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bose t1 tonematch manual espa olRefer to the Quick Setup Guide and connect your T1 to your L1 system. No part of this work may be reproduced, modified, distributed or otherwise used without prior written permission. Keep these instructions. 14. Refer all servicing to qualified service personnel. Heed all warnings. Using proprietary ToneMatch presets and associated zEQ tonal adjustments, the T1 enables you to preserve the natural sound of instruments or vocal microphones when amplified. Failure to do so will not affect your warranty rights. The cover is designed to protect the control panel while transporting or storing the audio engine. To remove the cover: Press and hold the cover latch release button (Figure 5). The optional microphone stand mounting bracket allows you to mount the T1 on the shaft of most microphone stands. For installation help, refer to the Quick Setup Guide that came with the bracket. The bracket uses rotatable inserts which, when properly placed, provide a tight fit on the microphone stand shaft. The cutouts on the edge of the Microphone Stand Bracket Quick Setup Guide can help you determine the diameter. Remove the inserts (Figure 8 on page 9) from the bracket and re-insert them for the diameter you need. When connected to a computer, you also can use the T1 as a general-purpose USB audio device for recording and playback. Optimizing input gain and output volume Getting a quality volume level from your system relies on the combined adjustments of input channel gain, master volume, and channel volume. Do the following for each channel used. Make sure the Master volume, Trim, and channel volume controls are set to 0. During normal operation, it is recommended to keep the Master control set at the 12 o’clock position. Once you have set volume levels for all channels, you can adjust the Master volume up or down from this position. Figure 15 provides a summary of the three global functions and the nine channel-related functions.http://columb-sklep.pl/userfiles/bosch-wtv76100us-manual.xml
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The follow- ing pages describe how to adjust each function. CH 1 ToneMatch(tm) CH 1 ToneMatch(tm) Vocal Mics Vocal Mics Handheld Mics Headworn Handheld Mics Handheld Mics. KickGate 1: Regular.Gate featuring a preset attack time, and variable threshold and tightness (release time) parameters.Speed Type Depth To bypass the Mod settings, press the Type button. Press it again to activate. Note: Chorus1 Rotate the Type button to access the list of modulator types and highlight your. For Chorus1-3 and Flanger1-2: Rotate the Mix button to adjust the desired mix of dry signal to wet signal (modulator-processed). To select the type of reverb, see “Selecting a type of reverb” on page 27. Bright To bypass the Reverb effects, press the Mix button. The display indicates the note being played at the bottom of the screen. As you tune, a pitch indicator appears on the display, showing you whether the note is sharp or flat. Creates the ambience of a large-sized space. Works well with guitars, horns, percussion instruments, and vocals. Cavern.Creates the ambience of an extremely large space.Versions Preferences DSP Firmware: 1.0 Bose Presets: 1.0. You can update these scenes by writing over them as many times as you want. The currently loaded scene is displayed. Press Select, or press Cancel to exit the list. The display returns to the Scenes screen if you do not Note: My Scene 01. The other T1 user can upload the scene to their T1 using the L1 updater.Saving a scene as a Shared Scene always over- Note: writes the previously saved Shared Scene.After loading a Bose scene, you can modify the settings and then save the settings as a My Scene or Shared Scene. Figure 18 Example setup for Drums and Bass. Figure 19 Example setup for The Works. Details of the warranty are pro- vided with your product. Failure to do so will not affect your warranty rights. Try operating a lamp or other equipment from the same AC outlet or switch is on, but no power.http://www.widerbet.pl/userfiles/bosch-wvd24520gb-washer-dryer-manual.xml If LED is red, please call Bose Live Music Customer Support at (877) 335-2673 for assistance. Utilizando la vista previa online, puedes ver rapidamente el indice de contenidos y pasar a la pagina donde encontraras la solucion a tu problema con Bose T1. Sin embargo, si no quieres ocupar espacio en tu dispositivo, siempre podras descargarlo de ManualsBase. La opcion de impresion tambien esta prevista y puedes utilizarla haciendo clic en el enlace mas arriba - Imprimir el manual. No tienes que imprimir el manual completo de Bose T1, solo las paginas que elijas. Ahorra papel. Puedes utilizarlos si quieres ver rapidamente el contenido que se encuentra en la siguientes paginas del manual. Rotate the T1 rotary selector to 6. Delay: Add a delay (see “Adding delays” on page 25).It will help you set up and operate your system properly and enjoy its advanced features. Please save this owner’s guide for future reference. TM The T1 power supply and the T1 ToneMatch audio enThe optional T1 ToneMatch audio engine power suppKeep all packing materials for possible future use. WARNING: To avoid danger of suffocation, keep the plastic bags out of the reach of children. Figure 4 Parts list TM T1 ToneMatch audio engine Cover Carrying case TM ToneMatch cable Carriage Mounting bar Serial numbers and proTo remove the cover: 1. Press and hold the cover latch release button (Figure 5). 2. Slide the cover off the control panel just enough to disengage the alignment tabs. 3. Lift up on the front eFor installation help, refer to the Quick Setup Guide that came with the bracket. The bracket uses rotatable inserts which, when properly placed, provide a tight fit on the microphone stand shaft. Figure 8 shows insert placements for some commoThe cutouts on the edge of the Microphone Stand Bracket Quick Setup Guide can help you determine the diameter. 2. Remove the inserts (Figure 8 on page 9) from the bracket and re-insert them for the diameter you need. 3.http://www.diamondsinthemaking.com/content/3m-oac100-air-purifier-manual Attach the microphone stand bracket to the microphone stand (Figure 9). 4. Attach the mountinPlug the other end of the TM TM ToneMatch cable into the ToneMatch port on the power stand. 3. Turn on the T1 audio engine and then turn on the L1 model II powThe R1 remote con- trol should be disconnected so that t. Ask your question here. Provide a clear and comprehensive description of the issue and your question. The more detail you provide for your issue and question, the easier it will be for other Bose T1 ToneMatch owners to properly answer your question. Ask a question This manual comes under the category Mixers and has been rated by 1 people with an average of a 9.5. This manual is available in the following languages: English. Do you have a question about the Bose T1 ToneMatch or do you need help. Ask your question here Bose T1 ToneMatch specifications Brand Dust in hard-to-reach places is best removed with compressed air. ManualSearcher.com ensures that you will find the manual you are looking for in no time. Our database contains more than 1 million PDF manuals from more than 10,000 brands. Every day we add the latest manuals so that you will always find the product you are looking for. It's very simple: just type the brand name and the type of product in the search bar and you can instantly view the manual of your choice online for free. ManualSearcher. com If you continue to use this site we will assume that you are happy with it. Read more Ok. El manual Bose T1 es del fabricante, la empresa Bose - es un documento oficial y si tienes alguna duda acerca de su contenido, contacta directamente con el fabricante del dispositivo Bose T1. El manual Bose T1 se puede ver directamente online o guardar y almacenar en tu ordenador.For convenient When used with the L1 model II system, the T1 operates on DC power received from.http://fxturfspecialists.com/images/bose-t1-tonematch-manual-espa-ol.pdf Inch Tip-Ring-Sleeve (balanced) Inch Tip-Ring-Sleeve (balanced) Inch Tip-Sleeve (unbalanced) Inch Tip-Ring-Sleeve (balanced) Inch Tip-Sleeve (unbalanced) The exact position of the Trim will vary depending on signal strength of your input source. The correct setting for any particular source may be different from your other sources. Sing as loudly as you will sing during your performance. You want to set the Trim to work at your maximum volume. Use the Trim lights as your guide. (The exact position of the Trim knob is not important).You are definitely nearing or in compression. Turn the Trim down until there are no red flickers. It lights up green when a signal is present, yellow when you are getting pretty loud (8 to 10 dB of headroom left), and red when you dangerously close to or at full scale. Some yellow during peaks is good on the T1, just like some red on the Classic is good. This increase in gain is normal operation. Certain sources like passive acoustic guitar pickups require additional gain and in these cases it can be necessary to set the trim level to the upper range of the control. When the trim control is set this high you may notice the gain change. This is normal operation. If you want to run the trim control at lower settings we recommend using a preamp or simple stomp box level booster.Input impedance on Channels 1,2,3 is about 1 MOhm. Channels 4 and 5 have an input impedance of about 10 kOhm. For example, stepping on or simply moving a cable changes its capacitance which creates clearly audible artifacts with a very high input impedance. This is in unlike the L1 Model I or L1 Classic ) Power Stand where a pad is recommended for line-level inputs. You can even use the Model 1 without the remote. More on this later.See the note above. You can even use the Model 1 without the remote. There is no perceivable lag.The only exception is the reverb, which is shared by all channels.http://famcareconnect.org/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5d18730ce---canon-mx300-user-manual.pdf That means if you turn up the AUX of channel, you expect to hear signals from channel 1 and only from channel 1. However, the output of the reverb processor contains the reverb portions of all 4 channels. If we add that to the Aux, you'd hear the reverb portions of all 4 channels and not only the channel that you are interested in. In most cases, this is probably not what you want. You can only route to an AUX output effects that are specific to a channel (normally these would be connected to the insert loop of this channel).If it not, you will need a ToneMatch Power Supply to run the T1 ToneMatch Audio Engine. Occasional flickers of red are okay. If you see solid red or you hear distortion, turn down the volume. This is a better match for the signal level. They'll both get the job done, although the volume control setting will be lower with the XLR connection. That doesn't indicate more headroom. The maximum usable volume is the same either way.This may also work with headphones but the volume will be very low and likely not loud enough to be heard over live stage volume. This might not be an issue for headphones as the Left and Right signals are not combined. This may also work with headphones but the volume will be very low and likely not loud enough to be heard over live stage volume. This might not be an issue for headphones as the Left and Right signals are not combined. Inch Tip-Ring-Sleeve (balanced) Inch Tip-Ring-Sleeve (balanced) Inch Tip-Sleeve (unbalanced) You can turn it up higher, but if you see the light on the Compact solid red (flickers of red are okay) or you hear distortion, turn down the volume on the Compact. Occasional flickers of red are okay. If you see solid red or you hear distortion, turn down the volume. Not the least factor is that a lot depends on personal taste and preference. We've evaluated effect processors that are popular for live performance and used that to guide our own development.alrashed-alsaleh.com/userfiles/files/canadian-military-fitness-manual.pdf We've also tried to limit the complexity of the user interface, i.e. we provide only the most useful parameters for a certain effect and have pre-tuned the more esoteric ones.The processing chip we use operates in 32-bit floating point and has a peak performance of about 2 billion operations per second (2 GFlops). That is a lot more than can be found in typical processors of this type.This is equivalent of having pretty much 4 multi-effects processors at the same time. This enables the user to fine tune and tweak the effects settings for each individual instruments without having to compromise between channels.Press it again to activate.Works well as a general-purpose compressor for most instruments and microphones that require minimal level control. Works well with basses, guitars, keyboards, and vocals requiring subtle level control. Works well with very loud instruments, such as drums, to prevent signal peaks from overloading the channel. Designed to reduce sibilance on vocals. Well-suited for eliminating unwanted noise from microphones and instruments. Select this setting if you are using a double bass drum pedal. This display helps in setting the threshold. I'll start out by saying compression is a huge topic and there isn't necessary a best setting, though there can definitely be wrong settings.A more negative number will result in more compression. The closer the Threshold number is to 0 (which is the top of the scale in digital terms), the less compression there will be.Roughly, each hash mark is about 2 dB of reduction. (No metering would indicate no compression, which means the signal is below the Threshold setting.)This would then mean that for the softer and mid-volume parts, there may be no compression happening at all. That's perfectly fine and probably desired. When tuning the compressors I relied much more by ear to determine the settings than by numerical values.Slower times need more fine tuning and are more prone to artifacts when used heavily.https://southportrubbish.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5d25e3acb---canon-mx310-fax-machine-user-manual.pdfCareful adjustment of this is super important. You need to make sure you are compressing the parts of the instrument that you want to compress (peaks, 20 of the time, 100 of the time etc.)For most signal sources, this should not be a limitation as most of the applications where you would use these effects are mutually exclusive. You can only choose one function within the family of the effect.If you wanted to hear how a particular reverb sounded you could turn it on and off, on and off. And so on. Most effects have this valuable feature.This can be Tip-Sleeve or Tip-Ring-Sleeve connectors. You may have to adjust this, but 3 is a good place to start. Inch Tip-Ring-Sleeve (balanced) Inch Tip-Sleeve (unbalanced) I'll try not to go into horribly boring detail. Here are a couple of the many factors that dictate the differences. Different designs are more suited to the levels needed than others. There are four channels in a tighter space in the T1 ToneMatch Audio Engine. Again, certain designs lend themselves to be better at this than others. It fits our needs better for this design situation. The preamp design itself is not necessarily any better or worse.Can't measure one either. This means that these are post-trim, and nothing else (e.g. Muting) has any effect on the signal at the preamp outs. The tuner needs a good strong signal (at least solid green) to lock on to. Any modulation effects will mess things up. The T1 tuner is fairly 'fast' in terms of tracking speed. For example, typically, Boss tuners have more 'averaging' and slower tracking speed. The needle moves up to the note you are tuning slower, but is more stable once you get up there. Another example - Peterson tuners generally track faster. They go up very fast to the note, and move around more once you get up there - this is because the instrument is actually slightly varying pitch. The tuner is tracking this behavior correctly.www.stallionreadymix.co.za/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5d2e2b626---canon-mx310-manual-download.pdf Both Peterson and Boss make awesome, super accurate tuners, it's just like the difference between a Strat and a Les Paul.or a Porshe and a Benz. It took me a little while to become accustomed to bench tuning my basses with a Peterson strobe tuner after using a Boss for a few years. That's right between an A and a B-flat. We try to put many useful controls directly at your finger tips so you can operate them while your playing or between songs. This basic idea has also influenced how we've implemented USB audio streaming.You can play and record audio just like with any other soundcard, i.e. if you use for example Windows Media Player to play a song, the audio will be routed via USB to the T1 ToneMatch Audio Engine.You can select what you want to send. For example you can make a little submix on the AUX bus and record that with for example Windows Sound Recorder or Audacity.Press the middle button Left to change the routing of the Left channel That's fairly rugged but also not particularly fast, so processing sounds in real time on the PC and sending back to the T1 may or may not work depending how the computer is configured, what operating system is running, and what other processes are going on at the same time.That means you cannot connect an MP3 player directly to the T1 digitally.Sound cards, including the T1, depend upon 'drivers' to do what they do. ASIO usually results in the lowest amount of round-trip latency (all things being equal) because, unlike the others, it bypasses the operating system (e.g. Windows) kernel. I got the best results (lowest latency, fewest dropouts, etc.) using ASIO4all. Given the zillions of variables among hardware configs, operating systems, etc., your mileage may vary. Their value, in my experience, is commensurate with their price tag. The controllees cannot communicate with each other.Adjust the effected channel volume to get the desired blend of dry vocal to effected vocal.alliedpers.com/userfiles/files/canadian-military-drill-manual.pdfThe downsides are that most ethernet cables don't coil particularly well and that the connectors wear out over time. After a a few hundred uses you may notice the occasional drop out, at which point it's time to get a new one. Success at distances longer than that would start to depend on outside factors, for instance the voltage of your power source. This method would be able to transmit over a hundred feet, perhaps much more. Inch Tip-Ring-Sleeve (balanced) This is very similar to a laptop power supply. The bevel should run down, facing you. This will help keep it secure on the bracket and help to keep it from hitting the floor if it becomes dislodged from the bracket. The bevel should run down, facing you.It locks into place. I do it this way because I have all my cables strapped to the microphone stand (I don't take them off between gigs). So there's no hanging stress from those either. I leave the cables attached all the time. This saves a great deal of time during setup and teardown. Normally they don't stand out like this visually.So this might lead you to conclude that a ToneMatch preset shouldn't be used with other systems.The L1 system is voiced to make high quality commercial recordings sound the best we know how. Some studio systems are voiced the same way, as they are where those recordings were mixed.Generally, folks have reported the presets work well - so I think you will be fine with them. If the presets are not working, you can always go Flat using the Acoustic Guitar zEQ for adjustments (last preset in the Acoustic Guitar bank). And you'll still have all of the effects and tools in the T1 at your disposal.You will not need this unless your microphone requires phantom power.Most dynamic microphones will not require you to use a phantom power supply. A: Should be no problem.This will not sound odd, and there will be no interaction between the channels because the sound from the left and right transducers (headphones) are not mixing in the air.More care by more experienced people went into this than anything I've been involved in. As one tiny but important example, a propriety light pipe was designed so that the light from volume knob indicators smoothly wrapped around the knob from top to side, giving the musician a clear indication of volume from any angle. The color and intensity of the light was carefully designed so that it was visible in an extraordinarily wide range of stage lighting conditions. Over 100 presets are organized into quick-access banks and can be independently assigned to each channel. Free ongoing updates can be downloaded via a USB connection between your computer and the ToneMatch audio engine. Accepts the included ToneMatch cable Can be configured for a pre- or post-master volume analog output.Can be configured for a pre-fader, post-EQ, and effects or post fader output. Can be used for stereo input signals. We're committed to dealing with such abuse according to the laws in your country of residence. When you submit a report, we'll investigate it and take the appropriate action. We'll get back to you only if we require additional details or have more information to share. Note that email addresses and full names are not considered private information. Please mention this; Therefore, avoid filling in personal details. The manual is 2,76 mb in size. If you have not received an email, then probably have entered the wrong email address or your mailbox is too full. In addition, it may be that your ISP may have a maximum size for emails to receive. Check your email Please enter your email address. Get Details Learn More (Opens in new window) Learn More (Opens in new window) Learn More (Opens in new window) Learn More (Opens in new window) Learn More (Opens in new window) Learn More (Opens in new window) Its powerful features and tone-shaping tools quickl. Click To Read More About This Product Call us at 877-880-5907. Its powerful features and tone-shaping tools quickly bring you closer to the true sound of your voice and instruments. This versatile audio engine helps you sound your best in live performances. It expands the input capacity of your L1 system and gives you instant access to a host of proprietary EQ presets, standard effects and processors. The ToneMatch audio engine puts Bose's largest library of customized presets at your command. These presets instantly adjust your system to match the intended natural sound of popular instruments and microphones. So you reproduce factory-specified tonal balance-precisely and at the touch of a button. Different presets can be independently assigned to the engine's four channels. For example, select Audix OM5 mic presets for channels 1 and 2, Taylor guitar for channel 3 and Lakland bass for channel 4-all at the same time. Bose engineers continually work with manufacturers to expand the ToneMatch preset library. Updates are available to you free, with easy downloading via the engine's USB port. Intelligent equalization: zEQ Fine tune your sound with greater accuracy. Bose intelligent zEQ redefines low, mid and high ranges for each ToneMatch preset. When you need to cut or boost specific frequency ranges for different instruments and mics, zEQ gives you the power. You can also choose from 3 delay types, ten additional effects, and seven dynamics processors-and assign them independently to each channel. The T1's engine comes with five predefined Bose scenes and ten you can define. Fast, one-touch scene recall helps you make quick work of repeat setups. Easy connections Simply link the engine to an L1 Model II system via the included digital cable-and rev it up. A sleek bracket is also included to attach the engine to the loudspeaker. For easy connection to a Model I system, use an analog cable and a T1 power adapter (optional). Integrated ToneMatch and audio technologies Powerful, multichannel ToneMatch audio engine designed for use with L1 Model I and Model II systems. Contains Bose's largest library of ToneMatch instrument and microphone presets, proprietary zEQ and a complete suite of studio-class effects and sound processors. ToneMatchpresets Proprietary presets optimize L1 system to match intended natural sound of specific instruments and vocal mics. Presets are organized into quick-access banks and can be independently assigned to each channel. You'll also receive free ongoing updates via USB connection between your computer and the ToneMatch audio engine. ZEQ Proprietary zEQ automatically adjusts the range of tone controls to match your voice or instrument, making it easier to fine tune your sound. Conventional mixers may have fixed EQ ranges that don't accurately affect desired frequencies when adjusted. But zEQ appropriately redefines low, mid and high frequency ranges of specified sources. ParaEQ Single-band parametric equalizer centers on frequency you specify for each independent channel. Valuable tool for reshaping problematic frequencies in certain venues. Reverbs Select from five reverb types: small, medium, large, plate and cavern. Quickly assign global reverb type to desired channels and control individual channel's decay time, brightness and mix level. Delays Choose from analog, digital or tape delay. Independently assign different delay settings for desired channels-with control over feedback time and mix level for each channel. For example, you can select tape delay for your vocal on channel 1 and analog delay for your guitar on channel 2. Modulation effects Independently assign 10 different modulation effects: three chorus types, two flange types, four phaser types and one vintage tremolo effect. Gives you discrete control over designated parameters for each channel. Dynamics processing Apply and adjust dynamic sound processing to independent channels. Choose from three different compression types, plus a limiter, de-esser, kick gate and noise gate. Includes five predefined Bose scenes, five My scenes and five Shared scenes you can give to other L1 owners. Scenes help simplify and reduce setup time when you're using an L1 system repeatedly in different venues. Select from pre- or post-master volume settings. ToneMatch port: Connect digital output of engine to L1 Model II power stand via included ToneMatch digital cable. Single cable also supplies power to engine. USP Port: Update ToneMatch audio engine and back up scenes via USB connection to your computer.This versatile audio engine helps you sound your best in live performances. It expands the input capacity of your L1 system and gives you instant access to a host of proprietary EQ presets, standard effects and processors. These presets instantly adjust your system to match the intended natural sound of popular instruments and microphones. So you reproduce factory-specified tonal balance-precisely and at the touch of a button. For example, select Audix OM5 mic presets for channels 1 and 2, Taylor guitar for channel 3 and Lakland bass for channel 4-all at the same time. Bose engineers continually work with manufacturers to expand the ToneMatch preset library. Intelligent equalization: zEQ Fine tune your sound with greater accuracy. Bose intelligent zEQ redefines low, mid and high ranges for each ToneMatch preset. When you need to cut or boost specific frequency ranges for different instruments and mics, zEQ gives you the power. You can also choose from 3 delay types, ten additional effects, and seven dynamics processors-and assign them independently to each channel. Fast, one-touch scene recall helps you make quick work of repeat setups. Easy connections Simply link the engine to an L1 Model II system via the included digital cable-and rev it up. A sleek bracket is also included to attach the engine to the loudspeaker. For easy connection to a Model I system, use an analog cable and a T1 power adapter (optional). ToneMatchpresets Proprietary presets optimize L1 system to match intended natural sound of specific instruments and vocal mics. Presets are organized into quick-access banks and can be independently assigned to each channel. ZEQ Proprietary zEQ automatically adjusts the range of tone controls to match your voice or instrument, making it easier to fine tune your sound. But zEQ appropriately redefines low, mid and high frequency ranges of specified sources. ParaEQ Single-band parametric equalizer centers on frequency you specify for each independent channel. Valuable tool for reshaping problematic frequencies in certain venues. Reverbs Select from five reverb types: small, medium, large, plate and cavern. Delays Choose from analog, digital or tape delay. Independently assign different delay settings for desired channels-with control over feedback time and mix level for each channel. For example, you can select tape delay for your vocal on channel 1 and analog delay for your guitar on channel 2. Modulation effects Independently assign 10 different modulation effects: three chorus types, two flange types, four phaser types and one vintage tremolo effect. Gives you discrete control over designated parameters for each channel. Dynamics processing Apply and adjust dynamic sound processing to independent channels. Choose from three different compression types, plus a limiter, de-esser, kick gate and noise gate. Includes five predefined Bose scenes, five My scenes and five Shared scenes you can give to other L1 owners.All Rights Reserved. Publisher does not accept liability for incorrect spelling, printing errors (including prices), incorrect manufacturer's specifications or changes, or grammatical inaccuracies in any product included in the Musician's Friend catalog or website. Prices subject to change without notice.