{{S1 Pro+ icon}}
{{DivToc
|RightHead = Connect a Mixer to an S1 Pro+ Summary
|RightBody =

=== The Simplest Thing That Could Possibly Work ===
<details><summary>Keep it Simple</summary>

There are many ways to connect a mixer to a Bose S1 Pro+, and just as many ways for things to go wrong. Different mixers, different cables, different output levels, different channel settings, and different ToneMatch presets create a huge number of permutations.</details>

;Here is '''the simplest thing that could possibly work''':
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.
* Mixer with XLR Outputs
::Use an XLR‑to‑¼″ (6.3 mm) Tip-Ring-Sleeve cable from your mixer’s mono output into Channel 3 on the S1 Pro+.

* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve
::Use a ¼″ (6.3 mm) Tip-Ring-Sleeve‑to‑¼″ (6.3 mm) Tip-Ring-Sleeve cable from your mixer’s mono output into Channel 3 on the S1 Pro+.

This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest to successfully connecting your mixer to your S1 Pro+.

=== Recommended Connection Method ===
=== 1. Use the Mixer’s Mono Output ===
If your mixer has a Left (Mono) output, use that.

If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.

Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).

This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.

{{ Callout
| type = warning
| title = No Y-Adapters
| text = For best results do '''NOT''' use any kind of Y-adapter to connect stereo outputs from a mixer to a mono input on an {{S1 Pro+}}. See [[Why_Not_Wye|Why Not Wye]] for details.'''
}}

=== 2. Connect to Channel 3 on the S1 Pro+ ===
Channel 3 is the most predictable and trouble‑free input for mixer use. <details><summary>Reasons</summary>
* No ToneMatch switch (not required with a mixer)
* No reverb
* Bass/Treble controls set at 12:00 o'clock
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)
* Lower effective sensitivity → less likely to clip
* Behaves consistently regardless of the source
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources
</details>
=== 3. Set Initial Levels ===
Mixer main fader: 0 dB (unity)

S1 Pro+ Channel 3 volume: 12 o’clock

Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.

This provides a clean starting point with good headroom.

=== Why Channel 3 Is Preferred ===
=== Avoiding Clipping ===
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.
Most mixers output line‑level signals on XLR.

This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.

Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.

=== Preserving Channels 1 and 2 ===
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.

Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:

* Microphones (XLR)
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)
* ToneMatch Presets
* Reverb
* Bass and treble controls

|Categories =
[[Category:How To]]
[[Category:Product to which this applies]]
[[Category:Other]]
}}

<details><summary>Full Detailed Version</summary>

== Full Version ==
;For best results: Connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. These are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.
;Note: The XLR jacks on the S1 Pro+ are microphone-level signal sources, not line-level outputs found on most mixers. The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.


;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.
:Connecting a line-level source (such as mixer output) to a mic-level input can cause the sound to be loud and distorted because the line signal is much stronger than what the mic input will accept. Inputs and outputs on many mixers are switchable for either mic or line-level operation. If the mixer has the option to switch the output to mic-level, then you can use the XLR inputs on the S1 Pro+. Otherwise, you may have to turn down the output of the mixer or the input on the S1 Pro+ or use the 1/4 inch (6.3 mm) Tip-Ring-Sleeve inputs instead.

;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+.
Most mixers have line-level outputs. The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.

The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.

;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.
:Connecting a line-level source (such as mixer output) to a mic-level input will cause the sound to be loud and distorted because the line signal is much stronger than what the mic input will accept. Inputs and outputs on many mixers are switchable for either mic or line level operation.

The nomenclature of "line" is from "telephone line." When the telephone network was being developed in the early 20th century, the nominal level of a telephone signal as it travelled along telephone cables was around 1 volt. So, 1 volt was a "line level" signal. <ref> [https://service.shure.com/s/article/mic-level-and-line-level-what-do-they-mean? Mic Level and Line Level and What Do They Mean?]</ref>

=== Mixer Outputs ===
If the mixer has 1/4-inch (6.3 mm) Tip-Ring-Sleeve (balanced) outputs, use 1/4-inch (6.3 mm) Tip-Ring-Sleeve cables to connect to the S1 Pro+ line-level inputs.
[[File:TrsMtrsM.png|400px]]

If the mixer has 1/4-inch (6.3 mm) Tip-Sleeve (unbalanced) outputs (unbalanced), use 1/4-inch (6.3 mm) Tip-Sleeve cables to connect to the S1 Pro+ line-level inputs.

[[File:TsMtsM.png|400px]]

If the mixer has XLR outputs, use XLR Female to 1/4-inch (6.3 mm) Tip-Ring-Sleeve cables to connect to the S1 Pro+ line-level inputs.

[[File:XLRFtoTRS.jpg|400px]]

=== Mixer to Single S1 Pro+ ===
If you are connecting microphones or instruments to your S1 Pro+ and you want to add a mixer to your system, you will want to connect the mixer to S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.

You will want to get a mono output from the mixer to connect to the single input jack on input 3. For tips on how to do that, see: [[Stereo Mixer to Mono L1]]

== Settings on the S1 Pro+ ==
If you connect to channels 1 and 2
* Set ToneMatch Switch to OFF
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)
* Set Reverb fully counter-clockwise (this is off)
* Set the Volume so you see solid green. If you see solid red, turn down the volume

If you connect to channel 3
* Set the Volume so you see solid green. If you see red, turn down the volume

; Important - MUTE any channels you are not using.

=== Mixer to Two S1 Pro+ ===
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.

Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.

Source: See [[{{PAGENAME}}#References|References section below]].


</details>
== References ==
{{S1 Pro+ Owners Guide}}

{{S1 Pro+ Service Manual}}

----

[[Category:S1 Pro+]]
[[Category:Mixer]]
[[Category:Connections]]

2026-04-11T17:19:25Z

ST: /* Introduction */

{{Bose Reviewed}}
{{Responsive Iframe}}

==Introduction==
If you have questions about this article, please see this
{{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}

== 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. Note that in the diagram, an L1 system is shown, but the same fundamental fact is true for ANY loudspeaker.

[[Image:Feedback fig 1.jpg|400px|Microphone Feedback]]

If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.

== Techniques For Reducing Feedback ==
=== Gain Staging ===
Your setup should always begin with good gain staging and with microphones, that starts with [[#Close Microphone Technique|great microphone technique]]. After that, you can consider [[##Gain_Staging_2|gain staging your equipment]].

=== Close Microphone Technique ===
{{Close Microphone Technique}}

=== Vocal Strength ===
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.

=== Directional Microphones ===
==== Principles ====
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.

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.

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.

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 feedback. 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.
====Omnidirectional and Unidirectional Microphones====
{{:Microphone Polar Pattern}}


<div>
 
</div>
<br>
<br>

=== Effects ===
If you are using vocal effects like 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.
==== TC Helicon Vocal Processors ====
If you are using a TC-Helicon vocal processor and you have the '''Tone''' processing on, you should not use a T1® Microphone Preset. Using both at the same time can reduce your gain before feedback. For more detail see [[:Category:TC-Helicon|TC-Helicon]].

=== Monitor Placement ===
{{Monitor Placement}}

=== Open Microphones ===
Use as few open microphones as possible.

:Note that each time the number of open mics in a sound system is doubled (1 to 2, 2 to 4, 4 to 8, etc.), the overall gain [before feedback] of the sound system drops by 3 dB. This means that more open mics equals less gain in the PA system.<ref>[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]</ref>

When a microphone is not in use, if possible, turn it off. If you have a ToneMatch mixer consider using the [[T1_ToneMatch®_Audio_Engine_/_Tips_%26_Tricks#Feedback:_Comp_Gate_.2F_Noise_Gate|noise gate]] to do this automatically.

=== EQ and Tone Controls ===
Use the high-frequency tone control for the microphone channel carefully. Feedback could occur when this is set too high.

=== Instrument Pickups ===
Wherever possible, acoustic instruments should use pickups instead of microphones. Pickup systems provide much higher [[Gain Before Feedback|gain before feedback]] than microphones.

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.

=== Distance Between Microphones ===
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]].

== Techniques specific to the {{L1 family}} ==

=== The Benefit of ToneMatch Presets ===
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.

For this reason, whenever possible, use a microphone with a ToneMatch preset.

=== Gain Staging ===
==== L1 Pro and S1 Pro/Pro+ ====
When you sing or play at the loudest you will perform, the channel light should be solid green. Occasional flickers of red are okay. But if you see solid red, turn down the volume. Important: Use [[#Close Microphone Technique|close-microphone technique]]. The farther you are from the microphone, the greater the likelihood of feedback.

==== T4S/T8S Gain Staging ====
{{T4S/T8S Gain Staging}}

==== {{T1}} ====
{{:T1 ToneMatch® Audio Engine / Gain Staging a Microphone}}

* 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}}

Your first adjustment for any input to your {{T1}} 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.

[[Image:T1TrimPots.png|T1® Trim Pots]]

Take two minutes to watch this video by clicking on the picture below.

{{Get Plugged In Microphone}}
* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video.

===== Set Up Your Source =====
Set your source at the maximum that it will be when performing.
* Microphone
: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.
* Instrument
:Turn your input as high as it is likely to go during performance.

===== Set Trim Controls =====
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).

[[Image: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.

[[Image:TrimlightsNo.gif]]

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.

==== ToneMatch Mixer Trim Controls ====

{{:T1 ToneMatch® Audio Engine / Trim Pots}}

=== Tilt the Mic Up ===
{{Classic icon}} {{Model I icon}} {{Model II icon}}
* All players should be playing / singing through the {{L1}} closest to them.
* 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]]
* 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]]
* 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.
* 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.
** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.

[[Image:MicGoodBad.gif]]

=== Noise Gate ===
Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone
{{Noise Gate}}


=== Notch Out a Problem Frequency ===
Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency

Sometimes the geometry and configuration of the mic(s) will cause one particular frequency to be reinforced more than all the others, relatively independent of the positioning of the microphone. By identifying that particular frequency, one can use the T1® to reduce ("notch out") just that one particular "problem" frequency.
{{:Feedback / T1 ToneMatch® Audio Engine}}

== Does Microphone Sensitivity Affect Feedback? ==
{{:Microphone Sensitivity and Feedback}}

== Picking a Microphone ==
For the best feedback performance, choose
* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]
* A microphone that has a [[ToneMatch]] preset
* For any L1 model or any ToneMatch mixer, you can use a condenser or dynamic microphone.
* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones
* For more insights, please see [[Review / Microphone / Various|Microphone Reviews]].

== Feedback Destroyers ==
{{:Feedback Destroyer}}

== Other References ==
Here's a quick link to other articles about <categorytree mode="pages" hideroot="off" namespaces="Main">Feedback</categorytree>


*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format
*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]
* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]

* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]
* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)

* [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch
----
<references/>

[[category:Feedback]]
[[category:Performance]]
[[category:Reference]]

Feedback / Microphone

2026-04-11T17:18:11Z

ST:

{{Bose Reviewed}}
{{Responsive Iframe}}

==Introduction==
If you have questions about this article, please see this
<big> {{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}</big>

== 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. Note that in the diagram, an L1 system is shown, but the same fundamental fact is true for ANY loudspeaker.

[[Image:Feedback fig 1.jpg|400px|Microphone Feedback]]

If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.

== Techniques For Reducing Feedback ==
=== Gain Staging ===
Your setup should always begin with good gain staging and with microphones, that starts with [[#Close Microphone Technique|great microphone technique]]. After that, you can consider [[##Gain_Staging_2|gain staging your equipment]].

=== Close Microphone Technique ===
{{Close Microphone Technique}}

=== Vocal Strength ===
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.

=== Directional Microphones ===
==== Principles ====
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.

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.

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.

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 feedback. 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.
====Omnidirectional and Unidirectional Microphones====
{{:Microphone Polar Pattern}}


<div>
 
</div>
<br>
<br>

=== Effects ===
If you are using vocal effects like 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.
==== TC Helicon Vocal Processors ====
If you are using a TC-Helicon vocal processor and you have the '''Tone''' processing on, you should not use a T1® Microphone Preset. Using both at the same time can reduce your gain before feedback. For more detail see [[:Category:TC-Helicon|TC-Helicon]].

=== Monitor Placement ===
{{Monitor Placement}}

=== Open Microphones ===
Use as few open microphones as possible.

:Note that each time the number of open mics in a sound system is doubled (1 to 2, 2 to 4, 4 to 8, etc.), the overall gain [before feedback] of the sound system drops by 3 dB. This means that more open mics equals less gain in the PA system.<ref>[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]</ref>

When a microphone is not in use, if possible, turn it off. If you have a ToneMatch mixer consider using the [[T1_ToneMatch®_Audio_Engine_/_Tips_%26_Tricks#Feedback:_Comp_Gate_.2F_Noise_Gate|noise gate]] to do this automatically.

=== EQ and Tone Controls ===
Use the high-frequency tone control for the microphone channel carefully. Feedback could occur when this is set too high.

=== Instrument Pickups ===
Wherever possible, acoustic instruments should use pickups instead of microphones. Pickup systems provide much higher [[Gain Before Feedback|gain before feedback]] than microphones.

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.

=== Distance Between Microphones ===
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]].

== Techniques specific to the {{L1 family}} ==

=== The Benefit of ToneMatch Presets ===
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.

For this reason, whenever possible, use a microphone with a ToneMatch preset.

=== Gain Staging ===
==== L1 Pro and S1 Pro/Pro+ ====
When you sing or play at the loudest you will perform, the channel light should be solid green. Occasional flickers of red are okay. But if you see solid red, turn down the volume. Important: Use [[#Close Microphone Technique|close-microphone technique]]. The farther you are from the microphone, the greater the likelihood of feedback.

==== T4S/T8S Gain Staging ====
{{T4S/T8S Gain Staging}}

==== {{T1}} ====
{{:T1 ToneMatch® Audio Engine / Gain Staging a Microphone}}

* 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}}

Your first adjustment for any input to your {{T1}} 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.

[[Image:T1TrimPots.png|T1® Trim Pots]]

Take two minutes to watch this video by clicking on the picture below.

{{Get Plugged In Microphone}}
* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video.

===== Set Up Your Source =====
Set your source at the maximum that it will be when performing.
* Microphone
: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.
* Instrument
:Turn your input as high as it is likely to go during performance.

===== Set Trim Controls =====
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).

[[Image: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.

[[Image:TrimlightsNo.gif]]

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.

==== ToneMatch Mixer Trim Controls ====

{{:T1 ToneMatch® Audio Engine / Trim Pots}}

=== Tilt the Mic Up ===
{{Classic icon}} {{Model I icon}} {{Model II icon}}
* All players should be playing / singing through the {{L1}} closest to them.
* 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]]
* 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]]
* 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.
* 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.
** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.

[[Image:MicGoodBad.gif]]

=== Noise Gate ===
Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone
{{Noise Gate}}


=== Notch Out a Problem Frequency ===
Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency

Sometimes the geometry and configuration of the mic(s) will cause one particular frequency to be reinforced more than all the others, relatively independent of the positioning of the microphone. By identifying that particular frequency, one can use the T1® to reduce ("notch out") just that one particular "problem" frequency.
{{:Feedback / T1 ToneMatch® Audio Engine}}

== Does Microphone Sensitivity Affect Feedback? ==
{{:Microphone Sensitivity and Feedback}}

== Picking a Microphone ==
For the best feedback performance, choose
* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]
* A microphone that has a [[ToneMatch]] preset
* For any L1 model or any ToneMatch mixer, you can use a condenser or dynamic microphone.
* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones
* For more insights, please see [[Review / Microphone / Various|Microphone Reviews]].

== Feedback Destroyers ==
{{:Feedback Destroyer}}

== Other References ==
Here's a quick link to other articles about <categorytree mode="pages" hideroot="off" namespaces="Main">Feedback</categorytree>


*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format
*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]
* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]

* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]
* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)

* [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch
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<references/>

[[category:Feedback]]
[[category:Performance]]
[[category:Reference]]