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bose tone match engine manualRefer 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://www.vgs.com.ua/upload_picture/bosch-wvf-2000-instruction-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.dmvilija.lt/userfiles/bosch-wvf-2400-manual.xml If LED is red, please call Bose Live Music Customer Support at (877) 335-2673 for assistance. 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.https://formations.fondationmironroyer.com/en/node/8394The only exception is the reverb, which is shared by all channels. 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.http://www.indianantique.com/images/bose-tone-match-engine-manual.pdf We've evaluated effect processors that are popular for live performance and used that to guide our own development. 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.https://fatheragneliti.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5da023371---8562a-manual.pdf 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.Careful 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.argo-naut.com/userfiles/files/canadian-olympic-team-brand-guidelines-manual.pdf 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. 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.https://trucraftsmanship.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5da78c2ff---8562a-service-manual.pdf The controllees cannot communicate with each other.Adjust the effected channel volume to get the desired blend of dry vocal to effected vocal.The 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.www.caslyn.co.za/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5daf25e8c---8562e-manual.pdfThis 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. 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.applestudenttours.com/ckfinder/userfiles/files/canadian-oil-heat-manual.pdf 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. Click here for more information on the types of cookies we use and how to change your cookie settings. Engineered with a powerful DSP engine and intuitive user control, the T4S offers studio-quality EQ, dynamics and effects. Sound great with integrated Bose ToneMatch processing and zEQ, especially when connected to a Bose L1 or F1 system for full end-to-end tonal control. Play confidently on stage with the rugged T4S using its tactile controls, easy-to-read LED display and scene recall. The T4S: a true performer’s companion. Never run out of options with channel-independent EQ, dynamics and effects. Get your perfect sound fast with Bose ToneMatch processing for natural-sounding vocals and instruments, while zEQ focuses your tone for effective adjustments on the fly. When used with Bose L1 and F1 systems, the T4S mixer allows full end-to-end optimisation of your sound. Jump into settings with the fast-learning, intuitive control interface. Additional features like tap tempo delay, built-in chromatic tuner and recallable scenes make it easy to be ready to play. The T4S is the ultimate on-stage companion for performing artists. Four main channels feature high-quality audio preamps with XLR-combo jacks for microphones or instruments, and switchable phantom power.A bottom insert allows you to use standard mounting accessories to keep the T4S within reach. Engineered with powerful DSP engines and intuitive user controls, they offer studio-quality EQ, dynamics and effects processing. Sound great with integrated Bose ToneMatch processing and zEQ, especially when connected to a Bose L1 or F1 system for full end-to-end tonal control. Play confidently on stage with these rugged ToneMatch mixers using tactile controls, easy-to-read LED displays and scene recall. ToneMatch mixers, the ultimate on-stage companions for performing artists. Never run out of options with channel-independent EQ, dynamics and effects. Get your perfect sound fast with Bose ToneMatch processing for natural-sounding vocals and instruments, while zEQ focuses your tone for effective adjustments on the fly. When used with Bose L1 and F1 systems, the T4S mixer allows full end-to-end optimisation of your sound. Easy Live Streaming A Bose T4S ToneMatch mixer is the perfect audio interface for livestreaming your performances on platforms like Facebook and Instagram Live. Connect easily to your Mac or PC with the onboard USB interface. Then use the studio-quality microphone preamps, phantom power, EQ, dynamics and effects to take control of your sound and bring your livestream to life. Seamless Live Control The T4S integrates with your performance using illuminated, tactile controls and indicators for spontaneous sound adjustments, even on dimly lit stages. Jump into settings with the fast-learning, intuitive control interface. Additional features like tap tempo delay, built-in chromatic tuner and recallable scenes make it easy to be ready to play. The T4S is the ultimate on-stage companion for performing artists. High-Density Connectivity For its size, the stereo T4S mixer gives you unprecedented connectivity with control. Four main channels feature high-quality audio preamps with XLR-combo jacks for microphones or instruments, and switchable phantom power. Convenient Gig-Ready Features Rugged and ready to go, the T4S includes a protective magnetic cover and a ToneMatch cable for connecting directly to a Bose L1 Model II or L1 Model 1S system, providing a convenient single-cable connection for digital audio and power. A bottom insert allows you to use standard mounting accessories to keep the T4S within reach. The T8S also includes an output meter to visually monitor your output level. The T4S can receive power and send digital audio to L1 Model II or L1 Model 1S products when using the included ToneMatch cable. The T8S comes with a universal power supply and does not offer a ToneMatch link. ToneMatch presets are available for each channel and instantly bring you closer to the true sound of your voice or instrument—all at the touch of a button. When you select a proprietary ToneMatch preset for your microphone or instrument, you are tapping into a powerful technology, available only from Bose. Proprietary zEQ automatically shifts the range of these controls so that they correspond directly to the range of your voice or instrument.If the indicator flashes red or glows steady red, turn the trim control anticlockwise to decrease the level until it’s almost always green. Use the rotary encoder to select the global Prefs mode. Press the Menu button to select the menu list, then rotate the Select button to scroll through the list and highlight the ToneMatch description. The T8S Bose scenes are Full Band, String Band, Stereo DJ, Electronic and Factory settings. This setup uses two microphones and either an MP3 player, mixer or laptop PC. Bose Scene 03—Drums and bass Bose Scene 03 is set up for a bass guitar, kick drum and either an MP3 player or a laptop PC. Bose Scene 04—Electric works Bose Scene 04 is designed for electric and acoustic guitars, bass guitar and keyboard. Bose Scene 05—Factory settings This scene restores the T4 mixer to the settings it had when it left the factory. Loading this scene erases any changes you previously made. T8S Bose Scene 01—Full Band Bose Scene 01 is designed for a full trio band with drums, bass, guitar and three vocal mics. Bose Scene 02—String Band Bose Scene 02 is designed for a string band with a hand drum, bass, guitars, mandolin and vocal mics. Bose Scene 03—Stereo DJ Bose Scene 03 is designed for a DJ to run multiple sources in a stereo configuration. It also has four vocal mics for any MCs or announcements. Bose Scene 04—Electronic Bose Scene 04 is designed for an electronic band. It has stereo source input, two stereo keyboard inputs and two vocal mics. Bose Scene 05—Factory settings This scene restores the T8S mixer to the settings it had when it left the factory. Loading this scene erases any changes you previously made. User-defined scenes help achieve consistent sound with minimal configuration. After editing a Bose scene to your preference, you may re-save it as a user-defined scene, allowing you to easily recall it later. This greatly reduces the amount of configuration required. This allows you to share the scene with other members of the user community.The user also enjoys discrete control over designated parameters for each respective channel. Effects Modulation Chorus 1: Brite— Shimmering chorus that works well with acoustic instruments. Includes adjustable mix, depth and speed parameters. Chorus 2: Warm— Like Chorus 1 but with slightly less high frequencies. Includes adjustable mix, depth and speed parameters, and works well with electric guitars and basses. Chorus 3: Dark— Like Chorus 2 but with less high frequencies for a darker tone. Includes adjustable mix, depth and speed parameters, and works well with electric guitars and basses. Flanger 1: Tape— Tape-style flanger with no feedback. Includes adjustable mix, depth and speed parameters, and works well with electric guitars and basses. Flanger 2: Feedback— Same as Flanger 1 but with preset Feedback effect. Phaser 1: Stomp— Classic “stomp box”-style phaser. Phaser 2: Rack— Classic “rack”-style phaser. Phaser 3: Warm— Vintage-style phaser. Phaser 4: Bright— Phaser with no bass. Features a positive mix type with variable speed and feedback parameters that works well with electric guitars and keyboards. Tremolo— Vintage-style tremolo effect with variable speed and depth parameters that works well as an effect on guitars and keyboards. Delay Choose from analogue, digital or tape delay. For example, the user may select a tape delay for the vocal on Channel 1 while selecting an analogue delay for the guitar on Channel 2. Set your delay time with the centre knob or use the tap tempo feature by pressing the centre knob at the desired tempo. Digital delay— Digital delay effect where the repeats remain uncoloured. Features adjustable mix, time and feedback parameters, and may be used on guitars, drums or vocals. Analogue delay —Classic analogue delay effect, where the repeats continuously deteriorate. Features adjustable mix, time and feedback parameters, and may be used with guitars, drums or vocals. Tape delay— Vintage-style tape delay effect, where the repeats deteriorate even more than analogue delay, and may be used with guitars, horns, harmonica or vocals. The reverb types are plate, small, medium, large and cavern. Control delay time and level of reverb signal sent through master output. Please bear in mind that once you select a global reverb type to be used among any or all channels, you may control the mix and brightness of each channel. However, the type of reverb may only be altered for all channels. This is achieved through adjusting the Reverb Type mixer mode. Plate— Creates the ambience of a typical studio plate reverb. Small— Creates the ambience of a small-sized space. Medium— Creates the ambience of a medium-sized space. Large— Creates the ambience of a large-sized space. Cavern— Creates the ambience of an extremely large space. Dynamics processing Compressor 1: Light— Compressor featuring a preset low compression ratio with variable threshold and gain parameters. May be used as a general-purpose compression for most instruments and microphones that require minimal level control. Compressor 2: Medium— Compressor featuring a preset moderate compression ratio with variable threshold and gain parameters, and may be used with basses, guitars, keyboards, vocals or other instruments requiring subtle level control. Compressor 3: Heavy— Compressor featuring a preset high compression ratio with variable threshold and gain parameters, and may be used with loud instruments such as horns and drums, vocals or other instruments that require more aggressive level control. Noise gate— Adjustable threshold and speed independently assignable for each channel. Controls extraneous noise from open microphones or hot instrument pickups from being introduced into the system. Limiter— User-adjustable threshold and gain settings are independently assignable for each channel. Prevents input signals from overloading, helping to maintain consistent gain staging. De-esser— User-adjustable threshold and gain settings are independently assignable for each channel. Compression useful in reducing high-end frequencies associated with vocal sibilant sounds. Kick Gate— The Kick Gate is a Bose proprietary technology that allows you to drive your kick drum to loud levels while avoiding microphone feedback. How to use the Kick Gate technology: Connect an appropriate microphone. It is imperative that you gain stage the microphone correctly. Your hardest kick hits should put the LED clip meter solidly in the yellow, just shy of the red. Activate the kick gate. Use the default settings initially. Turn the volume of the system up to desired performance level. Play the softest that you will play in the performance. You should clearly hear these kick hits. Playing softly, raise the threshold knob until you hear some of your kick hits get cut off. Back the threshold down 3 dB from this point. Play the kick drum as you normally would. Reduce “tightness” to add more boom to your sound. Enjoy your kick drum!