Sounding Off

Bose L1 Pro Series

There are many ways to numerically measure a mobile DJ’s set-up. One could start with the number of songs in their collection. Or focus on the number of channels and decks they mix from. Or glance at how many light fixtures they have.

However, one universal number that nearly every mobile DJ understands during each gig is the weight of their set-up. Let’s face it: mobile DJ gear can be heavy. Most turntables can give a gym membership a run for its money, but speakers and PA systems are the king of the weight mountain. I bet dozens of DJs probably contemplate a cubicle-based career when they load and unload their speakers every weekend.

Fortunately, many equipment manufacturers have taken notice of the need to produce speakers that meet the main core requirements for mobile DJs – be lightweight, offer room-filling sound, and be durable enough to survive the rigors of frequent gigging.

Aiming to do just that, Bose introduced the L1 Series of powered, portable speakers 17 years ago. These looked almost unlike anything that had been released before. Instead of a rectangular speaker on a pole, this setup was entirely self-contained: they featured a base section housing a subwoofer and a thin column of drivers rising above from the center of the subwoofer. Although they were undeniably different, the L1 Series attracted a devoted following, and other pro-audio brands began to experiment with this architecture. Now, perhaps in an effort to reestablish its dominance in the portableloudspeaker world, Bose has released three new models to the L1 family: L1 Pro8, L1 Pro16, and L1 Pro32. Each new L1 Pro model offers a

Bose L1 Pro Family: Performance & multi-app portability.

BOSE’S PORTABLE PA & RANE’S EVOLUTIONARY MIX

By DJ Deets

SEVENTY-TWO: RANE’s battle mixer with more.

RANE TWELVE & SEVENTY-TWO

Two years ago, RANE’s SEVENTY-TWO and TWELVE took the Serato DJ market by storm.

The SEVENTY-TWO 2-channel battle mixer promised to offer the technical wizardry found on the latest generation of DJ controllers and DVS support for Serato DJ. Meanwhile, the TWELVE offered DJs the ability to control a 12-inch motorized platter and various software parameters in one device. Put together, they made a formidable setup.

Releasing a second generation for both products, RANE has bestowed them with a few tweaks designed to elevate their usability to a wider range of DJs, who use a variety of DJ software. These updates are more evolutionary than revolutionary, but they breathe new life into an already-phenomenal product.

Given all their capabilities, I could easily write a novel explaining the features of these two devices. I think RANE already did and called it a “user manual.” So, instead, I want to describe what’s new in this second generation and, more importantly, talk a little about how they feel to use. At first glance, both devices share a lot in common with their predecessors: the SEVENTY-TWO MKII is still a 2-channel battle mixer with a full-color touchscreen in the middle, and the TWELVE MKII is still a motorized singleplatter controller.

Both are absolute full-metal beasts: the TWELVE MKII weighs 20 pounds, and the SEVENTY-TWO MKII weighs just over 12 pounds. As with other RANE equipment, they’re built like tanks, and I have confidence in their ability to survive years of heavy and frequent use.

TWELVE MKII: Intuitively, the design of the original RANE TWELVE and this second generation make a lot of sense: you get the feel of playing on real, moving vinyl without many of the hassles that come with traditional turntables. RANE’s parent company, inMusic Brands, is no stranger to motorized DJ equipment. Its brands were responsible for the Numark NS7 series, the Numark V7, and several motorized media players from Denon. It’s clear inMusic involved the right expertise when making this controller.

slightly different take on the portable PA speaker, but the entire lineup promises world-class sound quality and features wrapped in an impressively portable package. Shared among all three models is a series of technological innovations designed to make them attractive alternatives to more traditional speaker set-ups.

All speakers feature a number of 2-inch neodymium drivers that are distinctively angled to provide 180-degrees of sound coverage. Instead of having a few larger drivers – such as those found on more traditional loudspeakers – Bose opted to put together a veritable orchestra composed of multiple smaller drivers. This, Bose says, leads to better coverage and sound quality. Accordingly, the numbers in each model’s name refers to the number of drivers contained in the line array section: the L1 Pro8 has eight, the L1 Pro16 has 16, and the L1 Pro32 has 32.

The L1 Pro range also benefits from “RaceTrack” subwoofer technology. Named because of its similarity to oval-shaped race tracks, RaceTrack subwoofers allowed designers to engineer larger, more-powerful subwoofers within smaller dimensions.

I had the opportunity to get my hands on an L1 Pro16, considered to be the sweet-spot of the lineup. This middle child is larger and more powerful than the L1 Pro8, yet is more portable than the L1 Pro32. Both the Pro8 and the Pro16 feature a similar architecture: there is a ground-level subwoofer with a vertical column of drivers rising above.

The Pro32, on the other hand, is a standalone tower consisting entirely of 32 2-inch drivers and it’s sold with a subwoofer. Users of the Pro32 have a choice between buying a system with Bose’s new Sub1 (low end down to 40 Hz) or Sub2 (37 Hz). These bass modules feature the same RaceTrack design and can receive both power and signal directly from the L1 Pro32 via the proprietary SubMatch cable.

These subwoofers can also work with other PA systems by receiving signal through XLR or TRS cables and feature an included pole mount to support a more-traditional speaker. You can even stack multiple Sub1s or Sub2s for additional low-end power.

Portability was a big consideration for the design team at Bose, and I’m pleased to report I was not disappointed. The L1 Pro8 weighs a mere 38.9 pounds, the L1 Pro16 weighs just under 55 pounds, and the L1 Pro32 weighs 28 pounds (it’s just a line array and can work with a separate subwoofer). The Sub1 weighs 35.5 pounds, and the Sub2 weighs nearly 52 pounds.

Carrying the L1 Pro16 was easily a one-person job, either with the line-array section attached or detached. When detached, the line-array section can be stored or easily carried in the included softshell case. Setting up the L1 Pro was a breeze, and the best part was that I didn’t need any speaker stands or tripods. All I had to do was secure the line array into the subwoofer and plug the unit in.

Having said that, I would have liked to see some form of locking mechanism for the line array. While it didn’t seem particularly vulnerable to being knocked from the subwoofer, I couldn’t easily tell if I had secured it tight enough or how much force I needed to disconnect it. Some type of release – like a clasp or a switch – might solve this, and I also wonder if they could have placed a small feedback light on the line array to let users know when it was fully connected and receiving power.

Connections-wise, the L1 Pro series contains everything you would expect from an all-in-one PA solution. All L1 Pro models feature a built-in 3-channel mixer. Channels 1 and 2 can receive signal from combo XLR/TRS jacks, while Channel 3 can receive signal from either a 1/8-inch headphone jack, a ¼-inch TRS jack, or via Bluetooth streaming. Each channel features a dedicated mute button that is backlit when the channel is muted, and Channels 1 and 2 both support phantom power.

Each channel features a rotary knob that can control channel volume, channel treble, and channel bass. On Channels 1 and 2, the knob also controls reverb. Users can switch which parameter the knob is controlling by pressing it like a button. Lights around the knob provide feedback as to what parameter the knob is controlling and what the current level of that parameter is. In my opinion, the knobs could use a bit more resistance – I could see channel levels being dramatically changed if the knobs were accidentally bumped.

Channels 1 and 2 also benefit from Bose’s ToneMatch technology: on the mixer, users can specify if the channel is receiving signal from a microphone or a live instrument, and the speaker will adjust accordingly. The speaker’s output can also be tuned to various equalizer presets, including “Live,” “Music,” and “Speech.” The differences between each of the presets are subtle, but definitely noticeable.

My sense is DJs will mainly stick to the “Music” preset, which delivers a punchy bass. The mixer can send signal out via an XLR line out port, and there is a proprietary ToneMatch port that can talk to other Bose audio equipment, such as the T4S or T8S mixers. There is also a USB C port that can be used to update the speaker’s firmware. Interestingly,

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The biggest update to this second generation is the addition of RCA outputs. These allow the TWELVE MKII to send control tone to a DVScapable mixer, acting like a turntable with a control record. In this mode, the TWELVE MKII loses some MIDI functionality, but users gain the flexibility of being able to easily integrate the device into DVS setups. (In addition to Serato DJ, it controls VirtualDJ, Traktor and other DJ software). When connected as a MIDI controller, the TWELVE MKII can control up to four different software decks. This feature means that, with some practice, it is very possible to DJ with just a single RANE TWELVE MKII and a mixer for Serato DJ.

I should mention there is a knob for scrolling through libraries and tracklists in Serato DJ and a button to trigger instant doubles. The touchsensitive strip at the top of the unit also allows DJs to control up to eight hot cues and scrub through a track. Next to the touch-sensitive strip is the pitch fader, which has a long throw and clicks when centered. Below the touch strip, there is a small OLED screen that can display track BPM and whether the unit is functioning as a controller or sending DVS signal. In controller mode, this screen can also display track BPM.

The inputs and connections are somewhat hard to reach. Instead of having the inputs and outputs on the side, they are located in a cutout underneath the TWELVE MKII. This took some getting used to and meant that I could not quickly plug or unplug any cables or change the motor torque setting on the fly without picking up the unit. However, I can see why RANE did this. Having the connections on the bottom prevents them from being easily damaged and decreases the likelihood of something coming unplugged during a performance. In this panel, there is an RCA connection for sending control tone to a DVS mixer, a connection for an IEC power cable, a two-position switch to change the torque of the motorized platter, and a USB type B port to connect the TWELVE MKII to a computer running Serato DJ.

Playing with the TWELVE MKII is, above all else, fun. It does a good job faithfully recreating the feel of using a turntable, while peppering in the bits of modern software DJs want from their hardware. I’m a fan of playing on motorized platters, but I want the features found on controllers and in DJ software to add complexity to my performances, and I felt that the RANE TWELVE MKII gave me the best of both worlds. The TWELVE MKII has a digital heart, but an analog soul.

SEVENTY-TWO MKII: If there was ever a cross between a flight deck and a piece of DJ gear, this might be it. Although not a lot has changed since its first generation, RANE’s SEVENTY-TWO MKII is one of the most feature-packed and thorough DJ mixers I’ve ever used. Despite having so many features, it doesn’t feel intimidating or overly complex. It’s as complicated as you want it to be: the first few times I used it, I was able to use it like any other 2-channel battle mixer. However, as I played with it more, I began to discover new features and ways to interact with my music. I probably would not recommend this for someone’s first DJ mixer, but I also don’t think intermediate or experienced DJs should be scared of the SEVENTY-TWO MKII.