Scott, that's the thing with Bose, even though on paper the rms figure is below the Eon, you get far better spread of sound. Not to mention quality.

The Eon NEEDS that much power just to get sound across the room. I have used Eons myself in the past.

Bose make very efficient drivers that need far less energy for a similar result.

Dennis

Scott - what decided it for me was the clarity of sound. I think if you start putting the Compact against bigger wattage systems you will eventually find that you can get a lot more for your buck, but as far as sound clarity is concerned, I haven't heard anything as impressive yet. I've used a few good systems in my time and each has had its qualities, but for a 30 lb amp to deliver what the Compact does is amazing. Hopefully, mine will arrive tomorrow and I can give a personal review based upon my own playing style and experience.

And to add... I've come to the realization that the Compact is just what it says it is - compact. I don't think I or anyone should expect this little guy to be the be-all end-all PA system for everyone. The mixer is somewhat limited and maybe even begs for some improvements, but we'll see...

[This message has been edited by cassp (edited 08-20-2009).]

Donny, thanks for your input and the links. I'm liking what I'm hearing so far from everyone.

Cass: Looking forward to your review and hoping you can provide further insight into my original questions to Donny. Especially about how the bottom end sounds when playing modern dance styles.

124.....modern dance styles require a deep bottom end. The compact wouldn't be your choice if that's the case.....it wasn't meant for that alone and going outside its limitations would be detremental to suceess. I would definitly consider using a seperate powered SUB....or advance to the Bose L1 model using two subs....

Ditto.

I've been to see SZ member Mikey Maestro's show this past summer. He's playing high energy music at an outdoor beach type resort on Cape Cod. He's using the L1 with two subs, his music sounds great. A single compact just wouldn't do it at that location.



[This message has been edited by Stephenm52 (edited 08-20-2009).]

Implications of log10 and what that means be damned, eh?

Look, there is so little dB difference between those two cited power levels as to be functionally nonexistent.

But back on topic, Loudness is not Volume is not Amplitude and the use of wattage figures as applies to the psychoacoustics of Bose designs is not likely to work when comparing to the conventional PA system.


--Mac

I've been using the comapact with a Mackie 402 mixer for a while with pretty good success.
Ciao,
Jerry

Power in RMS means little, other than the obvious difference between 750W and 125W...

The only significant stat is SPL at a specific THD. In other words, how LOUD is it, before distortion gets up to an audible point?

And this is the ONE stat, in a sea of meaningless specs, that you will rarely EVER see anyone publishing. But they will print page after page of other bullsh*t for you to argue over endlessly. Anything other than the ONE stat that would put the questions to rest...

One thing I haven't noticed on my friend's L1 system is any kind of clipping or limiter engagement light. Me, I kind of like to keep these things from flashing, but if a system doesn't have one, it's tough to tell when you are bumping into the system ceiling unless you grossly exceed it. They certainly help in making a store comparison. What clips first, at what volume, and how well does it deal with it? That's a real world necessity, IMO...

One thing I like to take to stores when checking a PA is a board tape (or, rather, CD). In other words, record your act exactly as it is going to hit the speakers. If you listen to a commercial CD, they have been compressed and limited VERY professionally, and modern CD's have very little dynamic range, so a PA can sound quite good even at pretty high SPL's. But a board tape has none of that dynamic range reduction... If it is a live band, the drum transients are still there, the peaks and jumps in your own playing and singing are still there, you will hear what the audience hears through that PA as if you were playing.

You may find it to be a LOT lower in volume when you start to hear a bit of distortion creep in.

BTW, if you find yourself in this kind of position, I cannot recommend too highly a little inexpensive compressor by FMR Audio, the RNC1173. It is specifically designed as a stereo only, three stage mix compressor (in other words, rather than the mix being compressed once to get the level reduction you need, it uses three stages to reduce it, each being gentler and more transparent that the one needed to get the same gain reduction). Under $200 last time I checked, and capable of making a band sound EXACTLY the same, out front (you don't WANT to squash your sound if it is a good one!), but magically take a considerable 6-10db or more off of the peaks, and let your PA run without clipping.

It is a magic box...

Thanks again, Donny and Stephenm152. That's what I wanted to know about how much thump there is low down. I guess I was being overly optimistic about the basic unit's woofer having enough in that department. Cheers.

I didn't see them on his L1... was that something they added on the L1mkII or am I just missing it? He doesn't have ToneMatch, just the little remote.