of M. David Egan.
<br />Several figures from his excellent text,
<br /><a href="http://www.amazon.com/Architectural-Acoustics-M-David-Egan/dp/0070191115">Architectural Acoustics</a>
<br />are used here.

</center>
</td>
</tr>
</table>
</html>
<noinclude>

[[Category:Interview]]
[[Category:Video]]
[[Category:Reference]]
[[Category:South Atlantic States L1® Conference 2008]]
</noinclude>

Parametric EQ / Solving Problems

2009-05-11T21:54:42Z

Kjacob: changing technique for using para to improve feedback to most recently edited article

__TOC__
You can use the {{T1}} Parametric EQ feature to notch out a problem frequency. Here are a few real-world examples. {{T1 icon}}

=== Bassist With Excessive Resonance at B flat ===
Chuck-at-Bose provided this approach.<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/6531054674?r=1661015674#1661015674 Chuck-at-Bose talks about using the Para EQ to solve a problem frequency]</ref>
<table><tr><td valign="top">
# Set the '''Width''' control to a value that's narrow enough to zoom in on the problem area, but wide enough to easily hear the effect of coarse adjustments. A value between one third (0.33) and one half (0.50) of an octave often works well as a starting point.<br />
# Boost (turn up) the '''Level''' control a little, usually about +3 to +6 dB, so that coarse frequency adjustments (next step) can be easily heard.<br />
# Rotate the '''Freq control''' to slowly sweep across the spectrum. Start low and sweep up until you hear the offending note jump out. Go back and forth until the problem note is centered, or at its loudest. For problem note, the frequency of the B flat note is approximately 58 Hz.<br>
</td>
<td>
[[Image:T1ParaEQCN01.png]]
</td>
</tr>
<tr>
<td valign="top">
4. Adjust the '''Width''' control to as narrow a value as possible, so that only the problem is being affected, leaving the non-offending frequencies around it unchanged. The T1 goes down to ''one fifth'' (0.20) of an octave, which is great for 'notching out' problem notes. <br />
5. Now adjust the '''Level'' control to cut (turn down) enough to make the problem go away, but not so much that the tone of the source is altered in an undesirable way. Values of -1 to -6 dB will often do the trick, though sometimes a more aggressive cut is necessary. Use your ears to find an appropriate balance between fixing the problem and adversely altering the tone of the source.
</td>
<td>
[[Image:T1ParaEQCN02.png]]
</td>
</tr>
</table>

=== Another Approach to Eliminating a Boomy Note ===
Hilmar-at-Bose had a different approach<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/6531054674?r=7421005674#7421005674 Hilmar-at-Bose talks about solving a boomy note]</ref>

a) set the level of the para EQ to a cut, say -10 dB

b) set the width to fairly narrow, say .25 octaves

c) start with a rough estimate of the offending frequency and then move the frequency around until the offending note gets tamed best

d) you can press on the level control to toggle between on and off which gives you a direct A/B so you can judge the effect better

Once you have centered on the frequency you adjust the level and width to taste.

Estimating the frequency:
* Low octave of the bass is from 40 Hz to 80 Hz (E1 to E2), A1 is at 55 Hz
* Low octave on the guitar is from 80 Hz to 160 Hz (E2 to E3), A2 is at 110 Hz
* 2nd octave on the guitar is from 160 Hz to 320 Hz (E3 to E4), A3 is at 220 Hz

Here is a cheat sheet: [http://www.phy.mtu.edu/~suits/notefreqs.html Frequency vs. Musical Notes Graphic from MIT]

<noinclude>
=== Controlling Vocal Microphone Feedback ===

{{:Using the T1® to Control Microphone Feedback}}

</noinclude>

=== Piezo Pickup Thump ===

If you have an Acoustic Guitar that is picking up low end thump from a percussive right hand technique use the Para EQ with settings like this.

*Level -15
*Frequency 50 Hz
*Width 0.50

[[Image:T1ParaEQNoThump.png]]

[http://bose.infopop.cc/eve/forums?a=tpc&f=7521050644&m=6771047194&r=4591097194 T1 and x bridge] - Strat man

<br>

=== Single Coil Buzz ===

Use the Noise Gate

[[Image:T1NoiseGate01.png]]

<br> [[Image:T1NoiseGateDefault.png]]

The default settings seem to work okay for me.

[http://bose.infopop.cc/eve/forums?a=tpc&s=8206048934&f=7521050644&m=3771027294&r=1191035105#1191035105 eliminating single coil buzz] - jayare and ST

<br>

<br>

=== Wind Noise ===

Use the ParaEQ (Woody B called it the notch filter)

:I had an extremely windy gig last night. Even with windscreens on the mics they still had the wind rumble. I used the notch filter on my T1 to notch the wind sound out. I don't believe it's called a notch filter on the T1, but I don't remember the correct name. I just turned the volume way up, and adjusted the frequency until the wind noise was gone. I tried using the noise gate, but if it was high enough to eliminate the wind it also eliminated most of the vocals. Usually wind screens solve any wind problems I have, but the wind was so strong I kept my guitar case on stage to sit my guitar in, instead of using a stand. I believe the wind would have blown it over.

[http://bose.infopop.cc/eve/forums/a/tpc/f/1266055944/m/6571097974?r=5021027294#5021027294 What to do in windy conditions] - Woody B

<br>

----
<references />
----
[[Category:Para EQ]]
[[Category:T1]]

T1 ToneMatch® Audio Engine / Tips & Tricks

2009-05-11T21:52:59Z

Kjacob: changing feedback technique to most recently edited article

{| width="720"
|-
| width="400" valign="top" | __TOC__ __NOEDITSECTION__
| valign="top" |
{{T1 ToneMatch® Audio Engine}}

|}

== Feedback ==

=== Feedback: Para EQ ===

{{:Using the T1® to Control Microphone Feedback}}

=== Feedback: Comp Gate / Noise Gate ===
{{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}}

== Para EQ Isolating a Problem Frequency ==

{{:T1 ToneMatch® Audio Engine / Parametric EQ / Solving Problems}}

== Usage Tips ==

=== A/B Comparisons using Bypass ===

{{:T1 ToneMatch® Audio Engine / Bypass}}

=== Passive Piezo Pickups ===

If you have instruments with passive pickups, and instruments with active pickups or preamps, try the passive pickups in {{t1r}} Channels 1, 2, or 3. You can put the instruments with active pickups or preamps into Channels 4/5. [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/7691095994?r=7691095994#7691095994 Bouzouki with passive McIntyre Pickup to T1®] - MBanshee.

=== Switching between Instruments ===

Mary (Banshee in the Kitchen) noted <ref>Mary (MBanshee) in the [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9611099774?r=6731040874#6731040874 Bose Community Message Boards]</ref> {{:T1 ToneMatch™ Audio Engine / Switching Between Instruments}} 

=== Use the {{T1 nl}} with a non-Bose PA ===

:If your mystery system is voiced to a normal-sounding spectral distribution (like the L1's), the presets in the T1 will work fine. If not (a really good probability, especially if it's an odd-brand "installed" system), all bets are off. Actually, even if it's a really good installed system but all the controls (like the house EQ) are readily accessible, chances are this will fall into the "not" category too. In either case, the loop is wide open at this point. Might as well leave the T1 in the car.
:-- Cliff-at-Bose <ref>Cliff-at-Bose [http://bose.infopop.cc/eve/forums/a/tpc/f/8221072574/m/5841040394?r=2071072394#2071072394 Value of Presets]</ref>

:What Cliff is getting at is the fact that the house system may be 'voiced' any number of ways. In almost all cases a house system will be voiced quite differently from an L1, which will make the presets sound much differently than intended.

:We just don't know what will happen. The presets may work great, they may not work well. No way to tell until sound check.

:Bring the T1 though - worst case scenario is you leave your EQ's flat.
:-- MikeZ-at-Bose <ref>MikeZ-at-Bose[http://bose.infopop.cc/eve/forums/a/tpc/f/8221072574/m/5841040394?r=9371073394#9371073394 Value of Presets]</ref>

== Routing Effects ==

{{:T1 ToneMatch® Audio Engine / Routing for Effects}}

----

<references />

|}

Feedback / T1 ToneMatch® Audio Engine

2009-05-11T21:43:28Z

Kjacob: fixing EQ width to lowest allowable on T1 (0.2 oct)

{{Bose Reviewed}}

{{T1 icon}}

The technique takes some practice and experimentation. But the effort is worth it because the technique can be used in many different situations.

You'll be using the parametric equalizer on the {{T1}} to improve vocal microphone feedback. The parametric equalizer has a frequency adjustment to select the pitch (note) you want to shape, and a boost or cut adjustment to increase or decrease that pitch like a regular tone control. It also has a bandwidth knob, to set how wide a range of pitches around the single pitch you are adjusting.

[[Image:T1_Para_1_new.jpg]]

# Turn the volume down on the microphone channel
# Set the Para EQ Level to 10 dB boost (boost, not cut)
# Set the Para EQ Width to 0.20 oct
# Slowly turn up the volume of the microphone creating feedback to just before feedback. You'll probably start to hear the pitch that feeds back but don't let the feedback start.
# Start changing the Para EQ frequency control. At some point, the system will begin to feedback on the same pitch you were hearing without the boost. With some tuning and listening, you now have the Para EQ frequency set to the same (or very nearly the same) frequency causing feedback. You may need to change the volume of the microphone channel to avoid going into loud feedback.
# Change the ten dB boost to a cut, to notch out the frequency. Start with a cut of about 3 dB and use more only if necessary. That microphone should now be able to be used with less feedback.

[[Image:T1_Para_2_new.jpg]]

If there are multiple microphones in the system you may find that the whole system feeds repeat this procedure if necessary for the other microphones.

Then, once you know the frequency (and the T1 tells you this in Hz), you can apply the same notch to other microphones.

How much does this hurt the sound? You should experiment a little, since - it depends. The notch will have different effects on the tone depending on how deep it is (how much you cut), how wide it is (keep it as narrow as you can), and where it is relative to your voice or instrument. Use your ears to tell you if you've gone too far.

(This technique was described on the {{forum}} in a post by Bill-at-Bose. <ref>Bill-at-Bose [http://bose.infopop.cc/eve/forums/a/tpc/f/778102955/m/4561000754?r=4561000754#4561000754 discusses using the T1 to overcome feedback]</ref>)

<noinclude>
----
<references/>

[[Category:T1]]
[[Category:Feedback]]
</noinclude>

File:T1 Para 2 new.jpg

2009-05-11T21:43:12Z

Kjacob:

File:T1 Para 1 new.jpg

2009-05-11T21:25:31Z

Kjacob:

2009-04-16T18:04:09Z

Kjacob: adding Bose Reviewed tag, TOC, and adding advice on electronic drums

{{T1 icon}}

{{Bose Reviewed}}

__TOC__

=== KickGate Frequently Asked Questions ===

First - Here is the Description from Page 23 of the [http://www.bose.com/pdf/musicians/product_guides/t1_tonematch_audio_engine.pdf T1 ToneMatch™ Audio Engine Manual]

=== Using the KickGate ===
The KickGate is a Bose® proprietary technology that allows you to raise the level of a kick drum channel while eliminating the risk of feedback from the microphone. Two KickGate settings are available in the Comp/Gate menu.
# Connect the appropriate type of microphone.
# Select an appropriate ToneMatch™ preset.
# Adjust the channel input Trim control so that the hardest kick drum hits turn the input channel LED yellow, but not red.
# Select Comp/Gate with the T1 rotary selector.
# Rotate the Type button to scroll down the list, highlight KickGate 1 or KickGate 2, and press Select.
Choose KickGate 2 when using a double bass drum pedal.
# While playing the kick drum, increase the volume to the desired performance level.
# Play the kick drum at the softest level you intend to use in the performance and check that you can hear it.
# While playing softly, increase the Thresh level until some of the kick drum hits get cut off. Then lower the Thresh level by 3dB.
# While playing the kick drum normally, rotate the Tight button counter-clockwise to reduce the tightness and
add more “boom” to the sound. Tightness can be adjusted from 0 (slowest) to 100% (fastest).

=== How does KickGate affect EQ, effects etc on the kick drum? ===
The gate is meant to kill feedback from the dedicated microphone on a kick drum only. No other processing is linked to the KickGate, so you won't lose any special preset goodness or other drum sweetening.

=== Can/should I use it with Electronic Drums ===
KickGate will stay closed (allow no signal through) unless it thinks it detects a kick drum hit, so cymbals, snare, et cetera on the same channel as kick probably won't get through (won't be heard), or worse, they'll get through sometimes and not others.

Furthermore, the kick drum sound on electronic kick drum has little or no chance of feedback and therefore KickGate is not needed.

Do not use KickGate with electronic drums.

=== What if I use electronic drums on some gigs and acoustic drums on others? ===
Here's real-world advice from a real world drummer, [http://bose.infopop.cc/eve/forums/a/tpc/f/8566055944/m/292100821 drumr's advice]

<blockquote>
KickGate is an indispensable feature of the T1 engine.

But be very careful when doing *other* gigs, and using V-drums after setting up your T1 with the kick gate for your acoustic drums.

I can't tell you how many times, I run a vocal mic or my V-drum Overhead instruments into a channel that still has the kick gate engaged from the last gig.

I know, I should always bring up a fresh *scene* for those other gigs, but I forget. I go in and change presets, and look at reverb & echo, but always forget about the Gate.

My gigs are divided between acoustic drums, electronic drums, and open mic settings. Things change almost every gig.

When it's a vocal in the afflicted channel, it's easier to spot...but for short duration sounds like many in a drum kit, it's harder.</blockquote>

<noinclude>
----
<references />
[[Category:Presets]]
[[Category:T1]]
[[Category:FAQ]]
</noinclude>

Feedback / Microphone

Kjacob:

2009-01-21T20:22:50Z

Kjacob: Solo Duo reference

== Colons in article names ==

Hi Ken,

We cannot use colons (:)s in article names. These are reserved characters in the wiki software.

[[User:ST|ST]] 23:45, 3 January 2009 (EST)

== Creating alias's to existing pages ==

I noticed that you created a new page called Microphone Feedback that appears to be a (near) clone of the existing page [[Feedback / Microphone]]

Rather than have two nearly identical pages, you can create an alias that points to the original page.

You can create a page (any name you want for example '''Microphone Tips''') and then make its sole contents

'''<nowiki>#REDIRECT [[Feedback / Microphone]]</nowiki>'''

Any reference to [[Microphone Tips]] will automatically load [[Feedback / Microphone]]

So if you want to have a page called '''Microphone Feedback''' then you could create that as a redirection page with contents

'''<nowiki>#REDIRECT [[Feedback / Microphone]]</nowiki>'''

Then we will just one page to maintain. We can make any required changes in the original page and avoid having redundant pages.

We need to avoid having two (or more) pages that have essentially the same information. It's fine if you make pages that refer to and present the building blocks (like atoms) to create different molecules. But we don't want to have multiple versions of the "atoms". It becomes really difficult to maintain.

[[User:ST|ST]] 00:13, 4 January 2009 (EST)

=== Ken's reply ===

Hi ST,

I realize the problem with nearly-the-same articles. I'm only doing this temporarily while I get the hang of editing. I am nervous about making significant changes to pages you've built, so for now I have been building parallel pages.

This alternative main page is an example: I REALLY didn't want to mess with the real main page and yet needed a place where I could explore some of my ideas. This seemed like a good way to do that.

If you think it's okay for me to edit fairly freely (make significant changes) to existing articles (but still not the main page) then I'll stop making these. (A reply via Bose email or message board may be best for this question as I don't think I'm notified of replies here.)

Ken

=== ST ===
Got it. I understood what you were doing with this Ken's Main Page. I didn't understood that [[Microphone Feedback]] was also a practice page. I just hate to see you do the work twice.

You should be getting notifications about changes, but you may have the notifications going to an email address you are not monitoring. If there is a tab at the top that says "unwatch" then you should be able to hit the "my watchlist" link at the top right to see what's changed in the pages where you are active.

==== Preferences ====

You can check your notification settings in the '''my preferences''' link near the top right of the page.

You will want to look at email preferences (on the first tab) and '''Watchlist'''

==== Pages that need input ====
Here's a page that could use your input [[ToneMatch®]]

[[User:ST|ST]] 17:39, 4 January 2009 (EST)

== Various ==

To be more clear, my purpose right now is twofold: one is to practice, and the other is to develop content. For example, I was trying hard on my "Microphone Feedback" article to create information that a first time Wiki visitor who comes with feedback as a specific problem would find immediately useful. I used material from the other article on this subject but really wanted to do a re-design of my own. I feel awfully sheepish about re-designing a page someone else (you in this case) put a lot of thought and effort into. I realize this is the nature of a Wiki on one level but I can also see how it can lead to conflict and hurt feelings if not handled correctly. This is something I'd like to get your thoughts about when next we speak. I think your experience will guide us. I had this going on in my mind when I did a fairly big comb of the article [[The Bose L1® Wiki Project]] yesterday afternoon. This is new territory for me.

One of the other things that's got me flummoxed at the moment is the titling of articles. For example, if I ever wanted to go more public with my main page, I'd want to strip off the "(temporary)" part of the title and yet it seems that this could be really messy. A little more conversation on this subject would also be good I think.

Ken

== Solo Duo reference ==

I took this out of the By User Type section in order to maintain simplicity.

I plan to ensemble size be a big part of the "musician" article.

Ken

L1® Research Project History

2009-01-21T19:05:36Z

Kjacob: fixed italics

{{Bose Reviewed}}

__TOC__

== Message from Ken Jacob ==

The following is a message from Ken Jacob, one of the two originators of the L1 research project.

Please don't edit. Please use the discussion section - see tab above - to leave a message about the content.

<blockquote>
On October 15, 2003, Bose introduced an entirely new approach to live music amplification.

At the time we launched, I can honestly say that while we were utterly confident through our testing that the benefits we were claiming were real, we just didn't know if musicians would want to try it, much less spend their hard-earned money for it. I literally lay awake many a night in the days, weeks and months leading up to our first press event on October 15 wondering if anyone was going to buy even a single L1 system.<br><br>

Not only was my anxiety unfounded, what's happened has surpassed even what we allowed ourselves to dream when we were alone and thinking about how profound and positive the changes were we were observing in our live music tests.<br><br>

In the past five years many tens of thousands of musicians in over one hundred countries have purchased one or more L1 systems. And what they have said about the differences owning an L1 has meant to them now constitutes an avalanche of positive evidence -- much of it here on this online forum.<br><br>

The L1 approach is what I would call radical. Fundamentally, it replaces most or all of the amplification equipment that evolved in the last half of the 20th century. It replaces triple systems (PA, monitors, backline) which were found in our research to be at the heart of the persistent and acute complaints from musicians and audiences alike about the sound of live amplified music, with a simple, naturalistic approach that is more based on the evolution of unamplified music than the ever-louder, ever more complicated, ever more isolating amplification systems that evolved in the last 50 years.<br><br>

In the history of hi-fi, as a parallel industry, I can think of no technology that is as radical. That is why we felt it was possible to call the L1 approach an ''entirely new approach''.<br><br>

The fact that musicians around the world, including most of you, were willing to cast off years of refinement in triple systems -- and more pointedly, attempt to cast of the problems that never went away no matter how much more sophisticated the gear became -- is for me an extraordinary story of courage and daring.<br><br>

The fact that you did this, and that the results as written here and elsewhere, and on the delighted expressions of audience members, is something that I will treasure forever. It is something that I literally think about every day of my life, and will think of every day for the rest of my life.<br><br>

Thank you, from the bottom of my heart.<br><br>

We'd like to take the opportunity afforded by our 5th anniversary to share with you some of the things that occurred in the ten or so years of work that preceded the launch, and also some of the things that happened as we launched, and as this community started to build.<br><br>

Many of my colleagues will contribute their part of the story.<br><br>

We also invite you to share any of your experiences that you feel could contribute to recounting and recapturing some of the early history of the L1.<br><br>

It is hard to believe that such a radical new technology has done so well. When I scan for similar successes of something so radical succeeding so much in such a short time, I come up with little. The Fender bass comes best to mind. Just imagine what it will be like to write the 10-year story of the L1.<br><br>

With love, admiration and appreciation,<br><br>

Ken Jacob <br>
<font size="1">
Co-originator of the L1 research project<br>
Director, Advanced Development<br>
Bose Professional Systems Division</font>

</blockquote>

== List of articles contained in L1 Research Project History ==

=== [[L1® Research Project History]] (this article)===

=== [[Bose in Live Music Before the L1® System]]===

=== [[Cliff Henricksen: L1 Inventor]]===

=== [[Earliest Activities]]===

=== [[Catalog of Live Music Research Problems]]===

=== [[Historic Document Showing L1® Invention for First Time]]===

=== [[Earliest Sketch of New Approach]]===

=== [[First Research Prototype]]===

=== [[The Very First Use of the L1® Idea in an Ensemble]]===

=== [[Testing Our 2nd Generation Prototype]]===

=== [[Invention of ToneMatch® Technology]]===

=== [[Instantaneous Comparison Between L1 and Conventional Systems]]===

=== [[Electric Guitar Research]]===

=== [[From Prototype to Product]]===

===[[Commercial Launch Team]]===

----
[[Category:L1® Research Project History]]