Difference between pages "T1 ToneMatch® Audio Engine / Using the Para EQ to Control Feedback - field report" and "T1 ToneMatch® Audio Engine"

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{{T1 icon}}[[Image:005 Bose T1.gif|right|T1 ToneMatch™ Audio Engine]]
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'''<big>Using the {{T1}} Para EQ to Control Feedback</big>'''
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{{T1 icon}} {{Model II icon}}
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<table><tr><td valign="top">
 +
__TOC__</td>
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<td valign="top">[[Image:005 Bose T1.gif|Bose T1™]]
  
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This is an excerpt of a post by Bill-at-Bose. <ref>Bill-at-Bose [http://bose.infopop.cc/eve/forums/a/tpc/f/778102955/m/4561000754?r=4561000754#4561000754 discusses using the T1 to overcome feedback]</ref>
+
''' <big>Download the Latest Firmware and Updates </big>'''
 +
[http://bose.infopop.cc/eve/forums/a/tpc/f/8221072574/m/5791097384 T1 and L1™ Firmware]
  
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We just used the method you are talking about (using a parametric EQ<ref>owner Curtis Blues [http://bose.infopop.cc/eve/forums/a/tpc/f/778102955/m/4561000754?r=4561000754#4561000754 using a parametric EQ]</ref>) pretty effectively at our Musikmesse<ref>Bill-at-Bose [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/5031050644?r=1281044844#1281044844 post from Frankfurt Germany - March 29th, 2007]</ref> show in Frankfurt, Germany. On the stage, with up to 5 open microphones for the band (2 horns, three vocals), if we added a sixth microphone for talking in between sets, we could begin to get a little squealing. It wasn't a problem if all the microphones were not on at once, but sometimes in the show when we're switching quickly between the band and announcements with Ken's<ref>Ken-at-Bose</ref> headset microphone, it would be possible to leave a microphone unmuted at the wrong time.
 
  
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So, to play it safe, Hilmar<ref>Hilmar-at-Bose</ref> used the parametric equalizer (Para EQ<ref>[[Image:T1ParaEQ.png|Page 21 of T1™ Manual]]</ref>) on the {{T1}} to improve the problem in the following way: The parametric equalizer, for those who may not know, 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 tell you how wide a band, or range of pitches, around the single pitch you are adjusting.
+
Announced March 29, 2007
  
−
The method is to turn up the microphone gains to just below feedback. In the process you'll probably hear the pitch that feeds back (not too loudly if you're careful enough!). You set the Para EQ to ten dB boost (yes, boost, not cut - I'll explain why later), then start adjusting the frequency (pitch) control. At some point, the system will begin to feedback on the same pitch you were hearing feedback without the boost. With some tuning and listening, you now have the EQ set to the exact feedback frequency. Of course, you ride the volume to avoid going into feedback loudly and damaging your ears, or those of your loved ones.
+
* [http://www.bose.com/controller?event=VIEW_PRODUCT_PAGE_EVENT&product=t1_audio_engine  T1 ToneMatch&trade; audio engine - Official Bose Page]
  
−
Now that the frequency control is set to the worst offender, you change the ten dB boost to a cut, to notch out the frequency. That microphone should now be able to go a little hotter without feeding back.
+
* [[Presets (T1 ToneMatch)|T1 ToneMatch™ Presets]] (includes downloadable lists with cross-references to Version 2 presets).
 +
* [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/popups/l1_m2_presets.jsp T1 ToneMatch™ Presets] (official version - opens in tiny window).
  
−
When you have multiple microphones you may find that the whole system feeds back (sound from one speaker gets into a microphone that goes to a different speaker). You may find that the frequencies are similar for all the microphones, and that notching out the response of each microphone is required. It takes some experimentation - the really experienced guys like Hilmar, Ken, Cliff<ref>Cliff-at-Bose</ref> and others, can do this in their sleep.
+
* [[T1 ToneMatch™ Audio Engine/FAQ]]
  
−
What I thought was especially interesting when Ken showed me this method, is that my first instinct would have been to program in a ten dB CUT, instead of a boost, and try to sweep the frequency until the feedback goes away. And this might work OK in a single microphone environment. But in a multi-microphone environment, it is hard to tell which of the microphones is the main contributer to the particular feedback chain. You could cut one microphone, and it might not help the feedback. But if you BOOST the offending frequency, it's nearly guaranteed you can make the feedback worse with any microphone, even if the microphone you're on is not the loudest in the chain. Then, once you know the frequency (and the T1 tells you this in Hz, e.g.4082 Hz - very cool), you can apply the same notch to other microphones.
+
*{{:T1 ToneMatch™ Audio Engine/Video}}
  
−
You might wonder how much this will help? I can't give an exact answer, but you may get a couple extra dB out of volume - that should allow you to be noticeably louder. It may be more difficult in a tight situation like yours.
+
*{{:T1 ToneMatch™ Audio Engine/Simulation}}
 +
This is an online simulator that lets you interact with all the controls on the {{T1}}
 +
</td></tr></table>
  
−
How much does this hurt the sound? Another great question (glad I asked Smile), and 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.
+
== Documentation ==
 +
{{:L1™ Model II Documentation}}
  
−
There is equipment available that does a similar process in an automated way: It finds a feedback frequency, notches it, then finds the next frequency, and notches it, etc. I've heard from folks who have tried these that after the first couple frequencies, it can be a waste of time - you can eliminate one and the next one will pop up to take it's place. Also, the more notches you put into the response of your instrument, the less natural it will sound.
+
== Aux Output ==
 +
{{:T1 ToneMatch™ Audio Engine/Aux}}
  
−
In a club, with your set up, I would personally try other methods before I tried the more "intrusive" method of notching with an equalizer. Consider whether you really need the high hat microphone - I'd think that even in a noisy club the cymbals might carry to the back pretty well. The high hat will also bleed into your vocal microphone anyway, so you get some coverage that way. I'd also try without the drum microphone (again, just my preference, your mileage may vary) - if you need more, kick it harder! Eliminating two microphones can lower your feedback a lot, and the sound could remain very natural.
+
== Effects ==
 +
=== Overview from Hilmar-at-Bose ===
 +
{{:T1 ToneMatch™ Audio Engine/Effects}}
  
−
I hope that helps, and hope you don't mind that I took a little time to explain one of the great applications of the {{T1}}!
+
=== Detailed Listing ===
 +
Please see [[L1™ T1 ToneMatch™ Audio Engine/FAQ#Effects|Effects]]
 +
 
 +
<!-- Labeled Section Transclude
 +
{{#lst:L1™ T1 ToneMatch™ Audio Engine/FAQ|Effects}}
 +
-->
 +
 
 +
== Gain Staging ==
 +
Bill-at-Bose <ref>[http://bose.infopop.cc/eve/forums?a=tpc&f=7521050644&m=9821050644&r=7191052284#7191052284 Bill-at-Bose Talks about Gain Staging in the Bose® Musicians Community Message Boards]</ref> talks about setting the gain on a {{T1}}.
 +
 
 +
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 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.
 +
 
 +
== Preamps ==
 +
=== Comparison to Model I and Classic ===
 +
 
 +
MikeZ-at-Bose tells us:<ref>MikeZ-at-Bose [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/3651093054?r=1711028154#1711028154 talks about the preamps in the L1 Model I and the T1™ ]</ref>
 +
 
 +
... (the preamps on the Model I are)...  exactly the same as the Classic. 
 +
 
 +
On the {{T1}} they're different, but are designed to the same standard as the {{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}} are different that the {{Model I}} / {{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}}. 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<ref>MikeZ-at-Bose [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/3651093054?r=1711028154#1711028154 talks about the preamps in the L1 Model I and the T1™ ]</ref>
 +
 
 +
=== Preamps Out ===
 +
[[Image:T1PreampsOut.png|thumb|right|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<ref>MikeZ-at-Bose -[http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/5891048364?r=3141068364#3141068364  T1™ Preamp Out Muting]</ref>. This means that these are post-trim, and nothing else (e.g. Muting) has any effect on the signal at the preamp outs.
 +
 
 +
 
 +
== Power Stand Input Setting ==
 +
{{T1 icon}}{{Model I icon}}{{Classic icon}}
 +
When using the Classic or Model I <ref>Hilmar-at-Bose talks about setting inputs [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/3041050644?r=2991039944#2991039944]</ref>
 +
The T1 has more input capability then the Model 1,s so you should be able to use the T1 as the only control for your system. We have a recommended trim setting for connecting the T1 to a Model 1 input Ch 3 or Ch 4
 +
 
 +
Note: New recommendation 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.
 +
 
 +
The {{T1}} 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<ref>MikeZ-at-Bose talks about [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/3041050644?r=7271069184#7271069184 the input setting on the Model I or Classic Power Stand with the T1™] </ref>
 +
Bill-at-Bose and I have revisited this.
 +
 
 +
For these conditions:
 +
* T1 going into model I/Classic into Ch 3/4
 +
* balanced OR unbalanced 1/4" cable
 +
* remote unplugged, OR, master volume on remote at 12 o clock
 +
* proper gain staging required on the T1 itself
 +
 
 +
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 Classic/model I as if you were going through the digital ethercon input on a model II.
 +
 
 +
If you are using the remote on your M1/CL, 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
 +
 
 +
----
 +
 
 +
Excerpt from the {{T1}} Manual - page 20 - Note: this recommended input setting is now '''3'''. See the note above.
 +
 
 +
[[Image:T12ModelI.png]]
 +
 
 +
== USB (Computer Interface) ==
 +
{{:T1 ToneMatch™ Audio Engine/USB}}
 +
 
 +
{{:T1 ToneMatch™ Audio Engine/Aux}}
 +
== Cables  ==
 +
=== From T1 to Model II ===
 +
Ken-at-Bose<ref>Ken-at-Bose [http://bose.infopop.cc/eve/forums?a=tpc&f=7521050644&m=3651060054&r=2631045054#2631045054 Steal this computer cable!!]</ref>
 +
 
 +
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.
 +
 
 +
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 ===
 +
[http://www.neutrik.com/content/products/detail.aspx?id=210_1267482192&catId=CatMSDE_misc 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 <ref>Bill-at-Bose talks about [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/5711086844?r=3931015654#3931015654 cable lengths]</ref>
 +
 
 +
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:<ref>MikeZ-at-Bose [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/8501089064?r=4311000164#4311000164 talks about T1 cable lengths]</ref>
 +
 
 +
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}} off of the optional power supply, and then run a balanced line from the Master Out on the {{T1}} to the balanced 'analog input' on the {{Model II}}. This method would be able to transmit over a hundred feet, perhaps much more.
 +
 
 +
== Optional AC Power Adaptor ==
 +
5ft of cord from the T1 to the power prick, and a removable 6ft cord from the brick to the wall. Imagine a laptop power cable.<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/867107664/m/2771032474?r=4041072474#4041072474 Optional AC Power Adapter]</ref>
 +
 
 +
 
 +
== Display Panel ==
 +
=== Outdoors ===
 +
 
 +
Q:  Please talk about using the {{T1}} 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. <ref>Hilmar-at-Bose talks about the [http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/5031050644?r=4091059454#4091059454 transflexive display on the T1™]</ref>
 +
 
 +
=== Design of Visual Components  ===
 +
Quoting Ken-at-Bose<ref>Ken-at-Bose speaks about [http://bose.infopop.cc/eve/forums?a=tpc&f=7521050644&m=9821050644&r=5841029944#5841029944 development of the T1 ToneMatch&trade; audio engine]</ref>
 +
 
 +
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.
  
−
Bill
 
  
 
----
 
----
−
<references/>
 
  
 +
<references />
 
[[Category:T1]]
 
[[Category:T1]]
−
[[Category:Feedback]]
 

Revision as of 16:22, 11 August 2007

T1 This information is applicable to the T1 ToneMatch® audio engine
L1 Model II This information is applicable to the L1® Model II

Bose T1™

Download the Latest Firmware and Updates T1 and L1™ Firmware


Announced March 29, 2007

This is an online simulator that lets you interact with all the controls on the T1 ToneMatch Audio Engine

Documentation

L1™ Model II Documentation

Aux Output

T1 ToneMatch™ Audio Engine/Aux

Effects

Overview from Hilmar-at-Bose

T1 ToneMatch™ Audio Engine/Effects

Detailed Listing

Please see Effects


Gain Staging

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 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.

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]

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.


Power Stand Input Setting

T1 This information is applicable to the T1 ToneMatch® audio engine
L1 Model I This information is applicable to the L1 Model I
Classic This information is applicable to the L1® Classic

When using the Classic or Model I [5] The T1 has more input capability then the Model 1,s so you should be able to use the T1 as the only control for your system. We have a recommended trim setting for connecting the T1 to a Model 1 input Ch 3 or Ch 4

Note: New recommendation 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.

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[6] Bill-at-Bose and I have revisited this.

For these conditions:

  • T1 going into model I/Classic into Ch 3/4
  • balanced OR unbalanced 1/4" cable
  • remote unplugged, OR, master volume on remote at 12 o clock
  • proper gain staging required on the T1 itself

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 Classic/model I as if you were going through the digital ethercon input on a model II.

If you are using the remote on your M1/CL, then you will need to compensate a bit. If you running the remote master volume at max, then stick with 2on 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

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

T12ModelI.png

USB (Computer Interface)

T1 ToneMatch™ Audio Engine/USB

T1 ToneMatch™ Audio Engine/Aux

Cables

From T1 to Model II

Ken-at-Bose[7]

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.

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 [8]

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:[9]

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.

Optional AC Power Adaptor

5ft of cord from the T1 to the power prick, and a removable 6ft cord from the brick to the wall. Imagine a laptop power cable.[10]


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. [11]

Design of Visual Components

Quoting Ken-at-Bose[12]

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.


  1. ↑ Bill-at-Bose Talks about Gain Staging in the Bose® Musicians Community Message Boards
  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. ↑ Hilmar-at-Bose talks about setting inputs [1]
  6. ↑ MikeZ-at-Bose talks about the input setting on the Model I or Classic Power Stand with the T1™
  7. ↑ Ken-at-Bose Steal this computer cable!!
  8. ↑ Bill-at-Bose talks about cable lengths
  9. ↑ MikeZ-at-Bose talks about T1 cable lengths
  10. ↑ Optional AC Power Adapter
  11. ↑ Hilmar-at-Bose talks about the transflexive display on the T1™
  12. ↑ Ken-at-Bose speaks about development of the T1 ToneMatch™ audio engine
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