T1 ToneMatch® Audio Engine

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T1®  This information is applicable to the T1 ToneMatch® audio engine
Model II This information is applicable to the L1®  Model II
Model 1S This information is applicable to the L1®  Model 1S
Compact
Model I This information is applicable to the L1® Model I
Classic This information is applicable to the L1® Classic

Contents

Bose T1 ToneMatch® Audio Engine

Click the picture to see the T1® on the Bose site


T1® Simulator
T1® Simulator - lets you interact with all the controls of the T1®

T1® Fix

See: T1 ToneMatch® Audio Engine / Blue Screen Fix 2008/02/27


Downloads

T1® Videos

Instructional Videos

What Others Are Saying About ToneMatch®

Interactive Displays



Announced March 29, 2007




Documentation

T1 ToneMatch® Audio Engine Owners Guide in different languages.

These are the same documents that are delivered on a DVD with the T1 ToneMatch® Audio Engine






In the Box

L1 tonematch acc inthebox.jpg

Gain Staging

Your first adjustment for any input to your T1 ToneMatch® Audio Engine is the Trim setting. 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.

T1® Trim Pots

Set Up Your Source

Set your source at the maximum that it will be when performing.

Sing directly into the microphone using close microphone technique (lips just brushing the windscreen). Sing as loudly as you will sing during your performance. You want to set the Trim to work at your maximum volume.

Turn your input as high as it is likely to go during performance.

Set Input Trim

Turn the Trim setting up until the Trim Light is solid green with occasional flickers of yellow. Use the Trim lights as your guide. (The exact position of the Trim knob is not important).

TrimlightsOK.gif

If you see flickers of red (below), turn the Trim down. You are definitely nearing or in compression. Turn the Trim down until there are no red flickers.

TrimlightsNo.gif

Bill-at-Bose [1] talks about setting the gain on a T1 ToneMatch® Audio Engine.

One difference in gain staging the T1 and the Classic is that the T1 has a three-stage trim LED. 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.
In a way, the yellow trim on the T1 is similar to how you treat the red on the Classic. Some yellow during peaks is good on the T1, just like some red on the Classic is good.
If the T1 trim is going red, you should back off, you are definitely nearing or in compression.
A really helpful feature on the T1 is to go to the Prefs/Output Level menu, and see where you are relative to maximum output.

T1® Trim Pots

The T1 trim controls for CH 1-3 provide a significant gain increase when you reach the upper limit. This increase in gain is normal operation.

Most sources like typical microphones and piezo pickup systems can provide enough level without the need to add significant gain from the trim control. 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.


The trim for CH 4/5 do not exhibit the same behavior (as the trim controls for Channels 1,2,3) as these inputs are designed for line level sources and do not have the same gain staging as CH 1-3.

Source: Craig-at-Bose 2008/11/03


Inputs

T1 Inputs 1,2,3 and 4/5

The following notes about Channels 1,2,3, 4/5 are from Hilmar-at-Bose spread out over several posts in Information on the new T1 ToneMatch audio engine

Channels 1,2,3 support

The Tip-Sleeve inputs are high impedance so you can plug in an acoustic guitar with passive piezo pickup or any other passive instrument directly without a pre-amp. Input impedance on Channels 1,2,3 is about 1 MOhm. Channels 4 and 5 have an input impedance of about 10 kOhm.

Choosing the "best" input impedance is a little bit of a trade off and matching the pickup's impedance is not necessarily the best choice.

Bill-at-Bose gives us the following insights into Channels 1,2,3 and 4/5

For more information on about input impedance and electric guitar pickups see All About Pickups and Impedance.

T1 Input Levels

  1. Turn the Rotary Selector to Global section and Prefs
  2. Press the first button, Menu
    T1PrefsInput01.png
  3. Turn the Menu to Input Level.
    T1PrefsInput02.png
  4. Press the first button to view the Input Levels
    T1PrefsInput03.png


Stereo Sources

To connect a stereo source to a T1 ToneMatch® Audio Engine see: Backing Tracks

Connect a stereo source to the T1


Warning about Cables

18stereoTo14stereoT1.png

If you use a cable like this to connect a stereo source to the T1 ToneMatch® Audio Engine





T1 ToneMatch® Audio Engine No Pads Required

The T1® XLR inputs on channels 1-3 were designed to accept inputs from microphones up to normal line-level inputs without needing a switch or a pad. This is in unlike the L1® Model I or L1® Classic) Power Stand where a pad is recommended for line-level inputs.

The T1 ToneMatch® Audio Engine Channels 1, 2, 3 inputs will accept a wide range of signals. We have not encountered a normal use where someone needed a pad - even using +4dbU console outputs, which is as high as it gets.
— MikeZ-at-Bose[2]

  1. Bill-at-Bose Talks about Gain Staging in the Bose® Musicians Community Message Boards
  2. MikeZ-at-Bose talks about T1® XLR inputs

Power Stand Input Setting

Connection to L1® Model I / L1® Classic with NO Remote

Here are details on how to connect a T1 ToneMatch® Audio Engine to a L1® Classic or L1® Model I

T1toPS1.png

Notes:


T1®  This information is applicable to the T1 ToneMatch® audio engine
Model I This information is applicable to the L1® Model I
Classic This information is applicable to the L1® Classic
The recommended setting for Channel 3 or Channel 4 Level is 3 (see below).

With this setting you will not distort or clip the Model 1 no matter what you do on the T1. You can even use the Model 1 without the remote. More on this later.

For these conditions:

Classic This information is applicable to the L1® Classic
Model I This information is applicable to the L1® Model I

This will give you the same gain going into the L1® Model I/L1® Classic as if you were going through the ToneMatch® input on a L1® Model II.

If you are using the Remote on your L1® Model I/L1® Classic, then you will need to compensate a bit. If you are running the Remote master volume at max, then stick with 2 on Ch 3/4. When using a T1®, run the master volume of the R1 above 12 o'clock .


This is the power supply for the T1 ToneMatch® Audio Engine. You will need this to power your T1 ToneMatch® Audio Engine when running with an L1® Classic, L1® Model I, or L1® Compact or non-Bose equipment. You will need a one of these if you have two T1 ToneMatch® Audio Engines running into a single L1® Model II or L1® Model 1S. — details below the picture.

T1 ToneMatch® Audio Engine power supply



If you connect your T1 ToneMatch® Audio Engine to a L1® Model II or L1® Model 1S then the T1 ToneMatch® Audio Engine draws its power through the ToneMatch® cable.

If you connect your T1 ToneMatch® Audio Engine to an an L1® Classic, L1® Model I or L1® Compact or non-Bose equipment then you will need the T1 ToneMatch® Audio Engine power supply


If you are attaching two T1 ToneMatch® Audio Engines to a single L1® Model II then you will need this power supply to support the second T1® - the one connected to the Power Stand Analog Input.

See: Connecting Two T1®s to a Model II for details.


Connection to L1® Model I / L1® Classic with Remote

If you are using Channel 3 for the T1 ToneMatch® Audio Engine AND you want to use the PS1 Power Stand Channels 1 or 2 or 4 for other inputs, then you will want to connect the R1 Remote to the PS1 Power Stand.

T1toPS1withRemote.png



Excerpt from the T1 ToneMatch® Audio Engine Manual - page 20 - Note: this recommended input setting is now 3. See the note above.

T12ModelI.png

With this setting you will not distort or clip the Model 1 no matter what you do on the T1. You can even use the Model 1 without the remote.

The T1 ToneMatch® Audio Engine controls are a heck of a lot faster then the R1 controls. There is no perceivable lag.

Input setting recommendation now 3

MikeZ-at-Bose wrote[1] Bill-at-Bose and I have revisited this.

For these conditions:

Classic This information is applicable to the L1® Classic
Model I This information is applicable to the L1® Model I

I'm going to revise the original recommendation of 2 for Ch 3/4 to 3 - under the above conditions.

This will give you the same gain going into the L1® Model I/L1® Classic as if you were going through the ToneMatch® input on a L1® Model II.

If you are using the Remote on your L1® Model I/L1® Classic, then you will need to compensate a bit. If you running the Remote master volume at max, then stick with 2 on Ch 3/4. I would recommend against running the master volume below 12 o'clock when using a T1®.


Hopefully this is helpful - please ask away with any questions for clarification.

MikeZ

This is the power supply for the T1 ToneMatch® Audio Engine. You will need this to power your T1 ToneMatch® Audio Engine when running with an L1® Classic, L1® Model I, or L1® Compact or non-Bose equipment. You will need a one of these if you have two T1 ToneMatch® Audio Engines running into a single L1® Model II or L1® Model 1S. — details below the picture.

T1 ToneMatch® Audio Engine power supply



If you connect your T1 ToneMatch® Audio Engine to a L1® Model II or L1® Model 1S then the T1 ToneMatch® Audio Engine draws its power through the ToneMatch® cable.

If you connect your T1 ToneMatch® Audio Engine to an an L1® Classic, L1® Model I or L1® Compact or non-Bose equipment then you will need the T1 ToneMatch® Audio Engine power supply


If you are attaching two T1 ToneMatch® Audio Engines to a single L1® Model II then you will need this power supply to support the second T1® - the one connected to the Power Stand Analog Input.

See: Connecting Two T1®s to a Model II for details.



  1. MikeZ-at-Bose talks about the input setting on the L1® Model I or L1® Classic Power Stand with the T1®

ToneMatch Port

T1 ToneMatchPort.png

Aux Output

Overview

T1Aux.png

The output of any of the Channels 1, 2, 3, 4/5 can be sent to the Aux out. You can take the Aux out to provide a separate mix for recording or running to another L1® or separate amplification system.

Tap points where you can set the output to the Aux.[1]

Excerpt from the T1 ToneMatch® Audio Engine Owner's Guide (62 pages)


T1ManualP26AuxRouting.png


T1AuxOutput.png

Setting the Tap Point

Setting the Aux Output to

AuxPrePost01.png

Press to access Tap menu.

AuxPrePost02.png


Select

AuxPrePost03.png


AuxPrePost04.png



No Reverb on Aux

Q: Why is there no Reverb on the Aux output of the T1 ToneMatch® Audio Engine?

A: Hilmar-at-Bose writes[2]

The T1 ToneMatch® Audio Engine has lots of different effects units and normally they are unique to each channel. That means that the T1® has 4 individual dynamic processors, 4 modulators (chorus flanger, phaser, etc.) , 4 EQs, 4 delay processors, etc. The only exception is the reverb, which is shared by all channels.
The AUX is also a per-channel control. 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.
If you are familiar with conventional mixing consoles, you will find that the situation is quite similar. 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). The "shared" effects typically come into the board through an AUX return, which is not channel specific.

The discussion continues in the Message Board

Reference: page 52 of the T1 ToneMatch® Audio Engine Owner's Guide (62 pages)

Problem: Aux output does not sound right.

What To Do:

Note: No reverb comes from the Aux output even if the tap point is Pre or Post.

Aux to a separate System

To direct an input exclusively to Aux see: T1 ToneMatch® Audio Engine / Aux to a Separate System




¼ inch jack Output Connections

Connecting from a T1 ToneMatch® Audio Engine ¼ inch jack (Master or Aux) to other members of the L1® Family is simple. This article is applicable to L1® Compact, L1® Classic, L1® Model I or L1® Model II.

T1MasterOrAuxAnalog.png

T1 Master Output T1 Aux Output T1 Preamp Outs for Channels 1,2,3

Overview

You can use TS (Tip Sleeve) unbalanced cables, OR TRS (Tip Ring Sleeve) balanced cables. If the cable uses ¼ inch jack plugs and the ends are the same, then the cable should be fine.

Tip-Sleeve to Tip-Sleeve

OR

Tip-Ring-Sleeve to Tip-Ring-Sleeve


Classic or Model I

For full details see: T1 ToneMatch® Audio Engine / Power Stand Input Setting

¼ Inch Tip-Sleeve (unbalanced) to ¼ Inch Tip-Sleeve (unbalanced)

This should work fine.

Tip-Sleeve to Tip-Sleeve


¼ Inch Tip-Ring-Sleeve (balanced) to ¼ Inch Tip-Ring-Sleeve (balanced)

Since the ¼ inch phone connections at the Bose Classic and Model I Power Stand are unbalanced there is no particular benefit using balanced cables but there is no harm.

Tip-Ring-Sleeve to Tip-Ring-Sleeve

L1® Model II


¼ Inch Tip-Ring-Sleeve (balanced) to ¼ Inch Tip-Ring-Sleeve (balanced)

A balanced connection is preferred and will provide better noise rejection over greater distances than the unbalanced connection.

Tip-Ring-Sleeve to Tip-Ring-Sleeve

¼ Inch Tip-Ring-Sleeve (unbalanced) to ¼ Inch Tip-Sleeve (unbalanced)

This should work fine but a balanced connection (immediately above) is preferred especially if you will have cable runs in excess of 20 feet (6 meters) or if you hear line noise, hum or hiss.

Tip-Sleeve to Tip-Sleeve



L1® Compact


You can connect a T1 ToneMatch® Audio Engine to L1® Compact


Here is an excerpt from page 12 of the L1® Compact Owner's Guide (pdf format)

CompactOwnersGuideT1Connection.gif

Connect FROM T1 ToneMatch® Audio Engine Master or Aux Output using ¼ inch jack connections.

Connect TO the Compact Channel 2 volume straight up (12:00 o'clock to 1:00 o'clock) for good results. You can turn it up higher, but if you see the light on the Compact flickering red, turn down the volume on the Compact.

Template loop detected: T1 ToneMatch® Audio Engine / 1/4 inch Output Connections to L1® Family Members


Channel 2 Connection from T1 ToneMatch® Audio Engine Details

Compact Channel 2 Line Level.png


Two T1®s to a Single Compact

Two T1®s to Separate Inputs on Compact Channel 2

T1x2IntoCompact01.png

Compact Channel 2 detail

Compact Channel 2 Line Level and RCA.png

Suggested by Tom the Guitar Guy[3]

Daisy Chain Two T1®s to Compact Channel 2

T1x2IntoCompact02.png


Compact Channel 2 detail

Compact Channel 2 Line Level.png


  1. 1.0 1.1 Aux Tap Points from page 26 of the T1 ToneMatch® Audio Engine Owner's Guide (62 pages)
  2. Hilmar-at-Bose writes about No Reverb on Aux
  3. Tom the Guitar Guy in the Bose L1® Forum



F1 Model 812 Flexible Array Loudspeaker

Please see: T1 ToneMatch® Audio Engine to F1 System

T1 to F1
Click the picture to read the full article


zEQ

Using the zEQ as a Tone Control when performing live is simple.


T1 zEQ settings for vocal microphone


For more information see zEQ


Effects

Overview from Hilmar-at-Bose

T1®  This information is applicable to the T1 ToneMatch® audio engine

Rotary Control showing effects


Hilmar-at-Bose talks about the effects [1]


There is a large variety of effect processors out there with many different types, qualities, and prices and unfortunately there isn't a one-size-fits approach. Not the least factor is that a lot depends on personal taste and preference.

Our intention with the T1 ToneMatch® Audio Engine was not necessarily to build the "world's best effects" but solid usable tools that the musician can deploy in a live situation as the situation requires. 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.


This being said, the T1 ToneMatch® Audio Engine has a couple of things that are different from most effects processors: The processing power devoted to this is substantial. 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 enables us also to run individual effects on all 4 channels. You can use different combination of compressor/limiter, chorus/flanger, delay, parametric EQ, etc. on each channel. The only thing that is shared is reverb. 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.


There is also some fairly unique processing such as KickGate™ (for drums), zEQ and ToneMatch™, that is not available from any other device I'm aware of.


Again, in the end each user will have to decide whether we have found the "sweet spot" or not, but I'm confident that these effects will work well for many users.

Hope that helps

Hilmar



Compressor

screen shot of T1™ Comp/Gate settings

If you are new to Compressors, Limiters and Noise Gates you might find this background reading helpful.

The Truth About Compressors and Limiters



Para EQ

Parametric Equalizer

ParaEQ

For details about the ParaEQ see:

Bypass

Introduction to Bypass

Hi Folks,

At the recent L1 users conference in Colorado, we found out that a high percentage of T1 owners did not know about the BYPASS feature that's employed in many places in the T1.

The BYPASS feature is extremely useful in deciding if a particular adjustment is giving you the sound you want. It's a form of an A/B switch.

For example, if you want to hear how a particular ToneMatch preset sound on and off, you would use bypass. 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.

As an example, here's the screen after you've chosen a Tonematch preset for Channel 1. In this case, I've chosen the preset for an Audix OM5.

Tutorial

T1Bypass01.png

To go into bypass mode, just click on the rotary-push knob below the word "category" on the screen.

T1Bypass02.png

Here's what the screen looks like after you push the button.

T1Bypass03.png

Quick Tutorial on Highly Useful BYPASS Feature... - Ken-at-Bose

T1Bypass04.png

What Happens When You Bypass a Preset?

What happens when you select a channel ‘Bypass’ button on the T1® audio engine?
Pressing the ‘Bypass’ button on a channel will change it’s current ToneMatch® preset to the generic “Utility Flat” preset. This enables you to audition between specific ToneMatch® presets and the ‘Utility Flat’ setting, helping you decide which preset you will ultimately choose.
In contrast, the key frequency adjustments for zEQ do not change when the ToneMatch® preset is ‘Bypassed’. For instance say that you originally had a ‘Kick Drum’ preset selected and then pressed ‘Bypass’, the key zEQ adjustment points would still remain focused on fine tuning a kick drum.


Source: Neil-at-Bose

Bypass Reverb

T1®  This information is applicable to the T1 ToneMatch® audio engine

To bypass a zEQ setting on your T1®

T1zEQBypass.png


Use this to compare the sound with and without a zEQ setting to really hear what the zEQ is doing to the sound in the room.


Bypass zEQ

T1®  This information is applicable to the T1 ToneMatch® audio engine

To bypass a zEQ setting on your T1®

T1zEQBypass.png


Use this to compare the sound with and without a zEQ setting to really hear what the zEQ is doing to the sound in the room.



Status

To get a quick look at all the effects being used in your T1 ToneMatch® Audio Engine turn the Rotary Selector to Prefs.

T1GlobalPrefsStatus.png

Detailed Listing

Please see Effects

FX Mute Button

From MikeZ-at-Bose
FX Mute specifically mutes: Delay, Mod (Chorus, Flange,Phaser,Trem) and Reverb.

Comp/Gate, zEQ, and Para EQ are unaffected.

FxMute.gif


Original Source



Connect Two T1 ToneMatch® Audio Engines to a Model II

The L1® Model II can accept two inputs.
Model II inputs

This makes it easy for two performers to connect their own T1®s to a L1® Model II Power Stand.

ToneMatch® Input

The ToneMatch® connection is specifically designed for a T1 ToneMatch® Audio Engine. The ToneMatch® cable is supplied with the T1 ToneMatch® Audio Engine and uses a male Ethercon connector at both ends.

Analog Input

Model II/Model 1S analog input

The Analog connection is a ¼ inch phone jack. You can use this for a second T1® using the T1® Analog Master output (¼ inch phone jack).

This connection is made with a standard ¼ inch jack instrument cable. This can be Tip-Sleeve or Tip-Ring-Sleeve connectors.

Set Power Stand Analog Input Trim to 3 to have approximately the same level as you would have if you had connected with the ToneMatch® connection. You may have to adjust this, but 3 is a good place to start.

Note: A T1® connected to the the Analog input will require the optional T1 ToneMatch® Audio Engine power supply.

Analog Connection from the Second T1® to the Model II Power Stand

T1x2IntoModelII.gif


¼ Inch Tip-Ring-Sleeve (balanced) to ¼ Inch Tip-Ring-Sleeve (balanced)

A balanced connection is preferred and will provide better noise rejection over greater distances than the unbalanced connection.

Tip-Ring-Sleeve to Tip-Ring-Sleeve

¼ Inch Tip-Ring-Sleeve (unbalanced) to ¼ Inch Tip-Sleeve (unbalanced)

This should work fine but a balanced connection (immediately above) is preferred especially if you will have cable runs in excess of 20 feet (6 meters) or if you hear line noise, hum or hiss.

Tip-Sleeve to Tip-Sleeve




Preamps

Comparison to Model I and Classic

MikeZ-at-Bose tells us:[2]

... (the preamps on the Model I are)... exactly the same as the Classic.

On the T1 ToneMatch® Audio Engine they're different, but are designed to the same standard as the L1® Classic preamps.

Functionally they are basically the same in terms of frequency response, input impedance, noise performance, max gains etc.

The difference comes in how we get there. I'll try not to go into horribly boring detail. The name of the game is trade-offs, and in the end the design constraints dictate the *best* type of circuit used for *this* particular situation. Here are a couple of the many factors that dictate the differences:

Gain structure. The internal components of the T1 ToneMatch® Audio Engine are different that the L1® Model I / L1® Classic and need to have signals fed to them in certain ways. Different designs are more suited to the levels needed than others.

Physical layout of the circuit on the board. 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.

After evaluating all of the factors that go into the design of a preamp we are using another proven circuit that relies more on discrete transistors rather than op-amps. It fits our needs better for this design situation. The preamp design itself is not necessarily any better or worse. There are *many* ways to skin the cat of preamp design to achieve a desired performance.

Will it sound different? No...I certainly cannot hear a difference playing through it. Can't measure one either.

Hope this sheds some light on it.

MikeZ[3]

Here are the specifications for the Model I Preamps.

File

Preamps Out

image of T1® rear pointing to Preamps out
The preamp outputs are before everything except the Trim control in the signal chain. - MikeZ-at-Bose[4]. This means that these are post-trim, and nothing else (e.g. Muting) has any effect on the signal at the preamp outs.


Presets


Tuner

If you are experiencing difficulties with the tuner, here are some points to check.

  1. *CRITICAL*. Make sure the CH Edit button is pressed on the Channel of the instrument you are trying to tune.

  2. Make sure your instrument is gain staged correctly.
    The tuner needs a good strong signal (at least solid green) to lock on to.

  3. Take off/bypass any effects that affect your instrument before the signal enters the T1®.
    Any modulation effects will mess things up.


In all of our testing and experience here we have found the tuner to be as accurate and reliable as other high quality stage tuners. 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. Both Peterson and Boss make awesome, super accurate tuners, its just like the difference between a Strat and a Les Paul...or a Porshe and a Benz.
The T1 tuner, as I said, is faster in its tracking, and this may take some getting used to at first. 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.

-- MikeZ-at-Bose[5]

"The internal send for the tuner is Pre-FX" [6]


And a hint from Bill-at-Bose

You may already know that the ubiquitous hum you hear, that can be caused by cable grounding problems, lighting dimmers, ground loops, etc., is based in the U.S. off the 120 VAC line.
The line cycles at 60 Hz, you can usually pick up multiples of it: 120 Hz, 240 Hz. That's right between an A and a B-flat.
Here are the frequencies:
A#2/Bb2 116.54 Hz
B2 123.47 Hz


Hum louder than your note will confuse your tuner for sure.

You hear that note everywhere you go in this 'civilised' world, from fluorescent lights to refridgerator motors to your PC hard drive.


USB (Computer Interface)

T1®  This information is applicable to the T1 ToneMatch® audio engine


Connection from Computer to T1 ToneMatch® Audio Engine

Here is an excerpt from the T1 ToneMatch® Audio Engine Owner's Guide (62 pages)

T1USBCable.gif

Here is a close up of the ends of the cable.

{{#Click:http://www.amazon.com/Belkin-F3U133-10-Hi-Speed-Cable-Feet/dp/B00004Z5M1%7CImage:USBAtoUSBB.jpg%7COrder on Amazon}}


Live Application of USB in the T1 ToneMatch® Audio Engine

Hilmar-at-Bose talks about the USB interface[7]

Firstly, the T1 ToneMatch® Audio Engine is designed as a convenient and powerful interface for a live musician. 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. We try to accommodate the most common use cases (background tracks, DJ, quick recording) with the least amount of hassle & configuration work, even if that makes less common uses cases more difficult to accommodate.


USB audio in general

Hilmar-at-Bose talks about the USB interface[8]

When you plug in the T1 ToneMatch® Audio Engine into your PC it will appear to the PC as a USB sound card (USB audio device in Windows). 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.


On the T1 ToneMatch® Audio Engine you can decide where you want it. You can route it either to the master (e.g. when using the PC to play background tracks) or into channel 4/5 to process it to your hearts content.

USBtoPC1.png

The T1 ToneMatch® Audio Engine can also send audio back to the PC. You can select what you want to send. It can be either channel (1,2,3,4/5) or Aux or Master. For example you can make a little submix on the AUX bus and record that with for example Windows Sound Recorder or Audacity.

Here is an excerpt from page 30 of the ToneMatch® Audio Engine Owner's Guide

USB from T1® to PC (Computer)

  1. USB to PC
    T1USBtoPC01a.png
  2. Factory settings, the default
    T1USBtoPC02a.png
  3. Set output to Left
    T1USBtoPC03a.png
  4. Set output to Right
    T1USBtoPC03b.png
  5. This shows the result of sending T1® Channels 1 and 2 to USB LEFT and RIGHT
    T1USBtoPC04.png
  6. Here is how you can send Master and Aux outputs to USB LEFT and RIGHT
    T1USBtoPC05.png

  7. T1USBtoPC06.png

  8. T1USBtoPC07.png

USB from Computer

USB from PC to Master

The factory setting for USB from PC is to route the Computer's Left and Right Outputs to Master Output and you control all of the sound from the computer. T1 USB from Computer Defaults.png
You can route one or both channels to Channel 4/5 and this gives you local control of Presets, zEQ, ParaEQ, Effects and volume.

Setting USB from PC to Channel 4/5

You can connect your Computer to your T1® and send one or both stereo channels to to Channel 4/5. This allows you to control the sources applying ToneMatch® Presets, zEQ, ParaEQ, Effects and volume using the Channel 4/5 Vol control.

Video

Step by Step

  1. Turn the Rotary Selector to Global section and Prefs
    T1GlobalPrefs.png
  2. Press the first button, Menu
    T1GlobalPrefsMenu.png
  3. Turn the Menu to USB from PC, Press
    T1GlobalPrefsUSBfromPC.png
  4. By default the USB from PC Left and Right channels are routed to the Master Output and you control all of the sound from the computer.
    You can route one or both channels to Channel 4/5 and this gives you local control of Presets, zEQ, ParaEQ, Effects and volume.
    Press the middle button Left to change the routing of the Left channel

    T1GlobalPrefsUSBfromPCLeft.png
  5. Turn to select Channel 4/5, Press
    T1GlobalPrefsUSBfromPCLeft45.png
  6. If you want to route the the Right Channel to Channel 4/5
    Press the right button Right to change the routing of the Right channel
    T1GlobalPrefsUSBfromPCRight.png
  7. Turn to select Channel 4/5, Press
    T1GlobalPrefsUSBfromPCRight45.png
  8. Here is the final result
    T1GlobalPrefsUSBfromPCto45.png


Monitor input levels

  1. Turn the Rotary Selector to Global section and Prefs
  2. Press the first button, Menu
    T1PrefsInput01.png
  3. Turn the Menu to Input Level.
    T1PrefsInput02.png
  4. Press the first button to view the Input Levels
    T1PrefsInput03.png


USB and Channel 4/5 Analog at the same time

You can connect the USB input to T1® Channel 4/5 for a stereo source (computer) AND an analog input to T1® Channel 4/5 at the same time. While it is unlikely you would play both sources simultaneously, you can raise and lower the outputs at the source. This allows you to control the sources applying ToneMatch® Presets, EQ, and volume using the Channel 4/5 Vol control.


Analog Connection

T1Channel45Input.png

Latency and Digital Audio Workstation

USB audio requires a fairly complicated driver stack and hence we have decided to operate with the Windows standard drivers. 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. See also: Latency and The L1®

Digital Media players and USB host

The T1 ToneMatch® Audio Engine is only a USB client and requires a USB host (= PC). That means you cannot connect an MP3 player directly to the T1 digitally. The best way to connect is analog through Ch 4/5.


Stereo or Mono

Hilmar answers [9]

Tom Munch asked: Can channels 4 & 5 be assigned separately to the Aux & Master outs to send to 2 L1's?


Not really. 4/5 are immediately summed to mono and treated the always the same. You could route the left USB channel to the master, and the right USB channel to 4/5, turning the 4/5 channel volume all the way down and using a pre-fade AUX feed for 4/5 to get it out the Aux.

That's certainly a little convoluted but would enable you to route a USB source to two different L1s.


No Reverb from USB

From page 30 of the T1 ToneMatch® Audio Engine Owner's Guide (62 pages)

T1 No Reverb from USB.gif

Work Around

  1. Hard wire Master Output to Channel 4 input
  2. Channel 4 Aux Level 100% | Tap: Pre
  3. Channel 4 Vol off (Mute too to be safe but not critical)
  4. Prefs: USB to PC set to Aux

Source: ST discussion in the Forum

ASIO

From Chuck-at-Bose

I'd like to offer some clarification that may or may not help. Sound cards, including the T1, depend upon 'drivers' to do what they do. ASIO/WDM/MME aren't really drivers, but driver access protocols. 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...
FWIW, I have used the T1 very successfully for recording and playback with SONAR 8 PE on my PC using WDM and ASIO. 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. I think it's worth stating that the T1 excels as an interface for an L1 system and though it happens to work great as a basic sound card (record/playback/re-amp, etc.), there are lots of soundcards out there that do more than these basics. Their value, in my experience, is commensurate with their price tag...
'Hope this helps...
Chuck [10]

USB Controller (Master) / Controllee (Slave)

USB is structured to have a controller (called a Master, Type A connector, usually a computer) and a multitude of controllees (called slaves, Type-B or Mini-B connector, i.e. T1 ToneMatch® Audio Engine, Zoom H4, USB Sound Card, USB to Blutooth adapter, etc). The controllees cannot communicate with each other. A Bluetooth adaper and T1 ToneMatch® Audio Engine are in that category they will not communicate unless one or the other makes a major hardware/software change and adds the capability to become a master.

— Adapted from this post by TRoberts




Routing Effects

This article addresses some interesting options you have for routing your signal through the T1® to process effects more than once.

For ideas on how you can work with an external effects unit see: T1 ToneMatch® Audio Engine / Insert for External Effects

There are several less than obvious things you can do with effects through the T1 ToneMatch® Audio Engine.

Parallel Effects

If you want to swap between two sets of effects or run two sets of effects at the same time (for example: two delays, two modulation effects, two reverbs)  try this.

Assume that you are using Channel 1 as the input where you want to do this:

Serial Effects

If you want to run some effects and then add more effects in series then take the output of one or more T1 ToneMatch® Audio Engine Channels to the Aux Output, then take the Aux Output and use that as the input to another T1® Channel

Assume that you are using Channel 1 as the input where you want to do this:

Foot Switch to Mute Effects

From Andy-at-Bose UK

First up hook up your vocal mic to, say, Channel 1 on the T1®. Next take a jack lead and connect it to the PRE AMP out on Channel 1. Take this lead and run it through either a keyboard style volume pedal or a make or break style footswitch. Run the signal from the pedal/footswitch into another T1® channel and set this channel up with the chosen vocal effects but make them 100% effect. Adjust the effected channel volume to get the desired blend of dry vocal to effected vocal. The pedal/footswitch will determine how much or if any signal will go to channel 2 and therefore whether or not an effect is added.

Original Post



Input / Output Levels

Input Level

  1. Turn the Rotary Selector to Global section and Prefs
  2. Press the first button, Menu
    T1PrefsInput01.png
  3. Turn the Menu to Input Level.
    T1PrefsInput02.png
  4. Press the first button to view the Input Levels
    T1PrefsInput03.png


Output Level

  1. Turn the Rotary Selector to Global section and Prefs
  2. Press the first button, Menu
    T1PrefsOutput01.png
  3. Turn the Menu to Output Level.
    T1PrefsOutput02.png
  4. Press the first button to view the Output Levels
    T1PrefsOutput03.png


Cables

From T1 to Model II

Overview

ToneMatchCable01.jpg

If you need to order a replacement T1® ToneMatch® cable, contact Support and order Product Code 42536. Price as of January 2, 2009 USD $34.99 plus taxes and shipping.
— Thanks to Adam in Support for the information.

ToneMatchCable.png


The T1 ToneMatch® Audio Engine uses a digital connection to the L1® Model II Power Stand. This is labeled ToneMatch®.

The connecting cable has a male Ethercon connection at each end that looks like this.

Ethercon connector

If you need to order a replacement T1® ToneMatch® cable, contact Support and order Product Code 42536. Price as of January 2, 2009 USD $34.99 plus taxes and shipping. — Thanks to Adam in Support for the information.

Cat 5 or Cat 6 cable

If your ToneMatch® cable gets damaged or lost  you can use a computer network cable type CAT-5 or CAT-6.


Ken-at-Bose[11]

The T1 ToneMatch® Audio Engine comes with a really nice Pro Ethercon cable, with robust metal connector shells and an almost memoryless 18' black cable.

Cat5 cable

However, in a pinch, should you forget the cable, or if say a huge Hammond B3 gets dropped on the cable and severs it, YOU CAN USE ANY ORDINARY CAT 5 ETHERNET CABLE and it will work fine until you replace you nice fancy T1 cable.

Later in that discussion Hilmar-at-Bose tells us:

Any CAT5 (or CAT5e, CAT6, or CAT7) cable will work just fine without any degradation at least initially. 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.

It's certainly a quick and cheap way to get a spare for an emergency.

Convert Cat-5 Cat-6 to Ethercon

NE8MC EtherCon® Cable Connector Carriers (retrofit over an existing RJ-45 Connector).

Example vendor http://www.fullcompass.com/product/255589.html

Cable Length

Up to 50 feet

A technical note from Bill-at-Bose [12]

A 33 or 50 footer will not cause any problems, either with the digital audio (ones and zips) or the power.

The technical reason follows, for those who are interested : A 24 gauge wire (the size typically used in ethernet cables) has about 2.5 Ohms of resistance per 100 feet. The T1 draws roughly 1/4 Amp on each of two supply wire pairs (+/-18V nominal).

For a 50 foot run, each pair of wires (made up of a plus and minus lead) totals 100 feet. A quarter Amp of current across 2.5 Ohms gives, per Ohm's law, a voltage drop of less than one volt (V=IR = 0.625 Volts). Because of the margin we built into the system, it can handle this voltage drop easily.

In fact, although we don't recommend it and can't guarantee it, the digital audio has been tested up to 100 feet in average conditions (for example, no undervoltage on the AC supply at the gig), and quite happily continued to make music.

Over 50 feet

MikeZ-at-Bose added in a later discussion:[13]

Bill at Bose stated you could run 50' of ethernet cable no problem at all. Success at distances longer than that would start to depend on outside factors, for instance the voltage of your power source.

Another option for you is to run the T1 ToneMatch® Audio Engine off of the optional power supply, and then run a balanced line from the Master Out on the T1 ToneMatch® Audio Engine to the balanced 'analog input' on the L1® Model II. This method would be able to transmit over a hundred feet, perhaps much more.

¼ Inch Tip-Ring-Sleeve (balanced) to ¼ Inch Tip-Ring-Sleeve (balanced)

A balanced connection is preferred and will provide better noise rejection over greater distances than the unbalanced connection.

Tip-Ring-Sleeve to Tip-Sleeve



  1. Hilmar-at-Bose talks about the effects
  2. MikeZ-at-Bose talks about the preamps in the L1 Model I and the T1®
  3. MikeZ-at-Bose talks about the preamps in the L1 Model I and the T1®
  4. MikeZ-at-Bose -T1® Preamp Out Muting
  5. MikeZ-at-Bose talks about the T1™ Tuner
  6. MikeZ-at-Bose
  7. Hilmar-at-Bose in the Stereo Operation discussion Bose Message Boards
  8. Hilmar-at-Bose in the Stereo Operation discussion Bose Message Boards
  9. Hilmar-at-Bose Channels 4/5 as stereo?
  10. Chuck-a-Bose in 2 t1s for stereo in the Bose Message Board
  11. Ken-at-Bose Steal this computer cable!!
  12. Bill-at-Bose talks about cable lengths
  13. MikeZ-at-Bose talks about T1 cable lengths


Power Supply

This is the power supply for the T1 ToneMatch® Audio Engine. You will need this to power your T1 ToneMatch® Audio Engine when running with an L1® Classic, L1® Model I, or L1® Compact or non-Bose equipment. You will need a one of these if you have two T1 ToneMatch® Audio Engines running into a single L1® Model II or L1® Model 1S. — details below the picture.

T1 ToneMatch® Audio Engine power supply



If you connect your T1 ToneMatch® Audio Engine to a L1® Model II or L1® Model 1S then the T1 ToneMatch® Audio Engine draws its power through the ToneMatch® cable.

If you connect your T1 ToneMatch® Audio Engine to an an L1® Classic, L1® Model I or L1® Compact or non-Bose equipment then you will need the T1 ToneMatch® Audio Engine power supply


If you are attaching two T1 ToneMatch® Audio Engines to a single L1® Model II then you will need this power supply to support the second T1® - the one connected to the Power Stand Analog Input.

See: Connecting Two T1®s to a Model II for details.


5 foot of cord from the T1 to the switching power supply, and a removable 6 foot cord from the power supply to the wall. This is very similar to a laptop power supply.

Microphone Stand Bracket (optional)

T1®  This information is applicable to the T1 ToneMatch® audio engine
{{#Click:http://www.bose.com/controller?url=/shop_online/speakers/portable_amplification_systems/accessories/l1_tonematch_micstandbracket_acc.jsp%7CL1 tonematch micstandbracket acc bl lg.jpg|375px|T1® microphone stand bracket}}

There is an optional microphone stand bracket for the T1 ToneMatch® Audio Engine.

This is actually two pieces.

  • The microphone stand bracket that attaches to a microphone stand and a
  • The mounting bar that connects to that.

The T1 ToneMatch® Audio Engine sits on that mounting bar.

Documentation

Here is an excerpt from the T1 ToneMatch® Owners Manual - page 10.

Excerpt from the T1 ToneMatch® Owners Manual - page 10.

Owner Comments and Alternatives

Hints

Securing the T1® to the Bracket

correct - bevel running down, facing you

T1 Bracket Correct.jpg

incorrect (upside down)- bevel on opposite side, away from you

T1 Bracket Incorrect.jpg


This is how I secure the T1® to the T1® Microphone Stand Bracket[1]

  1. There is a velcro strap on the black ToneMatch cable.
  2. I use the velcro to secure the ToneMatch cable to the microphone stand just above the Microphone Stand Adapter (the thing that clamps around the mic stand).
  3. Then I insert the ToneMatch cable into the T1®. It locks into place.
  4. At this point, most people would put the T1® on the bracket and attach the other cables.
  5. I insert all the other cables into the T1® before I put it on the bracket. 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.
  6. Finally, I set the T1® on top of the bracket.


T1 Strapped 02.png


In the picture above, I am using all the inputs and the cables are heavy. But since I have all the cables secured by a velcro strap, there's no chance that the T1® will come off the microphone stand bracket.


T1 Strapped 01.png

The white cable is a network cable (Cat-5) instead of the ToneMatch® cable


source

T1®  This information is applicable to the T1 ToneMatch® audio engine

Here's how I have one of my microphone stands setup. The T1® Microphone Stand Bracket is attached and I never remove it.

All the cables are also strapped to the microphone stand. I leave the cables attached all the time. This saves a great deal of time during setup and teardown.

T1 on Mic Stand Adapter 2.jpg

I used a white background so that you could see the wires. Normally they don't stand out like this visually. Notice that even if the T1® were to get knocked off the bracket the cables are acting as safety tethers.

View from the Back

T1 on Mic Stand Adapter Back.jpg

Ready to Pack Up

You can see that the cables are strapped to the microphone stand.

T1 Mic Stand Adapter Ready to Pack.jpg

Packed, ready to zip up

T1 Mic Stand Adapter Packed.jpg

The black bag is one of the original Cylindrical Radiator® bags that came with my L1®. Years ago I got some heavy duty bags for the Cylindrical Radiator® and it turns out that the stock bags work great for holding microphone and light stands.

Remember to pack the Bracket (arm) in the T1® Lid.

T1 Mic Stand Adapter Arm.jpg







Comments? Please join the discussion on the Bose L1® Forum



Where to get it

On the Bose® Accessories Page

or click the picture below.

{{#Click:http://www.bose.com/controller?url=/shop_online/speakers/portable_amplification_systems/accessories/l1_tonematch_micstandbracket_acc.jsp%7CL1 tonematch micstandbracket acc bl lg.jpg|375px|T1® microphone stand bracket}}


T1 ToneMatch® Audio Engine without L1®

Should you or should you not use a ToneMatch preset when using the T1 ToneMatch® Audio Engine with other systems?

ToneMatch® presets optimize the sound of a microphone or instrument when used with an L1® system. So this might lead you to conclude that a ToneMatch preset shouldn't be used with other systems.

But that wouldn't be quite right.

If that other system had a similar "voicing" or tonal response as the L1 then you would expect the ToneMatch® preset to be of value with that other system.

There are potentially a class of systems that fit this description. 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.

Thus, on some studio systems, you should expect ToneMatch® presets to be of value.

Other systems, including PA speakers and monitor speakers are voiced in an almost random and widely varying way, in our experience. Thus, as MikeZ points out, it's impossible to say whether a ToneMatch® preset will help or hurt.

With best regards,

Ken

Source: Using the T1® without the L1® on the Bose® Professional Portable Systems Users Forum


MikeZ Comment to which Ken refers above.

The whole thing with using the T1 ToneMatch® Audio Engine with other systems is that we don't really know how its going to sound since all big house systems are different. 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.

Source: Using the T1® without the L1® on the Bose® Professional Portable Systems Users Forum

T1 ToneMatch® Audio Engine Power Supply Required

This is the power supply for the T1 ToneMatch® Audio Engine. You will need this to power your T1 ToneMatch® Audio Engine when running with an L1® Classic, L1® Model I, or L1® Compact or non-Bose equipment. You will need a one of these if you have two T1 ToneMatch® Audio Engines running into a single L1® Model II or L1® Model 1S. — details below the picture.

T1 ToneMatch® Audio Engine power supply



If you connect your T1 ToneMatch® Audio Engine to a L1® Model II or L1® Model 1S then the T1 ToneMatch® Audio Engine draws its power through the ToneMatch® cable.

If you connect your T1 ToneMatch® Audio Engine to an an L1® Classic, L1® Model I or L1® Compact or non-Bose equipment then you will need the T1 ToneMatch® Audio Engine power supply


If you are attaching two T1 ToneMatch® Audio Engines to a single L1® Model II then you will need this power supply to support the second T1® - the one connected to the Power Stand Analog Input.

See: Connecting Two T1®s to a Model II for details.



Microphone into Channel 4/5

T1®  This information is applicable to the T1 ToneMatch® audio engine

You can use four microphones with a T1 ToneMatch® Audio Engine even though there are only 3 XLR inputs. Channel 4/5 can be used if you have an impedance matching transformer. Note that if your microphone requires phantom power, then you will need to supply that too as there is no phantom power on T1 ToneMatch® Audio Engine Channel 4/5.

T1Channel45Input.png        Impedance Matching Transformer or LoToHighImpedanceMatchingTransformer.jpg

Dynamic Microphone

Microphone ⇒ microphone cable ⇒ Lo-to-High impedance matching transformer.

T1Channel4Microphone01.jpg

I used the microphone above and set the trim for T1® Channel 3 and then I use the same microphone with the impedance matching transformer in T1® Channel 4/5. The picture below shows that I was able to get the same input level on Channels 3 and 4 by using a higher trim setting on Channel 4/5. Please note: Your settings will probably be different depending on your microphone and your vocal style. The picture is to show you that the trim setting for Channel 4/5 will probably be higher than Channel 3. This does not affect the sound quality.

T1Channel4Microphone003.jpg

Different Adapter / Same Results

Note: This adapter also has an impedance matching transformer built into it.

T1Channel4Microphone002.jpg

Condenser Microphone

The microphone shown here is a clip-on instrument microphone, but if you are using a vocal microphone the same connections would apply.

Note: the Isomax device shown below is a standalone phantom power supply. You will not need this unless your microphone requires phantom power.

T1 Channel 4 Impedance Match Phantom.jpg

Note: the phantom power supply is only required if your microphone requires phantom power (e.g. condenser microphone). Most dynamic microphones will not require you to use a phantom power supply.


Field Report:

I just tried this out.

Small diaphragm condenser microphone

to

external phantom power supply

to

a low to high impedance matching transformer for the microphone (click the picture for details)


to

T1® Channel 4/5

I had to turn the input trim higher on Channel 4/5 than when I plugged the microphone directly into Channel 1,2,3 - but it worked.

NOTE - you have to have the impedance matching transformer.

— Source: String Quartet - Bun


Display Panel

Outdoors

Q: Please talk about using the T1 ToneMatch® Audio Engine outdoors. Will I be able to see /read the display? A: Should be no problem. The LCD display on the T1 is "transflexive". In dark conditions the blue backlight will shine through the "transmissible" part so everything is easily visible. In bright sunlight, it becomes "reflexive" just like a piece of paper. The backlight may wash out (i.e. it will not look really blue anymore) but it's still clearly visible. [2]

Headphones

If you want to listen to the T1® through headphones - just connect to the headphones to the T1® ¼ inch Master Output.

T1MasterOutput.png


At that point you will have sound coming from both the headphones and the Model II (if you have one). If you are using a Classic or Model I, then you will be replacing the output to the L1® with the headphones, and you can skip down to Mono (below)

To mute the sound out of the L1® Model II,

  1. turn the Rotary Selector to Prefs
  2. set the menu to Master Out
  3. set the Master Out to Pre Master Volume

Turn down the Master Volume knob. This will allow you to hear the T1® through the headphones with no sound coming from the Model II.

You will control the volume you hear with the individual T1® Channel Volume controls.

Mono

In the headphones you will be hearing mono, with the channels (left and right) 180° out of phase. 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.



  1. Original discussion about using the T1® Microphone stand adapter
  2. Hilmar-at-Bose talks about the transflexive display on the T1®

Compatibility with Other Members of the L1® Family of Products

This Page Reviewed By Bose

Cylindrical Radiator®s

Cylindrical Radiator®
Cylindrical Radiator®s are not interchangeable across models

Specifically (and without exception)

T1 ToneMatch® Audio Engine

T1®  This information is applicable to the T1 ToneMatch® audio engine

PackLite® power amplifier Model A1

A1 PackLite AmpThis information is applicable to the PackLite® A1 Power Amplifier

B1 Bass Module

B1 Bass ModuleThis information is applicable to the B1 Bass Module

B2 Bass Module

B2 Bass ModuleThis information is applicable to the B2 Bass Module


Design Team

In 23 years at Bose, the L1® Model II and T1 ToneMatch® Audio Engine are the most lovingly designed products I have ever had the fortune to work on. More care by more experienced people went into this than anything I've been involved in.

The most minute details were studiously created. 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.

Here is a picture of some members of the design team when we reached the point in May of 2006 of having the proprietary folding mechanism for the Model II power stand and industrial design for the new Articulated Array speaker finally finished.

Ken-at-Bose[1]


T1® and Model II Design Team



  1. Ken-at-Bose April 4, 2007 Help choosing between the Model I and the Model II







Technical Description

Bose L1® T1 ToneMatch® Audio Engine


URL
Release Date: 2007-03-29
Height: inches
Weight: 2.1 pounds
dimensions 8.22" H x 6.52" W x 2.66" D (209 mm H x 165 mm W x 67 mm D)

Power Stand Depth:n/a
Power Stand Width:n/a
Description: FAQ, documentation, hints and tips for owners of the T1 ToneMatch® Audio Engine
Description: T1 ToneMatch® Audio Engine

Features

ToneMatch - Features
Technical Specifications

Audio Channels
4

Outputs
2- Master and AUX

A/D and D/A Converters
24-bit

Sample Rate
48 kHz

USB & Interfaces
1.1 protocol, Type A to Type B cable

Dimensions
8.22" H x 6.52" W x 2.66" D (209 mm H x 165 mm W x 67 mm D)

Shipping Weight
2.1 lb (.97 kg)

The T1 ToneMatch® audio engine is a digital multichannel mixer designed for use with Bose® L1® sound systems. It provides four independent channels, over 100 proprietary ToneMatch presets for instruments and microphones and a complete suite of studio-class effects and sound processors.

Proprietary ToneMatch presets optimize L1 system to match the intended natural sound of specific instruments and vocal mics. 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.

  • More than 100 proprietary ToneMatch presets for a variety of popular microphones and instruments

  • Four input channels with independent selection of ToneMatch presets and effects

  • Proprietary zEQ for precise tone control, plus a complete suite of studio-class effects and processing, such as reverb, delay and modulation

  • Chromatic tuner

  • Phantom power

  • Compatible with any L1 system
    (requires T1 power supply for use with L1 Model 1 and L1 Compact systems, and with a PC)


User interface

ToneMatch - User Interface
  1. Input signal/clip LEDs (1-4/5) — Displays the input signal status in color: Green indicates the presence of an input signal, yellow indicates a signal near clipping and red indicates clipping

  2. Trim controls (1-4/5) — Adjust the input sensitivity for the respective channel

  3. Phantom power switch — Applies +48V power to input channels 1-3. A red LED indicates that phantom power is on

  4. Display — Provides function menus and system status information

  5. T1 rotary selector — Allows access to both global and channel related parameters, which are adjusted using the editing controls

  6. Editing controls — These three rotary/push-button controls allow you to select or adjust items/values appearing on the display

  7. CH edit buttons (1-4/5) — Select the channel you want to modify using the T1 rotary selector and display-related editing controls

  8. FX mute buttons (1-4/5) — Bypass the Mod, Delay and Reverb effects on the selected channel

  9. Volume controls (1-4/5) — Adjust the volume level for the respective channel

  10. Mute buttons (1-4/5) — Silence the audio output for the respective channel

  11. MASTER volume control — Adjusts the overall output level

Inputs and Outputs

ToneMatch - Inputs and outputs
  1. ToneMatch port — A digital output used by the L1 Model 1S and Model II systems. Also delivers power to the T1 audio engine from the L1 Model 1S and Model II power stands. Accepts the included ToneMatch cable

  2. Power switch — Turns the T1 audio engine on or off

  3. IN — Analog input channels 1-3. Accepts XLR balanced cables for microphones, or ¼" TRS balanced or TS unbalanced cables for high-impedance inputs such as guitars

  4. USB port — A USB interface that allows you to connect the T1 to your computer. This feature enables you to stream audio to/from your computer, update the T1 and back up performance scenes

  5. Preamp OUT — Preamp outputs for channels 1-3. Accepts ¼" TRS balanced or TS unbalanced cables

  6. Master output — User-definable analog output. Can be configured for a pre- or post-master volume analog output. Accepts ¼" TRS balanced or TS unbalanced cables

  7. Aux output — User-definable analog output. Can be configured for a pre-fader, post-EQ, and effects or post fader output. Accepts ¼" TRS balanced or TS unbalanced cables

  8. Line IN — Analog input channels 4/5. Accepts ¼" TRS balanced or TS unbalanced cables for line-level inputs. Can be used for stereo input signals

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