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| − | {{Bose Reviewed}} | + | <!-- automatically included in Main Page--> |
| | + | == New Articles == |
| | + | * [[Connecting a third party mixer to your T1|Third Party Mixer to T1]] |
| | + | * [[S1 Pro System with Bose Connect App]] |
| | + | * [[T8S Pan Aux]] |
| | + | * [[T1 ToneMatch® Audio Engine to Compact]] |
| | + | * [[S1 to B1]] |
| | + | * [[T8S to Mackie SRM]] |
| | + | * [[S1 Pro system]] |
| | + | * [[T4S/T8S ToneMatch® Mixer|T4S/T8S ToneMatch® Mixer with videos]] |
| | + | * [[T1 ToneMatch® Audio Engine / Videos]] |
| | + | * [[Compact to Model II Daisy Chain]] |
| | + | * [[Compact to Model 1S Daisy Chain]] |
| | + | * [[T1 ToneMatch® Audio Engine to Two Model 1S Power Stands|T1® to Two Model 1S Power Stands]] |
| | + | * [[T1 ToneMatch® Audio Engine to Two Model II Power Stands|T1® to Two Model II Power Stands]] |
| | + | * [[Two T1®s with Two Model 1S Systems]] |
| | + | * [[Two T1®s with Two Model II Systems]] |
| | + | * [[Mixer to Share Presets on the Compact|Using a Mixer with the {{Compact nl}}]] <!-- {{Compact icon no label}} --> |
| | + | * [[T1 ToneMatch® Audio Engine / Microphone into Channel 4|Use a 4th microphone with the T1]] {{T1 icon no label}} |
| | + | * [[The L1® Approach and the History Of Amplification]] Video |
| | | | |
| − | <table><tr>
| + | == System Updates == |
| − | <td valign="top" width="500">__TOC__</td> | + | <div style="font-weight: bold; text-color: red;"> |
| − | <td valign="top">
| + | * [[T4S T8S Firmware Update Instructions]] ⇐ If you just got a new T4S or T8S follow this link. |
| | + | </div> |
| | + | *[[Downloads|Download Important Fixes for {{T1 noLink}} & {{Model II noLink}}]] |
| | + | **Note: If your system was manufactured in 2014 or later, you likely don't need these. |
| | + | **[[L1® Model II Power Stand Firmware Updates]] |
| | + | **[[T1 ToneMatch® Audio Engine Firmware Updates]] |
| | | | |
| − | </td>
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| − | </tr></table>
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| | | | |
| | | | |
| − | == What is feedback and how does it occur? == | + | == [[Main Page Hot Topics|Product Announcements]] == |
| − | Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.
| + | [[S1 Pro system]] January 23, 2018<br> |
| | + | [[T4S/T8S ToneMatch® Mixer|T4S/T8S ToneMatch® Mixers]] January 23, 2018<br> |
| | + | ''' |
| | + | <html> |
| | + | <a href="https://www.bosepro.community/g/portable">Bose Pro Portable PA Community site</a> October 27th 2016<br> |
| | + | <span itemscope itemtype="http://schema.org/Product"> |
| | + | <a itemprop="url" href="/bose/wiki/index.php?title=F1_Model_812_Flexible_Array_Loudspeaker"> |
| | + | <span itemprop="name"> |
| | + | <span itemprop="manufacturer" itemtype="http://schema.org/Organization">Bose</span> |
| | + | <span itemprop="model">F1 Flexible Array Loudspeaker System</span> |
| | + | </span> |
| | + | </a> |
| | + | <time itemprop="releaseDate" datetime="2015-04-15">April 15, 2015</time> |
| | + | </span> |
| | + | </html>''' |
| | + | <br><!-- |
| | + | '''[[L1® Model 1S]]''' September 27, 2012''' |
| | + | --> |
| | + | <html> |
| | + | <span itemscope itemtype="http://schema.org/Product"> |
| | + | <a itemprop="url" href="http://toonz.ca/bose/wiki/index.php?title=L1%C2%AE_Model_1S"> |
| | + | <span itemprop="name"> |
| | + | <span itemprop="manufacturer" itemtype="http://schema.org/Organization">Bose L1®</span> |
| | + | <span itemprop="model">L1® Model 1S</span> |
| | + | </span> |
| | + | </a> |
| | + | <time itemprop="releaseDate" datetime="2012-09-27">September 27, 2012</time> |
| | + | </span> |
| | + | </html> |
| | | | |
| − | This fundamental fact is shown in the figure below. Note that in the diagram an L1 system is shown but the same fundamental fact is true for ANY loudspeaker.
| + | ''' |
| | + | <!-- '''[[B2|B2 Bass Module]]''' September 27, 2012 --> |
| | + | ''' |
| | + | <html> |
| | + | <span itemscope itemtype="http://schema.org/Product"> |
| | + | <a itemprop="url" href="http://toonz.ca/bose/wiki/index.php?title=B2"> |
| | + | <span itemprop="name"> |
| | + | <span itemprop="manufacturer" itemtype="http://schema.org/Organization">Bose L1®</span> |
| | + | <span itemprop="model">B2 Bass Module</span> |
| | + | </span> |
| | + | </a> |
| | + | <time itemprop="releaseDate" datetime="2012-09-27">September 27, 2012</time> |
| | + | </span> |
| | + | </html> |
| | | | |
| − | [[Image:Feedback fig 1.jpg|800px|Microphone Feedback]] | + | [[Model II Firmware Without a T1 ToneMatch® Audio Engine|Firmware updates for Model II without T1®]] |
| − | | + | <noinclude> |
| − | If you understand this diagram, it is relatively easy to understand how changes in an amplification system and room can contribute to either increasing or decreasing the likelihood of feedback.
| + | [[Category:Site]] |
| − | | + | </noinclude> |
| − | == Techniques For Reducing Feedback ==
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| − | === Gain Staging ===
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| − | Your setup should always begin with good gain staging.
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| − | | |
| − | Take two minutes to watch this video by clicking on the picture below.
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| − | | |
| − | {{Get Plugged In Microphone}}
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| − | * If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video.
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| − | | |
| − | * If you are using the {{T1}}, the principles are the same as shown on the video: simply substitute the [[T1_ToneMatch%C2%AE_Audio_Engine#Set_Input_Trim|trim]] on the {{T1r}} for the trim on the Classic or Model I. {{T1 icon}}
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| − | | |
| − | The colors on the T1® are a little different because the T1® trim uses 3 colors. You want to have a good solid green signal with occasional flickers of yellow.
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| − | | |
| − | [[Image:TrimlightsOK.gif]]
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| − | | |
| − | If you are seeing flickers of red, turn down the trim.
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| − | | |
| − | [[Image:TrimlightsNo.gif]]
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| − | | |
| − | | |
| − | === Close Microphone Technique ===
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| − | '''Get close to the microphone''' when you want to be loud. No other technique has a big an impact on feedback. Each halving of distance is approximately another 6 dB of [[Gain Before Feedback|gain before feedback]]. This relationship in physics is known as the [[Inverse Square Law]]. This means that the difference between working a microphone at 2 inches, and 1/4 inch is 18 dB, which is more than twice as loud. While good mic technique often involves "working" the microphone at different distances, singers must be mindful of the fact that small changes in distance from the mouth result in very dramatic changes in sound level.
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| − | In the feedback diagram at the top, getting close to the microphone means getting more <font color="blue">sound from voice</font> which translates to more gain without feedback.
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| − | | |
| − | | |
| − | [[Image:Ferrin_eat_mic.jpg|Charlie Ferrin at Bose: Nov. 9, 2007]] | |
| − | | |
| − | | |
| − | === Vocal Strength ===
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| − | In the feedback diagram at the top, it is clear that other things being equal, vocal strength related directly to how loud a system will play before feedback. Said another way, a low-output singer is more likely to experience feedback for a given desired level in the room than a high-output singer.
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| − | | |
| − | === Directional Microphones ===
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| − | Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid|Hypercardioid]] is better than [[Microphone Directionality#Cardioid|cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone|omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.
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| − | | |
| − | Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.
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| − | | |
| − | In addition, most directional microphones have a strong behavior called [[Proximity Effect|proximity effect]]. This is the strong buildup of bass and low-mid response as the source (say the voice) to microphone distance decreases. For microphones intended to sound natural when the voice is very close -- say one of a number of popular stage vocal microphones -- what this means is that low-to-middle frequencies from sources at a distance, including loudspeakers being used to amplify the voice, are largely rejected by the microphone. This is a real plus in terms of avoiding microphone feedback.
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| − | | |
| − | Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage often in the studio where the engineer wants consistent tone regardless of distance. But it's a disadvantage on stage in terms of feebdack. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect is more susceptible to feedback at low-to-mid frequencies than a directional mic.
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| − | | |
| − | === Effects ===
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| − | If you are using vocal effects like compression, reverb, chorus or delay, turn them off until you can get sufficient [[Gain Before Feedback|gain before feedback]] to get performance level volume. Then add the effects back into the signal chain (one at a time) so you can be aware of the individual impacts that each effect is having on feedback.
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| − | | |
| − | === Open Microphones ===
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| − | Use as few open microphones as possible. When a microphone is not in use, if possible, turn it off. If you have a {{t1}} consider using the [[T1_ToneMatch®_Audio_Engine_/_Tips_%26_Tricks#Feedback:_Comp_Gate_.2F_Noise_Gate|noise gate]] to do this automatically.
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| − | | |
| − | :Gain-before-feedback decreases by 3dB every time the number of open (active) microphones doubles. ... This is why the number of microphones should be kept to a minimum and why unused microphones should be turned off or attenuated. — Source [http://www.shure.com/idc/groups/public/documents/webcontent/us_pro_mics_for_music_sound_ea.pdf Microphones Techniques for Live Sound Reinforcement] page 20
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| − | | |
| − | === EQ and Tone Controls ===
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| − | Use the high-frequency tone control for the microphone channel carefully. Feedback could occur when this is set too high.
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| − | | |
| − | === Instrument Pickups ===
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| − | Wherever possible, acoustic instruments should use pickups instead of microphones. Pickup systems provide much higher [[Gain Before Feedback|gain before feedback]] than microphones.
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| − | | |
| − | Using pickup can overcome the struggle to keep a consistent and close distance between the microphone and an instrument. Also, an instrument can be a source of feedback as it resonates with the amplified sound.
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| − | | |
| − | === Distance Between Microphones ===
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| − | Another (low priority) design guide-line could be to keep open microphones as far apart as possible. Neighboring systems with open microphones can mutually decrease [[Gain Before Feedback|gain before feedback]].
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| − | | |
| − | == Techniques specific to the {{L1 family}} ==
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| − | | |
| − | === The Benefit of ToneMatch Presets ===
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| − | A microphone that is not tonally balanced requires expertise and sophisticated equipment to equalize optimally. ToneMatch takes the guesswork out of getting studio-quality sound from a microphone connected to an L1 system. Equalization attempted by those not necessarily skilled in the art, or with tone controls that are not sophisticated enough, can leave peaks in the tonal response of the microphone -- peaks that are more likely to invite feedback.
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| − | | |
| − | For this reason, whenever possible, use a microphone with a ToneMatch preset.
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| − | | |
| − | === Tilt the Mic Up ===
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| − | {{Classic icon}} {{Model I icon}} {{Model II icon}}
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| − | * All players should be playing / singing through the {{L1}} closest to them.
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| − | * If you are using a {{T1}} it is often possible to use the parametric EQ section to notch the frequency that is causing feedback. You can find details in the article: [[Using the T1® to Control Microphone Feedback]]
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| − | * If you are using a {{T1}} try using the Comp Gate section to effectively turn off microphones that aren't being used. You can find details in the article: [[Feedback / T1 ToneMatch® Audio Engine / Comp Gate]]
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| − | * When stand mounting a directional microphone, tilt the microphone up ten or twenty degrees off the horizon so that it is less sensitive to direct sound from the speakers.
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| − | * In the feedback diagram at the top, using a directional microphone tilted up and away from the Cylindrical Radiator® means getting less sound from the loudspeaker which translates to more gain without feedback.
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| − | ** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.
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| − | | |
| − | [[Image:MicGoodBad.gif]]
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| − | | |
| − | === Use the {{T1}} Comp Gate to mute the microphone ===
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| − | | |
| − | {{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}}
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| − | | |
| − | === Use the {{T1}} ParaEQ to notch out a problem frequency ===
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| − | | |
| − | {{:Feedback / T1 ToneMatch® Audio Engine}}
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| − | | |
| − | == Does Microphone Sensitivity Affect Feedback? ==
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| − | {{:Microphone Sensitivity and Feedback}}
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| − | | |
| − | == Picking a Microphone ==
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| − | For the best feedback performance, choose a directional microphone that has a ToneMatch preset.
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| − | | |
| − | == Other References ==
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| − | * [http://www.shure.com/stellent/groups/public/@gms_gmi_web_ug/documents/web_resource/us_pro_mics_for_music_sound_ea.pdf Microphone Techniques for Live Sound Reinforcement] Shure Educational Publication 2006 39 pages - pdf format
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| − | - [http://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf alternate source for above]
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| − | * [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]
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| − | * [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)
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| − | | |
| − | * [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch
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| − | ----
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| − | <references/> | |
| − | | |
| − | [[category:Feedback]]
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| − | [[category:Performance]]
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| − | [[category:Reference]]
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