THE AMM108

The AMM108 is the smaller model, almost cube shaped, and only a foot square in the old money. The 1.7-inch compression driver is mounted in front of an eight-inch woofer using a shared magnet design that helps maintain phase between the drivers, and reduces intermodulation distortion. The 110° x 60°  dispersion is shaped by the Bose Beamwidth Matching Waveguide, it looks like something out of ‘Predator’ but its purpose is to align the high and low beam widths through the (passive) crossover region. Weight is 13kg, power handling is quoted as 150W long-term/2400W peak at 94dB sensitivity for a calculated max SPL of 116dB (121dB peak).

The AMM108’s output belies its footprint. The first time I used it was as an in-fill for the front section of the audience and it had plenty of volume with outstanding clarity and intelligibility at all levels. Some EQ was needed, it had a chunky Lab-clone amp driving it and proved an ideal speaker for the in-fill application — small enough to preserve sight lines but also able to handle high level peaks without distortion, if required.

As a foldback wedge the AMM108 is instantly likeable. It looks somewhere between cute and tiny on an empty stage but when the band is set up and they’ve got pedals and other paraphernalia strewn across the stage, it looks just right — the other traditional wedges look unnecessarily bulky. Throw angle is the usual 35° and the outstanding coherence delivered by the coaxial design makes vocals super present with high resistance to feedback. The bands were impressed.

THE AMM112

The AMM112 is the larger full-range speaker and it’s a step up in every way. The 12-inch woofer and three-inch compression driver need a 50% larger cabinet than the AMM108 and it’s near twice the weight at 22kg. Power handling increases to 300W long term/2800W peak at 96dB sensitivity for max 121dB (131dB peak). The speaker can be switched to run passively through the internal crossover or bi-amped via an external crossover.

The first time I used the AMM112 was as a floor wedge with Ash Grunwald. Straight out of the box, a quick tune and, like the AMM108, the response was crisp and bright across the high-mids with no sense of being near the limit at average/high stage levels. The benefits of the coaxial design are evident working close to the speaker: traditional ‘horn on top of woofer’ designs exhibit noticeable phase changes between the components when the performers move around in front of the speaker, especially general purpose two-way speakers laid on their side. Coaxial speakers sound on-axis across the working area. Ash liked it, used it, and “it sounded awesome” was his comment after the show.

AMS115 SUB

Completing the range is the AMS115 compact sub. It’s a direct radiating, ported design with a 15-inch long-throw neodymium driver in an enclosure measuring 470 x 470 x 500mm and weighing in at a manageable 28kg. Frequency response is quoted at 40Hz–100Hz (-3dB) with power handling at 500W long term/2800W peak for 123dB/130dB SPL. It takes a bit more thought to get going. It seemed low in level compared to the full-range speakers at first but once pumped a bit it was a good match with impressive power handling and a fast, accurate response. An AMM115 sub with an AMM108 on top makes a great full-range system. I enjoyed using this combination as a delay system half way down the Castlemaine Town Hall for the 2022 Spring Ball.

CUT ABOVE

The AMM Series speakers can be used as portable systems but they’re beyond ‘throw-in-the-back-seat powered speakers’ type of portable. They’re the next step up in quality and price, and while they’re efficiently sized, they need at least amps and some processing. I’d suggest they’re better suited to professional production suppliers or installations where the AMM quality and scalability can be most valuable. Passive speakers often have advantages in these applications. Foldback is neater with passive speakers. Half a dozen of either of the AMM full-range speakers and one on top of an AMM115 sub for drumfill would make a powerful, flexible and coordinated foldback system (add more to scale up and throw in infill, if required).

Installations are made easy with a range of mounting options including 6 x M10 threaded inserts, a U-bracket and a suspension kit plus 4 x M8-threaded inserts for a pan-and-tilt bracket. The 110° x 60° dispersion can easily be changed to 60° x 110° by rotating the cabinet. For portable applications, both the AMM108 and AMM112 have pole mount sockets tucked away besides the handles. The Sub1 Adjustable Speaker Pole screws securely into the M20 threaded pole mount on the top of AMM115 sub. That’s a big improvement over the usual floppy pole sockets. The top half is like a regular speaker stand with adjustable heights and a locking pin, and that’s better than a fixed-length pole. 

Overall these are genuine high-power, multi-purpose speakers based on classic point source design in no-frills, practical cabinets. Bose Professional seems to be aiming for a larger space in the pro audio world, the AMM Series will give them some street cred.

CONTROL CENTRE

The control panel on top of the Power Stand is where the fun starts. As control panels go, it’s a big one, with generous space between the connections and controls. And there’s no confusing little screen — I could operate it without glasses. Inputs include two combi-XLR sockets with a button that toggles between Mic, Inst and Off (line in) plus a third aux input with 6.5mm and 3.5mm sockets or Bluetooth if enabled by the nearby Bluetooth button. A small button toggles between overall system presets including the usual suspects — Live, Music or Speech — with an Off setting for a flatter response. Phantom power is switchable on the XLR inputs. An XLR line out connects other devices and a USB C socket is for system updates. An Ethernet socket provides a connection for Bose T4S or T8S ToneMatch digital mixers.

The ‘surprise and delight’ feature is the multi-function knobs that control the three input channels. Each knob is surrounded by illuminated markings displaying the chosen level. They’re above an integrated green/red signal light that gives you a rough idea of the input level. They function as a volume control by default: pressing them toggles their function through Treble, Bass and Reverb levels for that channel. The knobs’ action is quite light and mistakes can be made but they’re great for fast changes during a show if the band is mixing themselves from stage.

MIX APP

Or the band can use the Bose L1 Mix app and control the sound from a phone screen. It mimics all the controls on the Power Stand so you can walk around the room and tweak the settings, including the broad environmental presets, during soundcheck. Or the boss of the band can have L1 Mix on his phone and control things without having to lean down to the Power Stand.

The L1 Mix app also provides access to the ToneMatch library of EQ presets. These are EQ shapes that match specific microphones to the L1 system. There’s a fair range of common mics in the library, mainly Shure, Sennheiser and Audix. Auditioning them with an SM58 gives you all sorts of different tone options from subtle to drastic and the presets do follow the mics characteristics… the Audix D6 sounds scooped, the Beta52a has some woof added. Reassuringly, the Shure SM58 sounded best on the SM58 setting. ToneMatch is available on each of the two vocal inputs so you can use different mics, if they’re on the list. If not, then you could scroll through the presets and choose one you like. 

A small panel on the front edge of the Power Stand houses the IEC socket and my favourite connection on the L1 Pro32, the SubMatch cable. Used to connect the L1 to one of two sub speakers, it’s a chunky cable that conveniently carries both the signal and 240V. It uses new proprietary SubMatch connectors that have a particularly pleasing action with a positive locking click and a simple release mechanism. The Submatch cable is only a metre long and that could be too short in some settings but it’s easy to handle and fits in the bag with the Power Stand and the IEC lead.

SUB1 OR SUB2

Speaking of subs the new range offers the Dr Seuss choice of Sub1 or Sub2. The big news is they are now active. So they can be used as stand-alone subs that can be combined with the loudspeakers of your choice. The crossover is fixed at 200Hz. Both are loaded with an oval-shaped, deep-sided, exotically-named RaceTrack driver that allows the cabinet to be slim, nicely balanced and easy to carry with one hand.

Sub2 is fitted with a 10- x 18-inch driver (ie. it’s not circular) in a 24kg ported cabinet and provides thunderous delivery down to 37Hz (-3dB) with a built-in 1000W amp and processing to control the response and driver protection. I found a single Sub2 to be more than enough bass for a single Pro32 tower, particularly close to the speaker or in a smallish room. The subs don’t have the controlled dispersion and longer throw of the array tower and the bass drops off more quickly than the tower with distance. Two subs are suggested for big bass music and using two gives the worthwhile option of cardioid projection.

DJ HEAVEN

The L1 Pro32 would a great system for mobile DJs. Even with one Sub2 the system is loud (128dB) if you turn it up and the sound quality seems made for modern urban electronic music. The big deep bass, the subdued mids and exaggerated high frequencies suit Dr Dre and genre. The L1 Pro32 is a mono system. It accepts stereo inputs so you don’t lose one side of the music using a single array but stereo reproduction requires a second system. Bose suggest a stereo L1 Pro32 system with subs would be good for up to a 350-punter audience.

The first time I took the L1 Pro32 out was to Castlemaine’s Love Shack Brewery. They like their streamed music and run it at medium level in the outdoor courtyard space. The L1 Pro32 was an instant hit with several advantages over their usual distributed system. The first impression was the width of the throw, the 32 little speakers are mounted at 45 degrees to the tower with half pointing each way and the sound coverage is a genuine 180 degrees, you can be completely off to the side of the tower and still enjoy complete clarity. Customers were noticing and commenting on the looks and the sound quality.

MAKES SENSE

The following week I took the L1 Pro32 back to the Love Shack when a band was playing and set it up directly beside a comparable-sized point-source system for the soundcheck. The array was okay at low to medium levels but at high levels the point-source systems mid-range definition and dynamic range made it easier to lift the vocal above the band. A whole band could use the L1 Pro32 but they’d need to keep it controlled on stage, especially if they’re using the stick for monitoring as well. The L1 has good resistance to feedback but turns suddenly if you try to push it up to rock level.

This is where the smaller array systems divide opinion but it’s not a case of one being better than the other. A PA like the L1 isn’t intended to replace point source speakers, it has a different approach: it throws wide and deep with good bass and a sizzling top end. It sounds great for music playback and bands or performers that don’t need balls-out rock ’n’ roll sound pressure levels. From a practicality point of view, the L1 sets the standard for convenience: one system for monitoring and for front of house, and potentially one trip from the car.  The mix can be controlled from stage with a respectable-sounding reverb built in. So there’s no contest when it comes to travel and set up. 

I recently heard an original L1 system being used in a park on a Sunday afternoon by a local trio playing popular tunes before the mayor and various dignitaries arrived for an award presentation — a perfect situation for a portable line array. The new Bose L1 Pro32 updates the concept with improved performance including enough power and throw to fill larger venues and the convenience of Bluetooth, the L1Mix app and the ToneMatch presets. The journey continues.

L1 Pro16 – Versatile coverage

The L1 Pro16 balances power and portability, offering a streamlined system with high output and extended low frequency. At a weight of only 53.7 pounds (24.4 kilograms), its a great fit for DJs, singer-songwriters, and small groups performing in small-to-medium sized venues, clubs or bars, with users benefitting from a portable system that offers extra room in a vehicle and on stage, alongside expanded bandwidth.

J-shaped line array features 16 articulated 2” neodymium drivers; 180-degree horizontal coverage, tight vertical control on top, and wide dispersion on the bottom, covers audiences whether set up on the floor, an elevated stage, and even off to the extreme sides in medium-to-large venues.

Integrated 10″ × 18″ subwoofer features a high-excursion neodymium RaceTrack driver.

L1 Pro32 – Uniform coverage

The peak of portable PA, the L1 Pro32 is the most advanced L1 portable line array ever, weighing just 28.8 pounds (13.0 kilograms). The Sub1 and Sub2 modular subwoofers weigh 35.5 pounds (16.1 kilograms) and 51.7 pounds (23.4 kilograms) respectively, meaning even this top performer is powerful and portable. With supreme clarity and output, the L1 Pro32 gives DJs, singer-songwriters, and bands an unrivalled portable PA system with a powerful bass for medium-to-large-sized venues and events such as weddings and festivals.

Straight line array, features 32 articulated 2″ neodymium drivers; 180-degree horizontal coverage with the most focused vertical coverage pattern and highest SPL over distance in an L1 ever — providing intricate sonic detail, clarity, and consistency, even off to the extreme sides in larger venues

Combines with the Bose Sub1 or Sub2 powered bass module via a single-cable and SubMatch connectivity is included for both power and audio

Stack two Sub1 or Sub2 subwoofers for even more bass, or unleash Cardioid Mode for focused, directional performance

Each L1 Pro system features a built-in mixer, allowing creators to connect various instruments, microphones and other sources with ease. Two combo XLR-1/4” phantom-powered inputs, 1/4″ and 1/8″ (3.5 mm) aux inputs are included. Illuminated rotary encoders provide instant access to volume, tone and reverb settings per channel too. There is even the option to add in additional instruments and other audio sources via a dedicated ToneMatch port — one cable provides both power and digital audio between the system and an optional Bose T4S or T8S mixer (sold separately).

The L1 Pro portable line array systems will be available in the new year.

MATCH MAKER

ShowMatch is Bose’s response. It takes RoomMatch’s philosophy and refines it into an everyday arrayable, truckable concert PA system.

ShowMatch comprises three full-range loudspeaker models (5/10/20° vertical) in a compact two-way design, that includes four improved Bose EMB2S compression drivers and two Bose eight-inch neodymium LF devices. Each model ships with two sets of field-changeable horizontal waveguides for narrow or wide pattern control. An additional horizontal waveguide can be purchased separately. To change a waveguide you need to remove the grille and undo four screws. (The waveguides come in two sections, which means you can have asymmetrical horizontal dispersion patterns.) It’s not something you’d do once you’ve arrayed the system but something taken care of in the shed after you’ve mapped the venue in Bose Modeller. In other words, the waveguide options will reward the conscientious operator. As an aside, it would have been great if Bose could make it outwardly obvious which waveguide is installed in an element. Funktion-One colour codes its boxes, perhaps Bose could have some small (coloured?) part of the waveguide protruding from the grille to make the box easy to interrogate.

Removable rigging-guard/handle side caps allow ShowMatch modules to be suitable for both installation and portable applications.

FIT FOR LAUNCH

ShowMatch is a big deal for Bose. Certainly the carefully-choreographed worldwide launch was an impressive thing to behold. Australia was the last leg of a tour that saw Bose take over a venue, bring in a hot live band, and allows sound professionals to hear the system perform without any apparent smoke and mirrors.

Well-regarded Australian sound engineer Anatole Day was engaged to babysit the rig for the Melbourne and Sydney dates. AV Asia Pacific last caught up with Anatole while he was on a Guy Sebastian regional tour. What I like about Anatole is he’s a pragmatist and he trusts his ears and instincts. Anatole is just the kinda pro that Bose is hoping to speak to: he loves mixing on the million dollar rigs whenever he can but will take a new PA as he finds it — he can see past the badge.

The demo was quite impressive. The system comprised seven elements a side and four single 18-inch subs a side in an end-fire configuration. (A front grille-mounted NL4 connector on the sub enables easier wiring for cardioid configurations.)

We were assured the system was set flat, with only some low-Q 4-5kHz gently removed by Anatole to slightly smooth out the rig, which was oversized for the room at Chapel Off Chapel. They’d run the same-sized array at the Sydney event, which was held in a much larger bay at Carriageworks. There Anatole said the top end was spot on, and he only took out a little low mid to offset the room’s natural buildup. So, ‘out of the box’ ShowMatch sounds like a proper line source concert PA.

As I mentioned earlier, the HF units are the heroes. The four EMB2S compression drivers are matched to a Bose proprietary manifold (pictured right). What makes them special is their wide frequency range — from 18kHz all the way down to 300Hz. It’s an impressive feat. Crucially the EMB2S takes care of all the vocal frequencies. And this has been one of Bose’s key design philosophies since the 802: make the vocal the hero, and make it easy for the sound person to lift the vocal out of the mix. The EMB2S is the sound of ShowMatch. Everything rests on its performance and it’s a winner: efficient, loud and still sweet-sounding at lower levels.

WHO’S FIRST?

Bose isn’t the first to market when it comes to preaching the variable dispersion gospel. Some 10 years-plus ago L-Acoustics released Kudo which had/has adjustable dispersion vanes. More recently the variable dispersion cat can be skinned in software, with systems such as EAW’s Anya and Martin’s MLA doing some fancy footwork in DSP to match the rig to the room.

My gut feeling is that the ShowMatch’s DeltaQ variable dispersion smarts (which has been so pivotal to the RoomMatch success) won’t be the ShowMatch dealmaker for Bose — it’s a cool feature, but not one that small to mid level, shoot-from-the-hip, rental companies will be exploiting on most jobs. (That said, ShowMatch’s neat low profile design will ensure it finds its way into plenty of installations where the DeltaQ flexibility will be used to the max.)

So if my surmising is well founded, what’s ShowMatch got going for it? Easy. It’s a properly engineered, well resolved, mid-size line array that’ll take care of a wide range of gigs. Fly it (up to 24 in an array), ground stack it, put it in a constant curvature array (for pseudo line array performance) if you have to, hang it in a conventional J array for that outdoor festival, or get your geek on and design the best DeltaQ array to tame that tricky (or not so tricky) room.

THE APPEAL

Finally, in a market like Australia (small and tribal) the question isn’t necessarily “is the PA any good?”, it’s “who’s the customer?”. I don’t see too many rock ’n’ roll rental companies sticking their necks out to gobble up the first shipment of ShowMatch — until ShowMatch makes it onto technical riders that’s unlikely. But for rental companies that do most of their work on corporate and AV gigs, Bose ShowMatch is a very appealing choice.

And, finally, the real kicker. The price: it’s keen. Interestingly, Bose hasn’t built a road-ready amp. They’re recommending the Powersoft X Series (specifically the X8 Dante model), probably in recognition that Powersoft’s price/performance is hard to beat. It’s always difficult to price a ‘system’ as such (given the myriad permutations) and hard to get an ‘expect to pay’ price on something like this but I’ll let you do the maths on what a RRP module price of ~$5900 might mean to you if you’re ‘in the trade’. Definitely at a price point that gets the cogs turning.