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919 articles in English

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L1® Model II: Can I run a Stereo Source to the Power Stand

A ¼ inch Tip-Ring-Sleeve connector carrying a stereo signal should not be used with the analog input on the Model II.

Even though a ¼ inch Tip-Ring-Sleeve connector can carry a stereo signal this is not how this physical connection is used on the Sandbox Power Stand.

The analog input on the Model II is balanced, and will therefore subtract the Left and Right signals on a stereo cable and you will hear an L-R (Left minus Right) signal in the Model II.

You cannot 'get through the gig' this way if you are a DJ or if you need to run prerecorded music or have stereo inputs.




Using a Mixer

L1 Model II

Alesis MultiMix8USBBehringer UB1202Mackie 1202 VLZ ProNumark CD Mix-2Spirit NotepadYamaha MG82/FX

If you are using a mixer instead of a T1 ToneMatch Audio Engine use the mixer to create a mono output and send that to the Model II Power Stand Analog input.

  • If there is a stereo/mono switch then use it and send the mono output to the Model II Power Stand Analog input.
  • If there is a Left/mono output then use that and send it to the Model II Power Stand Analog input.
  • If there is no way to create a mono output then pan all your mixer inputs all the way to one side (e.g. Left) and then take the mixer for that side (e.g. Left) output and send it to the Model II Power Stand Analog input.

Lower Section Only

Q: Can I run with only the lower section of the L1 Cylindrical Radiator® loudspeaker?

A: From a technical standpoint it is safe to operate the system with only the lower section of the Sandbox , however the spatial and spectral performance of will be greatly reduced, so this has only a very limited application. - Hilmar-at-Bose[1]

Correcting the Tone

Try inserting a ¼ inch connector in the Bass Line Out of the Power Stand. This will cause the internal logic to reduce the Bass output, and this should give you a better overall tonal balance when running with only one section of the Sandbox.

For very detailed notes about this see Half Stack.

Link to a category page. Articles about the B1


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Scroll down to see Articles about Feedback.

What is feedback and how does it occur?

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.

This fundamental fact is shown in the figure below.

Microphone Feedback

More generic explanation


Audio feedback (also known as the Larsen effect after the Danish scientist, Søren Larsen, who first discovered its principles) is a special kind of feedback which occurs when a sound loop exists between an audio input (for example, a microphone or guitar pickup) and an audio output (for example, a loudspeaker). In this example, a signal received by the microphone is amplified and passed out of the loudspeaker. The sound from the loudspeaker can then be received by the microphone again, amplified further, and then passed out through the loudspeaker again. — audio feedback: Wikipedia
Audio feedback is the ringing noise (often described as squealing, screeching, etc) sometimes present in sound systems. It is caused by a "looped signal", that is, a signal which travels in a continuous loop. — feedback:


Articles about Feedback

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  1. Wire up the PS1 Powerstand connections
  2. Connect the B1
  3. Insert the L1™ Cylindrical Radiator sections
  4. Turn down the R1 Remote Master Level
  5. Power on the System



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Cliff-at-Bose wrote[2]

Depends on the wall construction. Most drywall will reinforce midbass (like 100-250 Hz) and let the deeper octave or so pass right on thru giving you little reinforcement from reflection. So if you push your bass boxes up against the wall, you'll tend to get a lot of midbass with a typical drywall-constructed wall. And, yeah, then it will be muddy. Most walls don't reflect sound uniformly with frequency, so you get a change in spectrum you probably don't want no matter what. One possible exception to this is, say, 6" thick concrete with a 1/4" thick lining of steel. Oh, and don't take my word for it either. Do it yourself and see what you hear. Also, aiming the individual bass boxes won't have much effect as they are so much smaller than the wavelengths they are producing that they are virtually omni. For instance, a 125Hz wavelength is on the order of 8 feet. A pair of b1's on each side of your ps1 will give you a hotter midbass down the middle and not so off to the side. Here, you've essentially made a crude bass array. So, my experience with all this tells me that the most consistant way to set the bass up, gig to gig, is to lump the bass boxes together and keep them away from the walls. You won't get the extra bass boost from the walls, but if you did, it wouldn't be wideband. I think you'll always do better not asking the wall to help. You know what they say about free help (you get what you pay for). This works for bass players, dj's and so on.


Presets - Ken Jacob 01

Presets - Ken Jacob 01

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