T1 ToneMatch® Audio Engine / Tips & Tricks

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Bose T1 ToneMatch® Audio Engine

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


Feedback: Para EQ

The technique takes some practice and experimentation. But the effort is worth it because the technique can be used in many different situations.

You'll be using the parametric equalizer on the T1 ToneMatch® Audio Engine to improve vocal microphone feedback. The parametric equalizer has a frequency adjustment to select the pitch (note) you want to shape, and a boost or cut adjustment to increase or decrease that pitch like a regular tone control. It also has a bandwidth knob, to set how wide a range of pitches around the single pitch you are adjusting.

T1 Para 1 new.jpg

  1. Turn the volume down on the microphone channel; mute any other microphone channels.
  2. Set the Para EQ Level to 10 dB boost (boost, not cut)
  3. Set the Para EQ Width to 0.20 oct
  4. Slowly turn up the volume of the microphone creating feedback to just before feedback. You'll probably start to hear the pitch that feeds back but don't let the feedback start.
  5. Start changing the Para EQ frequency control. At some point, the system will begin to feedback on the same pitch you were hearing without the boost. With some tuning and listening, you now have the Para EQ frequency set to the same (or very nearly the same) frequency causing feedback. You may need to change the volume of the microphone channel to avoid going into loud feedback.
  6. Change the ten dB boost to a cut, to notch out the frequency. Start with a cut of about 3 dB and use more only if necessary. That microphone should now be able to be used with less feedback.

T1 Para 2 new.jpg

If there are multiple microphones in the system you may find that the whole system feeds; if so, repeat this procedure for the other microphones (muting the other microphones while adjusting the Para EQ on one of them).

Once you know the frequency for one microphone (and the T1 tells you this in Hz), you can start by applying the same notch to other microphones -- but you may find that some adjustments are needed for each due to differences in the microphones and their different locations.

How much does this hurt the sound? You should experiment a little, since -- it depends. The notch will have different effects on the tone depending on how deep it is (how much you cut), how wide it is (keep it as narrow as you can), and where it is relative to your voice or instrument. Use your ears to tell you if you've gone too far.

This technique was described in a field report by Bill-at-Bose.

Feedback: Comp Gate / Noise Gate

Use the CompGate - Noise Gate to effectively mute the microphone when there is not a strong vocal.

You will have to experiment to find the best setting.



From the Bose® Professional Portable Systems Users Forum

It seems so obvious now that the Noise Gate is the answer; still, your post prompted my epiphany. We play electric and definitely louder than an acoustic act. (ex: I use either two customized Blues Jr's in stereo, my '65 Super Reverb, or my ProTube Twin Amp on stage) The tonematch's Noise Gate solved the feedback resulting form my need to push the vocal mike to the max. Also, I don't have to stand in between the microphone and the Bose to avoid that ensuing ring. The band was awestruck by my the improvement in my "mixing prowess". Of course, I didn't tell them that you cued me in. Thanks, (and don't tell anyone you told me, ha!)

Feedback Problems - Esparka

Para EQ Isolating a Problem Frequency

You can use the T1 ToneMatch® Audio Engine Parametric EQ feature to notch out a problem frequency. Here are a few real-world examples.

Bassist With Excessive Resonance at B flat

Chuck-at-Bose provided this approach.[1]

  1. Set the Width control to a value that's narrow enough to zoom in on the problem area, but wide enough to easily hear the effect of coarse adjustments. A value between one third (0.33) and one half (0.50) of an octave often works well as a starting point.
  2. Boost (turn up) the Level control a little, usually about +3 to +6 dB, so that coarse frequency adjustments (next step) can be easily heard.
  3. Rotate the Freq control to slowly sweep across the spectrum. Start low and sweep up until you hear the offending note jump out. Go back and forth until the problem note is centered, or at its loudest. For problem note, the frequency of the B flat note is approximately 58 Hz.


4. Adjust the Width control to as narrow a value as possible, so that only the problem is being affected, leaving the non-offending frequencies around it unchanged. The T1 goes down to one fifth (0.20) of an octave, which is great for 'notching out' problem notes.
5. Now adjust the 'Level control to cut (turn down) enough to make the problem go away, but not so much that the tone of the source is altered in an undesirable way. Values of -1 to -6 dB will often do the trick, though sometimes a more aggressive cut is necessary. Use your ears to find an appropriate balance between fixing the problem and adversely altering the tone of the source.


Another Approach to Eliminating a Boomy Note

Hilmar-at-Bose had a different approach[2]

a) set the level of the para EQ to a cut, say -10 dB

b) set the width to fairly narrow, say .25 octaves

c) start with a rough estimate of the offending frequency and then move the frequency around until the offending note gets tamed best

d) you can press on the level control to toggle between on and off which gives you a direct A/B so you can judge the effect better

Once you have centered on the frequency you adjust the level and width to taste.

Estimating the frequency:

  • Low octave of the bass is from 40 Hz to 80 Hz (E1 to E2), A1 is at 55 Hz
  • Low octave on the guitar is from 80 Hz to 160 Hz (E2 to E3), A2 is at 110 Hz
  • 2nd octave on the guitar is from 160 Hz to 320 Hz (E3 to E4), A3 is at 220 Hz

Here is a cheat sheet: Frequency vs. Musical Notes Graphic from MIT

Piezo Pickup Thump

If you have an Acoustic Guitar that is picking up low end thump from a percussive right hand technique use the Para EQ with settings like this.

  • Level -15
  • Frequency 50 Hz
  • Width 0.50


T1 and x bridge - Strat man

Single Coil Buzz

Use the Noise Gate



The default settings seem to work okay for me.

eliminating single coil buzz - jayare and ST

Wind Noise

A microphone responds to the movement of air and it does not care what caused the air to move. This means that a mic cannot distinguish between air movement originating from a talker, and air movement originating from local weather. Wind noise is a persistent problem with microphones but there are multiple ways to minimize unwanted noise.
Wind noise has a large amount of low frequency (bass) content, often described as “rumble.” Cutting out the extreme bass from a microphone signal is an effective method to reduce audible wind noise.

Source: shure tech tips to minimize wind noise

Use the ParaEQ (Woody B called it the notch filter)

I had an extremely windy gig last night. Even with windscreens on the mics they still had the wind rumble. I used the notch filter on my T1 to notch the wind sound out. I don't believe it's called a notch filter on the T1, but I don't remember the correct name. I just turned the volume way up, and adjusted the frequency until the wind noise was gone. I tried using the noise gate, but if it was high enough to eliminate the wind it also eliminated most of the vocals. Usually wind screens solve any wind problems I have, but the wind was so strong I kept my guitar case on stage to sit my guitar in, instead of using a stand. I believe the wind would have blown it over.

What to do in windy conditions - Woody B

  1. Chuck-at-Bose talks about using the Para EQ to solve a problem frequency
  2. Hilmar-at-Bose talks about solving a boomy note

Usage Tips

A/B Comparisons using 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.



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


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


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


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

To bypass a zEQ setting on your T1®


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

To bypass a zEQ setting on your T1®


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.

Passive Piezo Pickups

If you have instruments with passive pickups, and instruments with active pickups or preamps, try the passive pickups in T1® Channels 1, 2, or 3. You can put the instruments with active pickups or preamps into Channels 4/5. Bouzouki with passive McIntyre Pickup to T1® - MBanshee.

Switching between Instruments

Mary (Banshee in the Kitchen) noted [1] T1 ToneMatch™ Audio Engine / Switching Between Instruments

Use the T1 ToneMatch® Audio Engine with a non-Bose PA

If your mystery system is voiced to a normal-sounding spectral distribution (like the L1's), the presets in the T1 will work fine. If not (a really good probability, especially if it's an odd-brand "installed" system), all bets are off. Actually, even if it's a really good installed system but all the controls (like the house EQ) are readily accessible, chances are this will fall into the "not" category too. In either case, the loop is wide open at this point. Might as well leave the T1 in the car.
-- Cliff-at-Bose [2]
What Cliff is getting at is the fact that the house system may be 'voiced' any number of ways. In almost all cases a house system will be voiced quite differently from an L1, which will make the presets sound much differently than intended.
We just don't know what will happen. The presets may work great, they may not work well. No way to tell until sound check.
Bring the T1 though - worst case scenario is you leave your EQ's flat.
-- MikeZ-at-Bose [3]

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:

  • Set the effects you want on Channel 1
  • Take a ¼ inch jack cable from the Channel 1 PreAmp Out to Channel 2 input
  • Add the second layer of effects you want to Channel 2
  • Now use the FX Mute buttons for Channels 1 and 2 to set which banks of effects will be used
    • Channel 1 only
    • Channel 2 only
    • Channel 1 and Channel 2 in parallel

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:

  • Set the effects that you want on Channel 1
  • Set the Aux tap to Pre
  • Take a ¼ inch jack cable from the Aux Out to Channel 2 input
  • Apply effects that you want applied to the output of Channel 1
  • Now use the FX Mute buttons for Channels 1 and 2 to set which banks of effects will be used
    • Channel 1 only
    • Channel 2 only
    • Channel 1 and Channel 2 in series

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

  1. Mary (MBanshee) in the Bose Community Message Boards
  2. Cliff-at-Bose Value of Presets
  3. MikeZ-at-BoseValue of Presets