https://boseperformer.com/api.php?action=feedcontributions&feedformat=atom&user=STBose Portable PA Knowledge - User contributions [en]2026-07-06T22:24:24ZUser contributionsMediaWiki 1.45.1https://boseperformer.com/index.php?title=L1%C2%AE_System_FAQ&diff=12069L1® System FAQ8461-09-27T03:09:00Z<p>ST: formatting</p>
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This is the latest version of the L1® FAQs originally published in February 2008 on the [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/faqs.jsp Main Bose Site]. An unofficial version is in the works that will be a superset of what is here, providing links to detailed information from users' experiences.<br />
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'''Official Manuals, Guides, FAQs'''<br />
* [[Documentation]]<br />
* [[Videos|Video presentations]]<br />
* [[Interactive Tools|Interactive Tools]] Experience the gear online<br />
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{{BoseFAQ}}<br />
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<br />
== L1® Systems and the Bose® approach to live sound ==<br />
=== How does the Bose® approach to live sound work? ===<br />
The {{L1}} system represents an entirely new approach to live amplification. In this approach, the mixer, PA speakers, monitors and backline amplifiers are replaced by special Cylindrical Radiator® loudspeakers located behind the musicians. These speakers have the unique ability to disperse sound evenly across the stage and into the audience with very little change in sound level. <br />
<br />
The Bose approach mimics the wide sound stage of many acoustic performances: Each player has control over his or her individual sound, and a group's sound comes from multiple directions corresponding to the musicians' positions on stage. This property of acoustic music enhances our ability to hear and appreciate individual instruments and voices in ensemble passages.<br />
<br />
=== Is this technology better suited for seasoned musicians who already have tons of gear, or for musicians who are just getting started and need a simple solution?===<br />
{{L1}} systems are equally valuable for seasoned musicians and beginners. Experienced performers immediately recognize they can hear better and therefore play better, and they instantly appreciate the easy setup. Inexperienced musicians can spend more time playing and less time hassling with equipment. {{L1}} systems can help them develop into better players precisely because they can hear themselves and each other better. Musicians at all skill levels benefit from knowing the sound they produce on stage is the same sound that's projected to the audience.<br />
<br />
=== Are there similarities between an {{L1}} system and line arrays currently in use? ===<br />
Line arrays have been used for large concert performances as the PA component of a traditional amplification system. Unlike these large-venue systems, an {{L1}} system is designed as a portable implementation of a line source, positioned behind a musician?providing accurate coverage for the performer, other musicians onstage and audiences.<br />
<br />
=== In nightclubs you normally see very large loudspeakers for bass. How do your smaller bass enclosures compare? What makes them so special? ===<br />
Because our bass modules are used in an integrated {{L1}} system (with amplification and signal processing), performance can be enhanced in ways conventional component-based solutions can't. At the same time, the B1 bass module is modular, making it easier to produce higher bass output for instruments and styles that require it. An upright bass in a jazz trio might need only one bass module, but the electric bass in a 10-piece funk band might use four.<br />
<br />
=== Are sound operators required with {{L1}} systems? ===<br />
No. When musicians are in control of their own amplification with {{L1}} systems?and they know the same sound they're creating onstage is projected evenly to the audience?they're well equipped to create the desired balance of voices and instruments themselves. Without assistance from sound operators.<br />
<br />
=== What happens if a musician is blocking the view of an {{L1}} system? Doesn't that block the sound? ===<br />
Sound can diffract (bend) around objects. As long as a musician isn't standing directly against the {{L1}} loudspeaker, the sound diffracts around the musician and other objects like a keyboard or instrument. <br />
<br />
=== How loud can an {{L1}} system play? ===<br />
The new approach can compete with the maximum levels created by most conventional amplification systems. What's changed is that musicians in a band will rarely, if ever, struggle to hear themselves and each other, eliminating a major reason for excessive volume levels. With the new approach, dynamics are vastly improved, contributing greatly to musical quality. In testing at Bose, musical groups plagued by the problem of excessive loudness were delighted to find that, in one or two sessions, their average volume level had dropped drastically while their peak level remained the same. They expressed an enormous increase in the enjoyment of playing, and audiences expressed appreciation for music that was exciting but not overwhelmingly loud.<br />
<br />
=== Is this really a "plug and play" solution? How long does it take to set up? ===<br />
{{L1}} systems disassemble into easy-to-carry pieces. Everything can be carried by hand with no need for special equipment. The systems are also designed for easy assembly in just a few minutes. No group mixing is required with {{L1}} systems, eliminating the task of wiring instruments to a mixer, then from mixer to amplifiers and speakers. Musicians simply set up their {{L1}} systems, plug in and they're ready to play.<br />
<br />
=== Does every musician in the band need his or her own {{L1}} system? ===<br />
No. In some situations?a larger ensemble on a small stage, for example?testing showed that two or more musicians standing or sitting next to each other could share one {{L1}} system without a significant erosion of the benefits of the approach.<br />
<br />
=== Can one musician use an {{L1}} system while the rest of the band plays through a conventional system? ===<br />
Yes?there are two ways. A performer can use an {{L1}} system onstage without connecting to any other house reinforcement equipment, including stage monitors and main front speakers (or "house mains"). This allows the musician using the {{L1}} system to hear himself better and to be heard better by the other musicians onstage as well as the audience.<br />
<br />
A performer can also use an {{L1}} system onstage while sending his or her audio<br />
signal(s) to a house PA. In this case, the musician and the band enjoy the benefits from the {{L1}} system's sound onstage only. There are no advantages for the audience. The potential for excessive reverberation and the problems of bulky and complex equipment continue to exist when the rest of the band plays through a conventional setup.<br />
<br />
=== Can acoustic instruments be amplified with an {{L1}} system? ===<br />
Yes. If the acoustic instrument has a pickup system, you can connect to an {{L1}} system's power stand or into a ToneMatch® audio engine. When pickups aren't present, a microphone may be used. An {{L1}} Model I power stand is equipped with 24V phantom power capability for channels 1 and 2 to power condenser microphones. With a Model II system, use a direct box or transformer to adapt the mic cable to the power stand's 1/4" analog input connector. <br />
<br />
=== How does this approach work for electric guitar? ===<br />
There are three main ways an electric guitar's tone can be included in the {{L1}} system approach.<br />
<ul><br />
<p><b>With a modeling amp. </b>An electric guitarist simply plugs into a modeling amp, then plugs the output of that amp into an {{L1}} system. This is the most convenient and elegant way to use electric guitar with an {{L1}} system.</p><br />
<br />
<p><br />
<b>With a preamplifier.</b> Most tube-based or solid-state guitar preamplifiers can be used with an {{L1}} system. Just plug the output of the preamp directly into the {{L1}} power stand or ToneMatch audio engine.<br />
</p><br />
<p><br />
<b>With a traditional guitar amplifier.</b> Place a microphone in front of a traditional tube amplifier and connect the mic cable to an input on the L1. Exceptional results have been obtained with the use of low-wattage tube amplifiers— increasingly popular with players who want the tone of a tube amp without producing extremely high sound levels onstage.</p><br />
<br />
</ul><br />
<br />
The advantage gained in these methods constitutes what is arguably the most important advance in electrical guitar sound since the invention of the guitar amplifier itself: The L1® Cylindrical Radiator® loudspeaker overcomes the problem of uneven sound dispersion experienced with traditional guitar amps. The dispersion pattern of a typical guitar amp can be so harshly directional that the sound may be painful to listeners right in front of the amp speaker, but dull and muddy to others off to the sides. With an {{L1}} system, the sound a guitarist hears onstage is dispersed evenly and clearly throughout the audience.<br />
<br />
=== How does the output of an {{L1}} system compare to a loud stack of guitar amplifiers and cabinets? ===<br />
The output of an {{L1}} system can compete effectively with the output of a full stack of guitar amps and cabinets. There are additional benefits that distinguish an {{L1}} system from a full stack's acute directional beam, including the wide, even sound coverage of the Cylindrical Radiator® speaker. An {{L1}} system can also be used to amplify other instruments and voices at the same time<br />
<br />
=== Can you create distortion for guitars with an {{L1}} system? ===<br />
No, but you can amplify distorted sounds through an {{L1}} system. Distortion must be produced first, then fed into an {{L1}} power stand as a non-clipping signal. Key ways to do this:<br />
<br><br />
<br />
<ul><br />
<br />
<p><b>Use inline devices.</b> Overdrive/distortion effects pedals and DSP-based amplifier modelers can be used effectively with {{L1}} systems.</p><br />
<br />
<p><b>Mic a guitar amplifier.</b> Mic the speaker as closely as possible. The trick here is to run the amplifier at the lowest possible level to attain the desired tone without diminishing {{L1}} system benefits. Small, low-watt amplifiers can be used onstage; louder amplifiers can be located offstage. </p><br />
<p><br />
<b>Use a loading device.</b> Some electric guitarists may prefer to use their amplifier's output as an input signal into the power stand. Before doing this, you must use a load device such as a "plate soak" or a "hot plate" to produce a line-level output suitable for the input stage of the power stand.</p><br />
<br />
<p><br />
<b>Use the line output of a guitar amplifier.</b> This option may be suitable for some guitarists. Turn the amplifier volume down so only the {{L1}} system is heard. <br />
</p><br />
<br />
</ul><br />
<br />
=== Where can an {{L1}} system be used? ===<br />
An {{L1}} system is suitable for amplified music performances in venues with occupancies up to 500 people. Typically this translates to maximum listener distances of about 150 feet (45 meters). The system will fill venues where the vast majority of live music performances take place, including small auditoriums, places of worship, gymnasiums, ballrooms, clubs and coffeehouses. Tests show that in larger venues, a musical group can use the {{L1}} systems onstage and enjoy the benefits of hearing themselves and each other better. Signals from the stage can then be fed to speakers that supply sound to distant seating areas.<br />
<br />
=== Can I use the system outside? ===<br />
<section begin="temperature" /><br />
Yes. The system has been tested to operate in 32°F to 122°F (0°C to 50°C) temperatures; it can also be stored in -22°F to 158°F (-30°C to 70°C) temperatures. Take precautions in light rain to cover the back panel of the power stand. Keep water out of the air inlet slits inside the back panel, on the loudspeaker drivers or inside the {{L1}} cavity on the power stand.<br />
<section end="temperature" /><br />
<br />
=== Can DJs benefit from this system? ===<br />
Yes, this system offers important advantages over conventional systems for DJs. One problem with portable PA systems is their stand-mounted speakers are very loud close to the speaker, and not loud enough away from it. With the L1® Cylindrical Radiator® loudspeaker, you can adjust for the desired volume level on the dance floor and in the audience, and then walk right up next to the speaker without it getting excessively loud—translating into much greater comfort for listeners. The system also has a sleek, elegant profile that fits nicely into event décors and minimizes sightline issues. And it's easier to transport, set up and break down than most portable PA systems.<br />
<br />
=== Can {{L1}} systems be used as a traditional PA? ===<br />
Yes. {{L1}} systems can be used to replace PA speakers. Their unique radiation properties help them deliver more even sound coverage and a larger stereo field?benefits confirmed in listening tests. Compact size is also an advantage for transport and rapid setup/breakdown. <br />
<br />
=== Are {{L1}} systems prone to feedback? ===<br />
L1 systems are resistant to feedback, but not immune from it. Putting a live mic right up against the loudspeaker, for example, will create feedback. But in the vast majority of cases, {{L1}} performance in this critical area has proven to be significantly better than the traditional use of separate backline amplifiers, monitors and PA systems. <br />
<br />
=== Can I use two-wire Speakon® cables for the B1 bass modules? ===<br />
No. Only four-wire Speakon cables should be used with the power stand. The additional two wires (+2 and -2) in the connector are used for sensing purposes. With the four-wire cable, the power stand can sense and adjust (EQ and level) for 0, 1 or 2 connected bass modules.<br />
<br />
=== How can I tell if I'm using the correct four-wire Speakon cable for bass module connections? ===<br />
When you plug a four-wire Speakon cable into an {{L1}} system while music is playing, you will clearly hear the loudspeaker mute for a moment. If you're using an incorrect cable, the momentary muting won't occur.<br />
<br />
=== Can I connect a passive subwoofer to the bass module output? ===<br />
No. We don't recommend connecting anything to this output except a B1 bass module, as the internal amplifier and bass module(s) are designed to properly equalize the system when connected. You may use the bass line-out connection, however, to feed a powered subwoofer or additional amplifier.<br />
<br />
=== Can I use the bass line out to connect to a bass amplifier and cabinet? ===<br />
Yes. The bass line-out connector provides a flat 40 Hz to 180 Hz bandpass signal when no B1 bass modules are connected. We recommend unplugging the bass modules to ensure correct EQ compensation of the bass line-out jack and phase consistency.<br />
<br />
=== Why does the sound coming from an {{L1}} system change when I plug a 1/4" cable into the bass line-out connector? ===<br />
L1 systems produce audio in the range of 110 Hz to 18,000 Hz when the bass line-out jack is not in use. The frequency cutoff point moves from 110 Hz to 180 Hz when you plug a cable into the bass line-out jack, accounting for the tonal change you're hearing.<br />
<br />
See also: [[Bass Line Out / FAQ Extension]]<br />
<br />
<br />
=== What about using just the lower half of an {{L1}} system's loudspeaker in places where the ceiling isn't tall enough for full assembly? ===<br />
You can do it, but using only half of an {{L1}} loudspeaker will significantly impact system performance. The EQ will be incorrect, and sound coverage decreased. Plus, in order to hear yourself properly, it's best to have your ears at the same height as some part of the loudspeaker—which may be difficult unless you're seated. <br />
<br />
See also: [[Half Stack]]<br />
<br />
=== There's a buzz in the system. Any suggestions on how to fix it? ===<br />
Most times, noise you hear through an {{L1}} system is caused by outboard gear and power sources, not the system itself. One of the most effective ways to alleviate buzz and hum in any system is to plug all interconnected gear into the same electrical circuit. Guitar players or vocalists with effects should plug them into the same electrical outlet as the power stand. This normally fixes all problems. A power strip may be helpful, but avoid using three-prong to two-prong adapters, also known as "cheaters" or "ground lifters." Bypassing a safety grounding mechanism is a serious safety threat.<br />
<br />
Noise and buzzing are common problems with pro audio gear. But the new Bose approach to live sound can dramatically reduce gear noise because it uses a simple, independent system. The typical buzzes and hums associated with ground loops are eliminated when you use an independent system that's not electronically connected to other equipment.<br />
<br />
=== Why doesn't Bose publish full system specifications for {{L1}} systems? ===<br />
While some specifications add value when comparing two otherwise similar products, they're mostly meaningless for a product as fundamentally different as the Cylindrical Radiator® loudspeaker and the {{L1}} system. In addition, most specifications used to describe sound systems can be very misleading. They suggest relatively complex physical or perceptual properties can be condensed to a single or small set of numbers that defines overall quality or performance. In many cases these numbers only loosely relate to what you would experience in a real-world application. <br><br> There are also several variations in how a specific measurement can be carried out, making number comparisons useless. We believe it serves our customers better to describe {{L1}} systems in terms they can relate to more directly. We also encourage customers to experience an {{L1}} system personally, either at a demonstration or in actual real-world trials they conduct themselves. <br />
<br />
== {{L1}} Model I Systems ==<br />
{{:L1® Model I / FAQ}}<br />
<br />
== {{Model II}} Systems ==<br />
{{:L1® Model II / FAQ}}<br />
<br />
== {{T1}} ==<br />
{{:L1® T1 ToneMatch® Audio Engine / FAQ}}<br />
----<br />
[[Category:FAQ]]</div>SThttps://boseperformer.com/index.php?title=L1%C2%AE_Model_I_/_FAQ&diff=12068L1® Model I / FAQ8461-09-27T03:09:00Z<p>ST: L1® Model I Documentation</p>
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This is the latest version of the L1® FAQs originally published in February 2008 on the [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/faqs.jsp Main Bose Site]. As a reprint of previously published material, it is not open for edits, but please use the discussion page to make note of any issues or discrepancies.</td><br />
<td valign="top" width="30%">'''Documentation'''<br />
{{:L1® Model I Documentation}}</td><br />
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<td valign="top">{{BoseFAQ}}</td><br />
</tr><br />
</noinclude><br />
<br />
=== What exactly are ToneMatch® presets and what are the benefits of using them? ===<br />
Skilled studio engineers listened to the sound of specific instruments and microphones being played through an {{L1 nl}} system, made adjustments to improve the sound quality and then saved those settings as ToneMatch presets. Now the high level of tone customization most musicians experience only in recording studios is instantly available at your live performances. Sound check can be as simple as plugging in your instrument or mic and selecting the appropriate ToneMatch preset.<br />
<br />
=== What is the proper method for setting gain on an {{Model I}} power stand? ===<br />
There are three gain settings for the primary channels (1 and 2) and two gain settings for the secondary channels (3 and 4). To set the gain for the primary channels 1 and 2:<br />
<br />
<ul><br />
<li style="list-style-type: decimal;">Adjust the input gain<br>Set the trim for the individual channel at the back panel of the power stand. Supply a maximum source signal and watch the LED. When you start to see it flash red, back off slowly on the trim knob until it flashes green again.<br />
</li><br />
<br><br />
<li style="list-style-type: decimal;"><br />
Adjust the channel gain with the R1 remote control<br> <br />
With the master at zero, set the respective channel gain to 6. At this point, the LED on the remote will be at the same intensity as the LED on the back panel of the power stand. This is considered optimum gain. You then can add a bit more channel gain on the remote if it's required.<br />
</li><br />
<br><br />
<li style="list-style-type: decimal;"><br />
Set the remote master gain<br>The remote master knob is the last stage of gain. This knob gives you control over all four channels of the power stand.<br />
</li><br />
</ul><br />
<p><br />
<br />
To set the gain for channels 3 and 4 simply adjust the input gain of the individual channel. These channels don't have indicator LEDs, but are designed for 0 dB line-level signals (e.g., from an effects device, mixer or MP3 player). Use the remote control master knob as the last stage of gain for these channels.<br />
</p><br />
<br />
=== What is the recommended way to set the gain for a Model I system when using it with a T1 ToneMatch audio engine? ===<br />
* Make sure the power switch on the power stand is in the Off position and the remote control is disconnected<br> <br />
<i>Note: The remote should be disconnected so that the ToneMatch audio engine solely controls the volume of the {{L1 nl}} system.</i><br />
* Make sure the ToneMatch audio engine power switch is in the Off position and its power supply is connected<br />
* Set the ToneMatch audio engine master volume control to 0<br />
* Plug one end of a 1/4" phone plug cable (not supplied) into the master output port on the ToneMatch audio engine. Plug the other end of the cable into the line-in jack of channel 3 or 4 on the {{L1 nl}} power stand <br /><i><br />
Note: We recommend only connecting to the line inputs of channels 3 and 4 because channel 1 and 2 mic/line inputs have volume controls, equalization and presets that could affect the ToneMatch audio engine's sound and performance.</i><br />
* Set the line-in level control on the power stand to approximately 2 <br /><i>Note: In some circumstances, it may be necessary to slightly adjust the level of this initial setting to attain the desired gain structure.</i> Note: Bose has revised this, and now recommends setting the level control to approximately '''3'''. <br />
<br />
See also: [[L1® Model I / FAQ Extension]]<br />
<br />
*Turn on the ToneMatch audio engine<br />
*Turn on the {{L1 nl}} power stand <br />
<br />
=== Do the mic inputs have phantom power? ===<br />
Yes. The primary input channels 1 and 2 have a button selector for +24V phantom power for microphones that require it.<br />
<br />
=== I thought phantom power was 48 volts. Why does the power stand only supply 24 volts? ===<br />
Phantom power is a DC voltage that powers the preamplifier of a condenser microphone. It can be in a range of 11 – 48 volts.<br />
<br />
=== What input connections will channels 1 and 2 accept? ===<br />
Channels 1 and 2 accept two types of input connections: a balanced XLR (mic) connection and a 1/4" phone connector unbalanced (line) input for instruments<br />
<br />
=== Why don't channels 3 and 4 have presets, XLR inputs and line outs like channels 1 and 2? ===<br />
The {{L1 nl}} Model I system was designed with the individual musician in mind. Primary inputs 1 and 2 are intended to receive signals from an instrument and a vocal mic. Each musician's instrument and voice can be heard through his or her own {{L1 nl}} system. The remaining channels are suitable for additional direct instruments, mixers and MP3 or CD players.<br />
<br />
=== What are the critical frequencies (Q-points) of the remote control? ===<br />
The mid control is centered about 1.2 KHz with a Q of approximately 1. High and low responses are shelving. We don't quote shelving frequencies because there's no clear industry standard definition of a shelf's "cutoff frequency."<br />
<br />
=== Will an {{L1 nl}} Model I system still work without the remote control? ===<br />
Yes, but it's not recommended. If you turn on the power stand without the remote connected, it will operate as if the remote were connected with all control knobs at the center position. Alternately, if you turn on the power stand with the remote connected and you then disconnect the remote, the power stand will retain the last settings of the remote before you disconnected it.<br />
<br />
=== Is the remote control cable an off-the-shelf MIDI cable? Are there extensions available? ===<br />
The remote uses a special 7-pin DIN cable commonly referred to as a "7-pin phantom MIDI cable." This cable configuration is sometimes used to connect rack-mount guitar effects to their pedals. A standard 5-pin MIDI won't work. Bose sells a 7-pin DIN (20') replacement cable. <br />
<br />
=== Does the remote use MIDI-compatible commands? Can I automate remote functions using MIDI communications protocol? Can I customize my settings using the remote port on the power stand? ===<br />
The remote control and associated hardware are proprietary and don't use MIDI communications protocol. The remote control port on the power stand won't function with standard MIDI products.<br />
<br />
=== Does an {{L1 nl}} Model I system have built-in effects? ===<br />
No. There are connectors, however, for inserting effects units into channels 1 or 2 of the power stand. These connectors require standard insert cables with 1/4" TRS connections on one end and dual male 1/4" TS connectors on the other. You may also purchase a Bose ToneMatch audio engine, which includes a complete suite of studio-class effects and processing.<br />
<br />
=== Can I use effects equipment with the {{L1 nl}} Model I power stand? ===<br />
Channels 1 and 2 allow for a TRS line input/output connection for external effects units. Inserting the plug halfway connects to "Send;" inserting fully connects to "Return." Some musicians may prefer to keep a "dry" sound intact without the full effects loop; inserting the plug halfway into the connector will maintain the original signal and not route the channel solely through the effects module. You can use either a serial or parallel connection for effects units, as detailed in the owner's guide. In addition, you may also use a Bose T1 ToneMatch audio engine with an {{L1 nl}} system. It features a complete suite of studio-class effects and processing.<br />
<br />
=== How can I add more inputs to my system? ===<br />
Use our multichannel {{T1}}, specifically designed for {{L1 nl}} systems. It offers three mic/line inputs, two line inputs (L/R), our largest library of ToneMatch presets, proprietary zEQ and a complete suite of studio-class effects and processing. Simply connect the ToneMatch audio engine via an analog 1/4" TS cable from its master output to channel 3 or 4 of the {{L1 nl}} Model I power stand.<br />
<br />
=== What's the "data out" connector for? ===<br />
This is a SPDIF connection for digital recording of channels 1 and 2. It runs at a sample rate of 48 kHz. Channels 3 and 4 aren't included in this output.<br />
<br />
<br />
<!-- =============== --><br />
<noinclude><br />
= Previous version of the Model I FAQ =<br />
[[Image:L1doubleWA1.gif|L1 Double B1 with A1|right]]<br />
<table><tr><br />
<td valign="top" width=50%><br />
This information originally appeared on the main {{Bose}}<br />
website: http://www.bose.com/musicians/ and appears here with permission from {{Bose}}. As a reprint of previously published material, it is not open for edits, but please use the discussion page to make note of any issues or discrepancies.</td><br />
<td valign="top">{{BoseFAQ}}</td><br />
<br />
</tr></table><br />
<br />
<br />
<br />
<br><br />
'''Focus Categories'''<br />
<br />
[[{{PAGENAME}}#The_Technology|The Technology]] | [[{{PAGENAME}}#General_(Product)|General Product]] | [[{{PAGENAME}}#Functionality|Functionality]] | [[{{PAGENAME}}#Applications|Applications]]<br />
| [[{{PAGENAME}}#The L1® Product Family|The L1® Product Family]]<br />
| [[{{PAGENAME}}#Support|Support]] <br />
<br />
<br />
==The Technology==<br />
<br />
=== What is the {{L1 nl}} Model I system? ===<br />
<br />
The {{L1 nl}} Model I system represents a new approach to amplification. This approach was designed to address the root cause of complaints by musicians and audience members regarding the quality of live amplified musical performances.<br />
<br />
=== How does this approach work? === <br />
<br />
In the new approach mixer, PA speakers, monitors and backline amplifiers (e.g. guitar amps) are replaced by special Cylindrical Radiator® loudspeakers, which are located behind the musicians. These speakers have the unique ability to radiate sound evenly across the stage and into the audience with very little change in sound level.<br />
<br />
The approach is naturalistic in that it mimics an acoustic instrument performance: Each player has control over his or her individual sound, and the sound comes from the multiple directions that correspond to the musician<nowiki>’</nowiki>s positions on stage – a property of acoustic music known to enhance our ability to hear and appreciate individual instruments and voices in ensemble passages. The new approach has many integrated features that allow the user to set up the system in just minutes.<br />
<br />
=== Is this technology better-suited for seasoned musicians who already have tons of gear, or for musicians who are just getting started and need a simple solution? === <br />
<br />
The system is equally valuable for the seasoned musician and the beginner. Experienced performers immediately will recognize that they can hear better and therefore play better, and they instantly appreciate the easy setup. Musicians who are starting will enjoy playing more because they<nowiki>’</nowiki>ll spend<br />
<br />
more time playing and less time hassling with equipment. They will develop as better players because they can hear themselves and each other. All will benefit from the knowledge that the sound they produce on stage is what is radiated to the audience. Never again will they hear and think one thing, only to find out the audience heard something completely different when they asked "How did we sound?" after the performance.<br />
<br />
=== What is the concept behind ToneMatch™ presets, and what are the benefits? === <br />
<br />
ToneMatch™ presets make it easy to get exceptional amplified tone from any voice or instrument when used with Bose® {{L1 nl}} portable line array systems. When you select a proprietary ToneMatch preset for your microphone or instrument, you are tapping into a powerful new technology available only from Bose. A skilled studio engineer listened to the sound of your instrument being played through an L1 system, made adjustments to improve the sound quality and then saved those settings as a ToneMatch preset.<br />
<br />
Now the high level of tone customization that most musicians experience only in a recording studio is available on stage at your live performances. Sound check can be as simple as plugging in your instrument or microphone and selecting the appropriate ToneMatch preset.<br />
<br />
=== Are there similarities between the {{L1 nl}} Model I system and line arrays currently in use? === <br />
<br />
Line arrays have been used for large concert performances as the PA component of a traditional triple amplification system. Unlike these large-venue systems, the {{L1 nl}} Model I system is designed as a portable implementation of a line or pole-shaped source. It is designed to be positioned behind each musician, providing accurate coverage for musicians and audiences.<br />
<br />
=== In nightclubs, you normally see very large loudspeakers for bass. How do your smaller bass enclosures compare? What makes them so special? === <br />
<br />
Bose has a number of propriety technologies for bass and has a long history of developing systems that produce high output in the bass range from smaller enclosures. The B1 bass module is no exception. The fact that it is used in an integrated system (with amplification and signal processing) means that performance can be enhanced in ways that a conventional component-based solution cannot. Large signal performance, for example, can be greatly improved with the use of a dedicated digital signal processor, which is built into the Model I power stand.<br />
<br />
At the same time, the B1 bass module has been made modular, so that higher bass output can be created for instruments and styles that require it. An upright bass in a jazz trio might use only one bass module. On the other extreme, the electric bass in a 10-piece funk band might use four.<br />
<br />
== General (Product) ==<br />
<br />
=== What is the 45-day Better Music Guarantee? === <br />
<br />
At Bose, we recognize that customers may want to experience the {{L1 nl}} system in their own environment with their specific gear. That is why we allow you to purchase and use the system in your specific application for up to 45 days, and if for any reason you are not satisfied you may return it for a refund. This offer is exclusive to Bose® direct sales channels.<br />
<br />
=== Does Bose plan to add to the {{L1 nl}} product family? === <br />
<br />
In the spring of 2007, Bose announced the introduction of the {{L1 nl}} Model II system. This system has many similarities to the {{L1 nl}} Model I and features the introduction of the {{T1 nl}}. To learn more about the benefits and features of {{L1 nl}} Model II system please visit [http://www.bose.com/musicians www.Bose.com/musicians].<br />
<br />
=== I already own an {{L1 nl}} Model I or Model II system. Can I purchase the T1 separately and use it with the system? === <br />
<br />
Yes. The T1 is available for purchase separately and may be used with either an {{L1 nl}} Model I or Model II system. When used with a Model II system, the audio is connected digitally via the ToneMatch™ ports. When used with a Model I, a separate power supply is required to power the T1 and the audio is analog. When using with a Model I, simply connect the T1<nowiki>’</nowiki>s Master Output jack to the analog input of Channel 3 or 4 on the Model I power stand. The T1 power supply is available through Bose or authorized dealers of the L1 family of products.<br />
<br />
=== When will additional products be added to the {{L1 nl}} product family? === <br />
<br />
We do not publicly discuss new products before their launch date. Our engineers and marketing staff are always researching new solutions for musicians, and we are dedicated to offering products of enduring value.<br />
<br />
=== Are hard-shell cases available for the products? === <br />
<br />
No. Although Bose does not offer hard shell cases directly, visit [http://www.bose.com/musicians www.Bose.com/musicians] to view user comments on this topic. (Or see [[Hardshell Cases]] in this wiki).<br />
<br />
=== What is the limited warranty? === <br />
<br />
{{#lst:Warranty Information|{{L1 nl}} Model I}}<br />
<br />
<br />
=== What are the weights and dimensions of the {{L1 nl}} Model I system? === <br />
==== Weight ==== <br />
<br />
* {{L1 nl}} Model I power stand: 35 lb (16 kg)<br />
* {{L1 nl}} Model I Cylindrical Radiator® loudspeaker<br />
** Top Section: 14.5 lb (6 kg)<br />
** Bottom Section: 16.0 lb (7 kg)<br />
* R1 remote control: 0.6 lb (0.27 kg)<br />
* B1 bass module (optional): 28 lb (13 kg)<br />
==== Dimensions ==== <br />
* L1 Model I power stand: 26.0<nowiki>’’</nowiki>W x 26.0<nowiki>’’</nowiki>D x 5.0<nowiki>’’</nowiki>H (66 cm x 66 cm x 12.7 cm)<br />
* {{L1 nl}} Model I Cylindrical Radiator® loudspeaker (each section): <br />
** Top Section: 43 1/8<nowiki>’’</nowiki>H x 3.5<nowiki>’’</nowiki>W x 4.0<nowiki>’’</nowiki>D (109.54 cm x 8.89 cm x 10.1 cm)<br />
** Bottom Section: 43 1/2<nowiki>’’</nowiki>H x 3.5<nowiki>’’</nowiki>W x 4.0<nowiki>’’</nowiki>D (110.49 cm x 8.89 cm x 10.1 cm x )<br />
* R1 remote control: 2.8<nowiki>’’</nowiki>W x 5.6<nowiki>’’</nowiki>D x 1.6<nowiki>’’</nowiki>H (4.0 cm x 7.1 cm x 14.1 cm)<br />
* B1 bass module: 15.3<nowiki>’’</nowiki>H x 10.3<nowiki>’’</nowiki>W x 18.0<nowiki>’’</nowiki>D (38.0 cm x 25.0 cm x 45.7 cm)<br />
<br />
=== What is the fully assembled height of the {{L1 nl}} Model I system? === <br />
82-3/4 <nowiki>’’</nowiki> (210.2 cm)<br />
<br />
Note: The bayonet portion of the upper section of the {{L1 CR}} is included in the individual measurements but not in the overall system height. Similarly, the lower section of the {{L1 CR}} fits into the power stand and that portion is not included in the overall system height.<br />
<br />
== Functionality ==<br />
<br />
=== Is this really a "plug and play" solution? How long does it take to set up? === <br />
<br />
The {{L1 nl}} Model I system is designed to disassemble into easy-to-carry pieces. Everything can be carried by hand without the need for special equipment. Moreover, the products are designed to assemble in just minutes, and because the approach requires no mixing, the complex task of wiring each instrument to the mixer and then from the mixer to the amplifiers and speakers is eliminated. The musicians simply plug in, and they<nowiki>’</nowiki>re ready to play.<br />
<br />
=== Are sound operators required in the new approach? === <br />
<br />
No. Just as acoustic-instrument ensembles (such as a string quartet) are able to balance their own sound, so too can a group playing amplified music using the new approach. The reason is that when musicians are in total control and know that the sound they are creating on stage is what is radiated outward to the audience, they are best-suited to creating the required balance of voices and instruments.<br />
<br />
=== What happens if a musician is blocking the view of the {{L1 nl}} Model I system? Doesn<nowiki>’</nowiki>t that block the sound? === <br />
<br />
Sound diffracts (bends) around objects. So long as the musician is not standing literally against the {{L1 nl}} Model I system, the sound diffracts around the musician or other objects such as a keyboard or other musical instrument.<br />
<br />
=== What is the proper method for setting gain on the {{L1 nl}} Model I power stand? === <br />
<br />
There are three gain settings for the primary channels (1 and 2) and two gain settings for the<br />
<br />
secondary channels (3 and 4).<br />
<br />
'''To set the gain for the primary channels (1 or 2):'''<br />
<br />
1) Adjust the input gain. Set the trim for the individual channel at the back panel of the power stand. Supply a maximum source signal and watch the LED. When you start to see it flash red, back off slowly on the trim knob until it flashes green again.<br />
<br />
2) Adjust the channel gain with the R1 remote control. With the master at zero, set the respective channel gain to 6. At this point, the LED on the remote will be at the same intensity as the LED on the back panel of the power stand. This is considered optimum gain. The musician then can add a bit more from the R1 remote control if it is required.<br />
<br />
3) The R1 remote control MASTER knob is the last stage of gain. This knob gives you control over all four channels of the power stand.<br />
<br />
=== What is the recommended gain staging for Model I systems when using with a T1? === <br />
<br />
1. Make sure the '''Power '''switch on the power stand is in the OFF position and the R1 remote control is disconnected.<br />
<br />
'''Note:''''' The R1 remote control should be disconnected so that the {{T1 nl}} solely controls the volume of the {{L1 nl}} Model I system.''<br />
<br />
2. Make sure the T1 power switch is in the OFF position and the T1 audio engine power supply is connected.<br />
<br />
3.''' '''Make sure the T1''' Master '''volume control is set to '''0'''.<br />
<br />
4. Plug one end of a ¼" phone plug cable (not supplied) into the '''Master '''output port on the T1. Plug the other end of the ¼" phone plug cable into the Channel 3 (or Channel 4) Line IN jack on the L1 power stand.<br />
<br />
5. Set the Line IN '''Level '''control on the power stand to approximately '''2'''. NOTE: This setting has been revised to '''3''' or '''4''' ref: [[T1_ToneMatch%E2%84%A2_Audio_Engine#Power_Stand_Input_Setting|T1 ToneMatch&trade; Audio Engine: Power Stand Input Setting]]<br />
<br />
6. Turn on the T1 audio engine.<br />
<br />
7. Turn on the L1 Model I power stand.<br />
<br />
'''Note:''''' In some circumstances, it may be necessary to slightly adjust the Line IN '''Level '''control from this initial setting to attain the desired gain structure.''<br />
<br />
Because the Channel 1 and 2 Mic/Line inputs on the power stand have volume controls, equalization and ToneMatch™ presets that could affect the sound and performance of a T1, we only recommend connecting to the Channel 3 and 4 line inputs.<br />
<br />
Adjusting gain for Channels 3 or 4<br />
<br />
1) Adjust the input gain of the individual channel. These channels do not have indicator LEDs but<br />
<br />
are designed for 0 dB line level signals, such as from an effects device, mixer or CD player.<br />
<br />
2) As above, the R1 remote control MASTER knob is the last stage of gain. This knob gives control over all four channels of the {{L1 nl}} Model I power stand.<br />
<br />
=== Can I use the Bass - Line OUT on the {{L1 nl}} Model I system to connect to a bass amplifier and cabinet? === <br />
<br />
The bass-line-out connector provides a flat 40-Hz to 180-Hz bandpass signal when no B1 bass modules are connected. We recommend unplugging the B1 bass modules to ensure correct EQ compensation of the Bass - Line OUT jack and phase consistency.<br />
<br />
=== Is the R1 remote control cable an off-the-shelf cable? Is this a standard MIDI (Musical Instrument Digital Interface) cable? Are there extensions available? === <br />
<br />
The remote uses a special 7-pin DIN cable commonly referred to as "7-Pin Phantom MIDI Cable." This cable configuration is sometimes used to connect rack-mount guitar effects to their pedals. A standard 5-pin MIDI will not work. Bose sells the 7-pin DIN (20-foot) replacement cable. For those customers needing a little extra distance from their power stand to their R1 remote control, Hosa Technology, Inc., manufactures 25-foot cables. These sell at [http://www.musiciansfriend.com/ www.MusiciansFriend.com] (Product #333039). Coupler adapters are not available.<br />
<br />
=== Does the R1 remote control use MIDI-compatible commands? Can I automate remote functions using MIDI communications protocol? Can I customize my settings using the remote control port on the power stand? === <br />
<br />
No. The R1 remote control and associated hardware is proprietary and does not use MIDI communications protocol. This port will not function with standard MIDI products.<br />
<br />
=== Will the unit still work without the R1 remote control? === <br />
<br />
Yes. The power stand continuously senses activity at all preset selectors and what is connected at the input/output jacks. In general, it is not recommended to operate without the remote connected. However, the power stand can function without the R1 remote control. If you power the power stand on without the R1 remote control connected, it will operate as if the R1 remote control was connected and at a fixed setting of 12 o<nowiki>’</nowiki>clock (center position) on all the control knobs. Alternatively, if the unit is powered on with the R1 remote control first connected and the user then disconnects the R1 remote control, it will retain the last settings of the R1 remote control before you disconnected it. This is helpful in the case where sharing may be necessary.<br />
<br />
=== Do the mic inputs have phantom power? === <br />
<br />
Yes. The primary input channels (Channels 1 and 2) have a button selector for <nowiki>+</nowiki>24V phantom power for microphones that require that feature.<br />
<br />
=== I thought phantom power was 48 volts? Why does the power stand only supply 24 volts? === <br />
<br />
Phantom power is a DC voltage that powers the preamplifier of a condenser microphone.<br />
<br />
Phantom power can be in a range of 11-48 volts.<br />
<br />
=== How many B1 bass modules can you connect? === <br />
<br />
One power stand using an {{L1 nl}} Model I system can power up to two B1 bass modules.<br />
<br />
=== Can this product be used in other countries? === <br />
<br />
There are two voltage versions of the power stand and the A1 PackLite® amplifier. 120V versions are available in the U.S., Canada and some Latin American countries. The 230V versions are available in Europe and Australia. Please visit www.Bose.com/musicians for up-to-date information about product availability.<br />
<br />
=== How do I know which half of the Cylindrical Radiator® to insert into the power stand first? === <br />
<br />
The upper and lower halves of the {{L1 nl}} Model I system are not identical. The bottom half is easily identifiable because it has a large end cap, which gets inserted first into the power stand. The upper half contains the Bose® logo and uses a tongue-and-groove mechanism to ensure a solid mechanical and electrical connection to the lower half. Both halves are clearly labeled on the back, indicating proper insertion.<br />
<br />
=== Can you use 2-wire Speakon® cables for the B1 bass modules? === <br />
<br />
No. Only 4-wire Speakon® cables should be used with the power stand. The additional two wires (<nowiki>+</nowiki>2 and -2) in the connector are used for sensing purposes. Upon connection, the power stand is able to sense and adjust (EQ and level) for 0, 1 or 2 B1 bass modules connected to the bass module Out Speakon® connector.<br />
<br />
=== What is the Data IN connector used for? === <br />
<br />
The Data IN connector is used for updating product software.<br />
<br />
=== Can the customer update the power stand? === <br />
<br />
Yes. The customer can update the presets in the power stand. For more information about upgrading presets, please visit www.Bose.com/musicians.<br />
<br />
=== How can I tell if I<nowiki>’</nowiki>m using the correct Speakon® cable? === <br />
<br />
If you plug in a 4-wire Speakon® cable to the Bass-Amp 3 OUT connector with music playing through, you will clearly hear the {{L1 nl}} Model I system mute for a moment. If you are using an incorrect cable, such as a 2-wire Speakon® cable, the momentary muting will not occur.<br />
<br />
=== Why does the sound coming from the {{L1 nl}} Model I system change when plug in a ¼-inch plug into the Bass - Line OUT connector? ===<br />
<br />
The {{L1 nl}} Model I system receives its audio signal from the power stand. The signal is customized by the internal DSP unit according to what other devices are connected to the power stand, such as how many B1 bass modules and/or amplifiers are connected to the Bass - Line OUT connector. The {{L1 nl}} Model I system when used alone with the power stand produces audio in the range of 110 Hz to 18, 000 Hz. When the Bass - Line OUT connector is in use the frequency cutoff point is moved from 110 Hz to 180 Hz, it will not play any frequencies below 180 Hz. The Bass - Line OUT connector sends a flat bandpass signal from 40 to 180 Hz to external amplifiers that may be used for extended low frequency reinforcement.<br />
<br />
=== What<nowiki>’</nowiki>s the sample rate of the Data OUT connector? The owners<nowiki>’</nowiki> manual only mentions "Channel 1/2 digital output." === <br />
<br />
The Data OUT connector is a SPDIF connection for digital recording of both Channels 1 and 2. It runs at a sample rate of 48 kHz. Channels 3 and 4 are not included in this output.<br />
<br />
=== Why don<nowiki>’</nowiki>t Channels 3 and 4 have presets, XLR inputs and line outs like Channels 1 and 2? === <br />
<br />
The {{L1 nl}} Model I system was designed with an individual in mind, as an extension of your musical instruments. For this, we have provided two primary inputs, 1 and 2. These inputs were intended to receive signal from an instrument, such as a guitar or keyboard, and a voice. Each musician<nowiki>’</nowiki>s instrument and voice can be heard from his or her own system. The remaining channels, though still suitable for direct instruments, can be used for CD background music for playback in between performance sets.<br />
<br />
=== I need more inputs. How do I plug in all my instruments? === <br />
<br />
For some multi-instrumentalists, there may not be enough input connectors. Musicians who require additional inputs can purchase a {{T1 nl}}. The T1 is a powerful multichannel audio device designed for use with {{L1 nl}} Model I and Model II systems. It contains our largest library of ToneMatch™ presets, proprietary zEQ, and a complete suite of studio-class effects and processing.<br />
<br />
The T1 was designed with the needs of musicians in mind. This makes for a completely integrated and powerful unit that is easy to use and alleviates many challenges associated with live performances. When the T1 is used with the Model I system, the audio connects via an analog ¼" TS cable from the Master Output of the T1 into Channel 3 or 4 of the power stand.<br />
<br />
=== Does the {{L1 nl}} Model I system have built-in effects? === <br />
<br />
No. While the system does not have built-in effects, there are connectors for inserting effects units into Channel 1 or Channel 2 of the power stand. This requires a standard insert cable, which has a ¼" TRS connection on one end and dual male ¼" TS connectors on the other end.<br />
<br />
Additionally, you may purchase a {{T1 nl}}, which includes a complete suite of studio-class effects and processing.<br />
<br />
=== Can you use effects equipment with the power stand? === <br />
<br />
Yes. Both Channels 1 and 2 allow for a TRS line input/output connection for external effects processors. Inserting the plug halfway connects to "Send"; inserting fully connects to "Return." Some musicians may prefer to keep a "dry" sound intact without the full effects loop. Inserting the plug halfway into the connector will maintain the original signal and not route the channel solely through the effects module.<br />
<br />
'''Using a serial effects connection with the {{L1 nl}} Model I power stand'''<br />
<br />
'''Note'''''''':''' Connecting an effects unit in serial requires a TRS split "insert" cable (with a ¼-inch TRS connector on one side and two mono ¼-inch phone connectors on the other). This type of cable is readily available at most musical instrument stores and on the Internet.''<br />
<br />
1. Insert the TRS plug into the '''Channel 1''' Insert jack on the {{L1 nl}} Model I power stand.<br />
<br />
2. Connect the ¼-inch mono plug (labeled "send," "ring" or ""right") to the input of the effects processor.<br />
<br />
3. Connect the other ¼-inch mono plug (labeled "return," "tip" or "left") to the output of the effects processor.<br />
<br />
4. Adjust the effects level and mix of the effects processor.<br />
<br />
'''Note:''' ''A very high output from the effects processor can overload the input of the L1 Model I power stand. If the '''LED''' on the remote turns red, even if the channel '''LEVEL '''control on the R1 remote control is below the 12 o<nowiki>’</nowiki>clock position, reduce the output level of your effects processor.''<br />
<br />
'''Note:''' ''The effects processor does interrupt the audio path. This may result in no audio output if the effects processor is turned off. To use a "clean" signal, do not turn the effects processor off, but put it in bypass mode.''<br />
<br />
'''Using parallel effects connection with the {{L1 nl}} Model I power stand'''<br />
<br />
'''Note:''' Connecting an effects unit in parallel requires one ¼-inch ''unbalanced'' (instrument) cable, one mono ¼-inch phone (M) to dual mono ¼-inch phone (F) "Y" cable adapter, and one TRS split "insert" cable (with a ¼-inch TRS connector on one side and two mono ¼-inch phone connectors on the other).<br />
<br />
1. Insert the TRS plug into the '''Channel 1 Insert''' jack on the {{L1 nl}} Model I power stand.<br />
<br />
2. Connect both ¼-inch plugs from the "insert" cable into both receptacles on the "Y" cable adapter.<br />
<br />
3. Connect the plug of the "Y" cable adapter into the input of the effects processor.<br />
<br />
4. Connect the ¼-inch unbalanced (instrument) cable from the output of the effects<br />
<br />
processor to '''Channel 3 Line IN''' of the L1 Model I power stand.<br />
<br />
5. Set the effects level of the processor to full and turn the mix level of the effects processor to full "wet."<br />
<br />
6. Adjust the '''Channel 3 Level control''' of the L1 Model I power stand for the desirable effects mix.<br />
<br />
=== What inputs connectors will Channels 1 and 2 accept? === <br />
<br />
Channels 1 and 2 accept two types of input connections: a balanced XLR (mic) connection, and a ¼-inch phone connector unbalanced (line) input for passive instruments such as guitar.<br />
<br />
=== What are the critical frequencies (Q-points) of the R1 remote control? === <br />
<br />
The MID control is centered about 1.2 KHz with a Q of approximately 1. HIGH and LOW responses are shelving. We are reluctant to quote shelving frequencies because there is no clear industry standard definition of a shelf<nowiki>’</nowiki>s "cutoff frequency."<br />
<br />
=== Can I use the system outside? === <br />
<br />
Yes. You can use your system for outdoor gigs. The system has been tested to operate in 0°C to 50°C temperatures and be stored in -30°C to 70°C temperatures. In cases of light rain outside, take precautions to cover the back panel of the power stand. Water must not get into the air inlet slits inside the back panel, on the loudspeaker drivers or inside the {{L1 nl}} cavity on the power stand.<br />
<br />
Unofficial FAQ Extension:<br />
{{#lst:Temperature|conversions}}<br />
<br />
=== There is a buzz in the system. Any suggestions on how to fix it? === <br />
<br />
Noise and buzzing are typical problems with pro audio gear. The new Bose® approach is very much immune to noise because it is a simple, independent system. The typical buzzes and hums associated with ground loops are gone when you use an independent system that is not interconnected electronically to other pieces of equipment. This is not a comprehensive guide to noise troubleshooting, but will offer a suggestion. One of the most important suggestions to alleviate buzz and hum in a system is to plug all interconnected gear into the same electrical circuit. Guitar players or vocalists with effects should plug those units into the same electrical outlet as their power stand is plugged into. This normally fixes all problems. Do not use 3-prong to 2-prong adapters, also known as "cheaters" or "ground lifters." Bypassing a safety grounding mechanism is a serious safety threat.<br />
<br />
=== Why doesn<nowiki>’</nowiki>t Bose Corporation publish full system specifications? === <br />
<br />
Most of the specifications that are used to describe sound systems can be very misleading.<br />
<br />
They pretend that relatively complex physical or perceptual properties can be condensed to a single number (or a small set of numbers) that determines somehow the quality of a product. These numbers then are used to compare or rank different products. In many cases, these numbers only loosely relate to what a user would experience in a real-world application. Furthermore, there are quite a number of variations in the details of how a specific measurement can be carried out. We believe it serves our customers better to describe the product in terms that they can more directly relate to, and to enable and encourage our customers to experience the product directly either through a demonstration or through actual real-world trials they conduct themselves.<br />
<br />
Bose Corporation publishes technical data whenever we think it is helpful. For example, for our products that are used primarily in installed sound systems, detailed technical specifications are available. This data is normally used by professional sound system engineers, who are well-trained to interpret the data correctly and put it into the right context. While some specifications add value in comparing two products that are otherwise very similar, they are mostly meaningless for a product that is fundamentally different, such as the Cylindrical Radiator® loudspeaker and the Bose {{L1 nl}} Model I system.<br />
<br />
=== How prone is the system to feedback? === <br />
<br />
The {{L1 nl}} Model I system is resistant to, but not immune from, feedback. Its performance in this critical dimension has been shown, in the vast majority of cases, to be significantly better than the traditional triple system amplification approach of backline instrument amplifiers, monitor system and PA system.<br />
<br />
=== Can I connect a passive subwoofer to the Bass Module Output? === <br />
<br />
No. We do not recommend that you connect anything except the B1 bass module to this output, as the internal amplifier and B1 bass module(s) are designed to properly equalize the system when connected. However, you may utilize the '''Bass Line Out''' connection to feed a powered subwoofer or additional amplifier.<br />
<br />
== Applications ==<br />
<br />
=== Where can the {{L1 nl}} Model I system be used? === <br />
<br />
The {{L1 nl}} Model I system is suitable for amplified music performances in venues with occupancies up to 500 people. Typically, this translates to maximum listener distances of about 150 feet (45 meters). Thus the system will fill auditoriums, places of worship, gymnasiums, ballrooms, dance clubs, coffeehouses and more – places where the vast majority of live music performances take place. Furthermore, tests have been conducted that show that in larger venues, a musical group can use the new approach on stage and enjoy all the benefits that allow musicians to hear themselves and each other better. Signals from the stage can then be fed to speakers that supply sound to distant seating areas.<br />
<br />
=== What kinds of musical groups can use the new technology? === <br />
<br />
There are no restrictions in this regard. Any instrument, any group size and any genre will benefit from the advantages of hearing themselves better, of being in complete control of their music, of having their audiences hear them better, and of being able to set up and play in a small fraction of the time it takes to set up a conventional system.<br />
<br />
=== You talk about excessive loudness. Are you saying the new system isn<nowiki>’</nowiki>t capable of playing loud? How loud can it play? === <br />
<br />
The new approach can compete with the maximum levels created by most conventional systems. What<nowiki>’</nowiki>s changed is that a band will rarely, if ever, play at the kind of sustained or persistently high sound levels, because the struggle to hear oneself and one<nowiki>’</nowiki>s fellow musicians – the reason to increase the volume in the first place – is gone. With the new approach, therefore, the dynamics are vastly improved, one of the major contributors to musical quality. In testing at Bose, musical groups plagued by the problem of excessive loudness were delighted to find that within a very short time (one or two sessions), their average level had dropped drastically while their peak level remained the same. They expressed an enormous increase in the enjoyment of playing, and audiences expressed their appreciation of music that was exciting but not overwhelmingly loud.<br />
<br />
=== Does every musician in the band need his or her own {{L1 nl}} Model I system? === <br />
<br />
No. In the fullest embodiment of this new approach, each musician in a group has a {{L1 nl}} Model I system. In some situations – a larger ensemble on a small stage, for example – testing showed that two or more musicians could share one {{L1 nl}} Model I system without a significant erosion of the benefits of the concept when the musicians were standing or sitting directly next to each other. Two horn players standing side by side or three support vocalists standing next to each other can use one L1 Model I system, as an example.<br />
<br />
=== Can one musician use an {{L1 nl}} system while the rest of the band plays through a conventional system? === <br />
<br />
Yes. There are two ways that a musician can use the {{L1 nl}} Cylindrical Radiator® loudspeaker onstage with a band using the conventional triple system setup.<br />
<br />
A performer can use the system onstage without connecting to any other house reinforcement equipment, including the main front speakers (sometimes known as "house mains") and stage monitors. However, only some of the benefits of the new approach are enjoyed in this case.<br />
<br />
The musician using the {{L1 nl}} Model II system will hear him or herself better, will be heard better <br />
by the other musicians and will be heard better by the audience. However, the full potential of this new system is not realized because only the performer and not the complete band is equipped and engaged to perform with the benefits of this new amplification approach.<br />
<br />
Performers can also use {{L1 nl}} Model II systems to enhance their sound onstage, and use the available Line Output jacks on the primary channels to send the audio signal(s) to a house PA. In this case, the musician and the band enjoy the benefits from the musician<nowiki>’</nowiki>s sound onstage and only onstage. There are no advantages for the audience. Loss of the benefits of the "cocktail party" effect, lack of eye-ear coordination, the potential for excessive reverberation, and the problems of bulky and complex equipment all exist if the remainder of the band plays through a triple system.<br />
<br />
=== Can DJs use this system? === <br />
<br />
Yes. The system has important advantages over conventional systems. One problem with portable<br />
<br />
PA systems is the use of stand-mounted speakers, which are very loud close to the speaker and not loud enough away from the speaker. The {{L1 nl}} Cylindrical Radiator® loudspeaker is unusual in that you can adjust for the desired level on the dance floor and in the audience, and then walk literally right next to the speaker without it getting excessively loud. This translates into much greater comfort for the guests.<br />
<br />
The system also has a sleek, elegant profile that fits nicely into event décors and minimizes sight-line issues.<br />
<br />
=== Can {{L1 nl}} systems be used as a traditional PA system? === <br />
<br />
Yes. {{L1 nl}} Model I systems can be used to replace PA speakers. Their unique radiation properties help them deliver more even sound coverage and a larger stereo field – a benefit that has been confirmed in listening tests. The benefits of compactness for transportation and rapid assembly will also be enjoyed.<br />
<br />
=== Can musicians really mix themselves? === <br />
<br />
Yes, when they are in complete control of their sound. Musicians know how to play together acoustically and have done so countless times, regardless of whether they also play with amplification. All musicians know how to alter their playing in order to create a balance when playing with others. In extensive testing at Bose, it was found that this skill is quickly revived when using the {{L1 nl}} system.<br />
<br />
=== Does this approach work for electric guitar? Aren<nowiki>’</nowiki>t guitarists particular about their guitar amplifiers? === <br />
<br />
Yes. For most electric guitarists, the guitar amplifier is considered a part of their instrument, as<br />
<br />
inseparable from the sound of their instrument as is the wood and body shape of an acoustic<br />
<br />
guitar. For example, the distortion created by the electronic tubes in some guitar amplifiers<br />
<br />
produces tones essential to many guitarists<nowiki>’</nowiki> sound. Even the speaker transducers and speaker cabinets used in guitar amplifiers produce unique tone essential to some players<nowiki>’</nowiki> sound.<br />
<br />
=== How can these elements of the electric guitar<nowiki>’</nowiki>s tone be included in the {{L1 nl}} system approach? === <br />
<br />
There are at least three ways this can be done, and each has been extensively tested by<br />
<br />
guitarists participating in the Bose® research that led to the new approach. The advantage gained<br />
<br />
in these approaches constitutes what is arguably the most important gain in electrical guitar<br />
<br />
sound since the invention of the guitar amplifier itself. The reason is that the Cylindrical<br />
<br />
Radiator® loudspeaker overcomes the problem of uneven radiation of sound to the stage and<br />
<br />
audience from traditional guitar amplifiers. This is of particular interest for the electric<br />
<br />
guitar because the radiation pattern of typical guitar amplifiers is so harshly directional as to be<br />
<br />
painful to listeners on-axis, and dull and muddy off-axis. Before, guitarists could create the<br />
<br />
desired "sweet spot" sound in one location (theirs), while all others were blasted on-axis or<br />
<br />
couldn<nowiki>’</nowiki>t hear the detail well off-axis.<br />
<br />
1) A number of companies have in the past 10 years produced electronic devices that model<br />
<br />
the tone produced by tubes, guitar transducers and guitar amplifier speaker cabinets. These<br />
<br />
modeling amps initially helped to solve the problem of recording electric guitar and have become increasingly popular on stage. The electric guitarist simply plugs into one of these devices and the output of the device is then plugged into the {{L1 nl}} Model II system. This is the most convenient and elegant way to use electric guitar with the L1 system.<br />
<br />
2) One of a number of tube-based or solid-state guitar preamplifiers can be used. The output of these preamplifiers is plugged directly into the power stand.<br />
<br />
3) The third way is for purists who are not satisfied that the modeling amps (first solution above)<br />
<br />
capture all of the nuances of a traditional guitar amplifier. These guitarists can use a tube<br />
<br />
amplifier with a microphone in front of the amplifier. Exceptional results have been obtained with<br />
<br />
the use of one of a growing number of low-wattage tube amplifiers. This class of guitar amplifier is<br />
<br />
becoming popular with players who want the tone of a tube amplifier but do not want to produce<br />
<br />
extremely high sound levels in order to get that tone.<br />
<br />
=== How does the output of an {{L1 nl}} Model I system compare to a loud stack of guitar amplifiers and cabinets? === <br />
<br />
The full stack is considered a standard by many guitarists, both in terms of tone and output.<br />
<br />
An {{L1 nl}} Model I system can compete effectively with the output of a full stack. However, there are other benefits, such as the radiation pattern of the L1 Model I system, that distinguish it from the full stack<nowiki>’</nowiki>s acute directional beam. Moreover, the Model I system can be used to amplify other instruments at the same time. The full stack is for one thing only: electric guitar.<br />
<br />
=== Can you create distortion for guitars with the {{L1 nl}} system? === <br />
<br />
No. Distortion must be produced first and then fed into the power stand as a clean, non-clipping signal. To achieve distortion, the guitarist can use a few methods:<br />
<br />
- Inline devices: One popular method would be to use any of the effects pedals on the market or use a DSP-based amplifier modeler, such as the Line 6 "Pod," which models the tone produced by amplifier tubes, guitar transducers and guitar amplifier speaker cabinets.<br />
<br />
- Miking a guitar amplifier: Another method would be to use a guitar amplifier and mic the speaker as closely as possible. The trick here is to run the amplifier at the lowest possible level at which the correct tone is attainable but does not diminish the benefits of the {{L1 nl}} Model I system. Louder amplifiers can be located and miked offstage. Miking small, low-watt amplifiers is a better technique for this method.<br />
<br />
- Use a loading device. Some electric guitarists may prefer to use their amplifier<nowiki>’</nowiki>s output as an input signal into the power stand. Before doing this, they must use a load device such as a "Plate Soak" or a<br />
<br />
"Hot Plate" to give a line-level output suitable for the input stage of the power stand.<br />
<br />
- Use the "line output" of a guitar amplifier. Some amplifiers have this option and may be suitable for some guitarists. The only suggestion here is to turn the volume of the amplifier down so only the {{L1 nl}} Model I system is heard.<br />
<br />
<br>Refer to the Bose® website and Musicians Community Forum at http://www.Bose.com/musicians to learn how to interface additional instruments with the system.<br />
<br />
=== Can acoustic instruments be amplified with the {{L1 nl}} Model I system? === <br />
<br />
Yes. If the acoustic instrument has a pickup system, then you may connect directly into the system. In cases where pickups are not present, a microphone may be used. The Model I power stand is equipped with 24 v phantom power capability for Channels 1 and 2 to power condenser microphones.<br />
<br />
=== How many B1 bass modules can I stack up on stage or when transporting? === <br />
<br />
Up to four B1 bass modules may be stacked in a column using the integrated alignment tabs on the sides of the enclosures.<br />
<br />
=== Where can I collaborate with Bose staff and existing owners to learn more on how the {{L1 nl}} Model I system can work for my specific application? === <br />
<br />
We host a public forum that allows our helpful user community to share their experiences and collaborate in real time on topics that are important to them. You will find extensive application specific documentation and helpful hints. The forum is fully searchable and can be accessed at [http://bose.infopop.cc/6/ubb.x http://Bose.infopop.cc/6/ubb.x].<br />
<br />
You also may contact our product support team and speak with our knowledgeable staff of musicians. They may be reached at 877-335-2673.<br />
<br />
== The {{L1 nl}} Product Family ==<br />
<br />
=== When was the {{L1 nl}} Model I system first available for consumers to purchase? === <br />
<br />
On October 15, 2003, Bose Corporation began selling the {{L1 nl}} Model I family of products through our internal CFDT sales division, and [http://www.bose.com/ www.Bose.com] (in the U.S., Puerto Rico, Canada or U.S. Virgin Islands only). Guitar Center® and Musicians Friend® began selling these products on November 1, 2003, in stores nationwide.<br />
<br />
=== Do the new products compete with Bose<nowiki>’</nowiki>s other portable professional systems? === <br />
<br />
There are some situations where in the past we would have recommended a Bose® solution comprised of our other portable products, where today we would recommend the {{L1 nl}} Model II system instead. Live music performance is the most obvious application where we would do so. There remain a number of applications where our other portable products are an excellent choice.<br />
<br />
=== Where can you hear and try the {{L1 nl}} Model I system? === <br />
<br />
Order it and try it for 45 days directly from Bose Corporation. We encourage customers to experience the {{L1 nl}} in their own environment with their specific gear. That is why we offer the ability for you to purchase and use the system in your specific application for up to 45 days, and if for any reason you are not satisfied you may return it for a refund. This offer is exclusive to Bose® direct sales channels.<br />
<br />
Additionally, you easily can try out the product at Guitar Center® stores nationwide. Other methods of demonstration are available in North America. For more details, visit [http://www.bose.com/musicians www.Bose.com/musicians].<br />
<br />
=== How does the cost of the {{L1 nl}} Model I compare to traditional PA equipment? === <br />
<br />
Because of the enormous reduction in complexity, the new system compares favorably with the cost of a high-quality conventional amplification system for a four piece band. However, the enormous reduction in transportation and set up costs mean that the new system is much less expensive to own and operate. Superiority is achieved when this cost advantage is combined with what we feel is a quantum improvement in sound quality.<br />
<br />
=== What do the different salable packages include in the box? === <br />
<br />
The {{L1 nl}} Model I Basic Package includes the following:<br />
<br />
- {{L1 nl}} Model I system<br />
<br />
- Power stand<br />
<br />
- R1 remote control<br />
<br />
- Carrying bag for the power stand<br />
<br />
- Two carrying bags for the {{L1 nl}} Model I system<br />
<br />
- Power cord<br />
<br />
- Remote control cable (15 ft)<br />
<br />
- Protective plug<br />
<br />
- Owners<nowiki>’</nowiki> guide, quick setup guide, warranty card and spare fuse<br />
<br />
The Single Bass Package includes the following:<br />
<br />
- {{L1 nl}} Model I system<br />
<br />
- Power stand<br />
<br />
- B1 bass module<br />
<br />
- R1 remote control<br />
<br />
- Carrying bag for the power stand<br />
<br />
- Carrying bag for the B1 bass module<br />
<br />
- Two carrying bags for the {{L1 nl}} Model I system<br />
<br />
- Power cord<br />
<br />
- Bass module cable<br />
<br />
- Remote control cable (15 ft)<br />
<br />
- Protective plug<br />
<br />
- Owners<nowiki>’</nowiki> guide, quick setup guide, warranty card and spare fuse<br />
<br />
The Double Bass Package includes the following:<br />
<br />
- {{L1 nl}} Model I system<br />
<br />
- Power stand<br />
<br />
- Two B1 bass modules<br />
<br />
- R1 remote control<br />
<br />
- Carrying bag for the power stand<br />
<br />
- Two carrying bags for the B1 bass modules<br />
<br />
- Two carrying bags for the {{L1 nl}} Model I system<br />
<br />
- Power cord<br />
<br />
- Two bass module cables<br />
<br />
- Remote control cable (15 ft)<br />
<br />
- Protective plug<br />
<br />
- Owners<nowiki>’</nowiki> guide, quick setup guide, warranty card and spare fuse<br />
<br />
The PackLite® Extended Bass Package includes the following:<br />
<br />
- PackLite® power amplifier<br />
<br />
- ¼-in TRS cable (18 in)<br />
<br />
- Nylon carry pouch for the amplifier<br />
<br />
- Power cord<br />
<br />
- Two B1 bass modules<br />
<br />
- Two B1 bass module 4-wire cables (5 ft)<br />
<br />
- Two B1 bass module soft covers<br />
<br />
'''PackLite® power amplifier Model A1'''<br />
<br />
Designed for instruments that require additional headroom and increased output in the deep bass range, such as electric bass, bass drum and high-output playback of recorded dance music. The PackLite® power amplifier can power up to two additional B1 bass modules.<br />
<br />
- PackLite power amplifier<br />
<br />
- ¼-in TRS cable (18 in)<br />
<br />
- Nylon carry pouch for the amplifier<br />
<br />
- Power cord<br />
<br />
- Owners<nowiki>’</nowiki> guide, quick setup guide and spare fuse<br />
<br />
=== What are the available accessories? === <br />
<br />
For a detailed list of the accessories below, please refer to Appendix A.<br />
<br />
== Accessories ==<br />
<br />
=== B1 bass module=== <br />
<br />
This compact, powerful bass enclosure is designed to be used with {{L1 nl}} systems helping to deliver the depth and impact of such instruments as bass guitar, drums and low voices. Low-pitched wind or stringed instruments, guitars and keyboards also can benefit from the additional low-end output that the B1 provides. Includes professional padded gig bag, and one cable to connect the B1 bass module to the power stand and slip cover.<br />
<br />
=== B1 cable 5.5ft (1.7m)=== <br />
<br />
Heavy-duty 4-pin cable connects B1 bass modules to {{L1 nl}} Model II or II power stands. Longer B1 cables may be obtained from www.audiopile.net.<br />
<br />
=== Standard B1 carrying cover=== <br />
<br />
A standard carrying cover for the B1 bass module. Cover is a direct replacement for the cover included with a new {{L1 nl}} Model II system package.<br />
<br />
=== Heavy-duty B1 gig bag=== <br />
<br />
Custom designed to hold your B1 bass module. Incorporates our high-end construction features to protect from scuffs and scrapes on all six sides.<br />
<br />
=== PackLite® power amplifier Model A1=== <br />
<br />
Designed for instruments that require additional headroom and increased output in the deep bass range, such as electric bass, bass drum and high-output playback of recorded dance music. The PackLite® power amplifier can power up to two additional B1 bass modules.<br />
<br />
=== Carry pouch for Model A1 amplifier=== <br />
<br />
Standard nylon protective pouch for the A1 PackLite power amplifier.<br />
<br />
=== ¼-in TRS Cable for A1 amplifier 18-in (0.5m)=== <br />
<br />
Standard, balanced tip-ring-sleeve ¼-inch cable connects the A1 PackLite power amplifier to a power stand.<br />
<br />
<br />
=== Heavy-duty gig bag set=== <br />
<br />
Durable and form-fitted, the heavy-duty gig bag set will help protect the {{L1 nl}} loudspeaker and power stand components during transport. Telescoping travel handle and roller wheels makes for a very easy transport of the power stand. The {{L1 nl}} bag, lined with extra padding, comes with a shoulder strap. A rugged duffle bag contains convenient pockets and can hold the R1 remote control with plenty of room for cables and accessories.<br />
<br />
=== Standard carrying bag set=== <br />
<br />
Standard carrying bags for the power stand and {{L1 nl}} loudspeaker. Set of three bags is a direct replacement for the set included with a new {{L1 nl}} Model I or II system package.<br />
<br />
=== R1 remote control=== <br />
<br />
Rugged and easy-to-operate remote control allows performers to control their {{L1 nl}} Model I systems sound from almost anywhere on stage. Features 3-band EQ/volume control for both of the mic/line inputs and a master level control to adjust overall system volume. Includes one loop-and-hook fastener strip for quick mounting to a microphone stand or flat surfaces like keyboards and music stands. (Does not include remote cable. Long or standard remote cables may be purchased separately.)<br />
<br />
=== Standard R1 remote control cable 16ft (5m)=== <br />
<br />
This proprietary 7-pin cable comes standard with the power stand.<br />
<br />
=== Fuse kit (120 volt only)=== <br />
<br />
Four spare 15-amp fuses for the 120V power stand.<br />
<br />
=== {{L1 nl}} Model I or II power stand cord (120 volt only)=== <br />
<br />
Designed to connect a 120 volt power stand to an AC outlet.<br />
<br />
=== Protective plug=== <br />
<br />
Molded rubber plug snaps into the power stand to protect the loudspeaker mount and connector during travel.<br />
<br />
== Support ==<br />
<br />
=== What is the limited warranty? === <br />
<br />
The limited warranty on all electronic components in the U.S. is one year (the power stand and PackLite® amplifier) and five years on loudspeakers (the {{L1 nl}} Model I system and B1 bass module). For limited warranty information in other parts of the world, please visit [https://www.bhtu.com/Local Settings/Application Data/Microsoft/Word/www.bose.com/musicians www.Bose.com/musicians] for more information.<br />
<br />
=== Can I use this 120-volt system in another country? === <br />
<br />
No. The unit does not have a universal power supply. Use the 120V version only in 120V countries. Use the 240V version in countries with 220, 230 or 240V systems at 50 Hz. We do not have a 100V system.<br />
<br />
=== I need a longer NL4 cable for my B1 bass module. What are my options? === <br />
<br />
It is generally good practice to locate the B1 bass modules near the Cylindrical Radiator® loudspeaker. If you require more length, ensure that it is a 4-conductor NL4 speaker cable. One vendor that we have used is [http://www.audiopile.net/ www.audiopile.net].<br />
<br />
=== Are there any user-replaceable parts? === <br />
<br />
Yes. User-replaceable parts are available. We offer easily replaceable parts such as power stand I/O Panel covers, R1 remote control knobs, cables, and {{L1 nl}}/B1 loudspeaker grilles and end caps. We feel that this service is extremely important to reduce working musicians<nowiki>’</nowiki> downtime.<br />
<br />
=== Are the products repairable? To what extent? === <br />
<br />
Yes. The products are repairable. The power stand is currently repairable at the board level. Drivers, end caps and grills can be replaced on the {{L1 nl}} and B1 units.<br />
<br />
=== What are the replacement costs? === <br />
<br />
In the U.S. call 877-335-2673 or e-mail [mailto:support@Bose.com support@Bose.com] for further details.<br />
<br />
== Appendix A: ==<br />
<br />
For the {{L1 nl}} family of products<br />
<br />
{|border="2" cellspacing="0" cellpadding="4" width="100%"<br />
|align = "center"|'''Accessories'''<br />
|align = "center"|'''Product Code'''<br />
<br />
|-<br />
|=== '''B1 bass module ''' === <br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|B1 bass module <br />
|align = "center"|032494<br />
<br />
|-<br />
|B1 cable 5.5ft (1.7m)<br />
|align = "center"|035404<br />
<br />
|-<br />
|Standard B1 carrying cover <br />
|align = "center"|035025<br />
<br />
|-<br />
|Heavy-duty B1 gig bag <br />
|align = "center"|041785<br />
<br />
|-<br />
|align = "center"|'''Accessories'''<br />
|align = "center"|'''Product Code'''<br />
<br />
|-<br />
|=== '''A1 amplifier''' === <br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|PackLite® power amplifier Model A1 <br />
|align = "center"|039057<br />
<br />
|-<br />
|Model A1 amplifier carry pouch <br />
|align = "center"|039860<br />
<br />
|-<br />
|Model A1 ¼" TRS cable 18-in (0.5m) <br />
|align = "center"|039861<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|=== '''Model I ''' === <br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|Power stand power cord<br />
|align = "center"|035393<br />
<br />
|-<br />
|R1 remote control<br />
|align = "center"|035394<br />
<br />
|-<br />
|R1 7-pin cable (5m)<br />
|align = "center"|035403<br />
<br />
|-<br />
|R1 7-pin cable (10m)<br />
|align = "center"|035411<br />
<br />
|-<br />
|L1 carry bags<br />
|align = "center"|034273<br />
<br />
|-<br />
|Power stand fuse kit (120V)<br />
|align = "center"|035408<br />
<br />
|-<br />
|Power stand protective plug<br />
|align = "center"|035410<br />
<br />
|-<br />
|Heavy-duty power stand/{{L1 nl}}/duffle carrying bag set <br />
|align = "center"|041784<br />
<br />
|-<br />
|Standard {{L1 nl}} Model I power stand/{{L1 nl}} carrying bag set <br />
|align = "center"|034273<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|=== '''Model II''' === <br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|{{L1 nl}} Model II Cylindrical Radiator® carry bag<br />
|align = "center"|044023<br />
<br />
|-<br />
|{{L1 nl}} Model II power stand carry bag<br />
|align = "center"|044024<br />
<br />
|-<br />
|Heavy duty power stand/{{L1 nl}}/duffle carrying bag set <br />
|align = "center"|041784<br />
<br />
|-<br />
|Standard {{L1 nl}} Model I power stand/{{L1 nl}} carrying bag set <br />
|align = "center"|034273<br />
<br />
|-<br />
|&nbsp;<br />
|&nbsp;<br />
<br />
|-<br />
|=== '''{{T1 nl}} ''' === <br />
|&nbsp;<br />
<br />
|-<br />
|{{T1 nl}} power supply<br />
|align = "center"|042533<br />
<br />
|-<br />
|{{T1 nl}} audio engine microphone stand bracket<br />
|align = "center"|042535<br />
<br />
|}<br />
<br />
</noinclude><br />
[[category:Model I]]<br />
[[Category:FAQ]]</div>SThttps://boseperformer.com/index.php?title=L1%C2%AE_Model_II_/_FAQ&diff=12067L1® Model II / FAQ8461-09-27T03:09:00Z<p>ST: added {{:L1® Model II Documentation}}</p>
<hr />
<div>__NOEDITSECTION__<br />
<noinclude><br />
<table><tr><br />
<td valign="top" width="30%"><br />
This is the latest version of the L1® FAQs originally published in February 2008 on the [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/faqs.jsp Main Bose Site]. It appears here with permission from {{Bose}}. As a reprint of a {{Bose}} document, it is not open for edits, but please use the discussion page to make note of any issues or discrepancies.<br />
</td><br />
<td valign="top" width="30%">'''Documentation'''<br />
{{:L1® Model II Documentation}}</td><br />
<td valign="top">{{BoseFAQ}}</td><br />
</tr></table><br />
<br />
<br />
</noinclude><br />
<br />
=== Why does an {{L1}} Model II power stand contain only a single analog input? ===<br />
The {{L1}} Model II system provides a single analog input suitable for many applications and compatible with standard mixers, DJ mixers, laptops and other devices. This enables the layout of the power stand to be less cluttered, with no unnecessary connectors. The end result is a clean, compact and efficient design.<br></p> <p> For musicians who need more inputs, our multichannel T1 ToneMatch® audio engine is designed to work with an {{L1}} Model II system via a simple digital connection. It offers three mic/line inputs, two line inputs (L/R), our largest library of ToneMatch presets, proprietary zEQ and a complete suite of studio-class effects and processing.<br />
<br />
=== What's the proper method for setting the gain on a Model II power stand when connected to an analog source? ===<br />
While playing your instrument or audio source as loudly as you would in performance, adjust the trim level on the power stand until you see the LED go from yellow to red. Then back the trim level off until the signal LED is predominantly yellow with brief peaks into red.<br />
<br />
===What's the proper method for setting the gain on a Model II power stand when connected to a T1 ToneMatch audio engine? ===<br />
Set the output volume of your source to normal operating volume. Make sure the master volume and channel volume on the ToneMatch audio engine are set to 0. While playing your instrument or audio source as loudly as you would in performance, turn the appropriate channel's trim control clockwise until the signal/clip indicator glows green or yellow. If the indicator flashes red or glows steady red, turn the trim control counterclockwise to decrease the level.<br />
<br />
<br />
<!-- ===== --><br />
<noinclude><br />
= Previous version of the Model II FAQ =<br />
<table><tr><br />
<td valign="top" width="50%"><br />
This information was originally prepared by {{Bose}} and may later be published on their <br />
website: http://www.bose.com/musicians/. It appears here with permission from {{Bose}}. As a reprint of a {{Bose}} document, it is not open for edits, but please use the discussion page to make note of any issues or discrepancies.<br />
</td><br />
<td valign="top">{{BoseFAQ}}</td><br />
</tr></table><br />
<br />
<br />
<br />
<br><br />
'''Focus Categories'''<br />
<br />
[[{{PAGENAME}}#The_Technology|The Technology]] | [[{{PAGENAME}}#General_(Product)|General Product]] | [[{{PAGENAME}}#Functionality|Functionality]] | [[{{PAGENAME}}#Applications|Applications]]<br />
| [[{{PAGENAME}}#The L1™ Model II product family|The L1™ Model II product family]]<br />
| [[{{PAGENAME}}#Support|Support]]<br />
== The Technology ==<br />
<br />
=== What is the L1™ Model II system? ===<br />
<br />
The L1™ Model II system represents a new approach to amplification. This approach was designed to address the root cause of complaints by musicians and audience members regarding the quality of live amplified musical performances.<br />
<br />
=== How does this approach work? ===<br />
<br />
In the new approach mixer, PA speakers, monitors and backline amplifiers (e.g. guitar amps) are replaced by special Cylindrical Radiator® loudspeakers, which are located behind the musicians. These speakers have the unique ability to radiate sound evenly across the stage and into the audience with very little change in sound level.<br />
<br />
The approach is naturalistic in that it mimics an acoustic instrument performance: Each player has control over his or her individual sound, and the sound comes from the multiple directions that correspond to the musician<nowiki>’</nowiki>s positions on stage – a property of acoustic music known to enhance our ability to hear and appreciate individual instruments and voices in ensemble passages. The new approach has many integrated features that allow the user to set up the system in just minutes.<br />
<br />
=== Is this technology better-suited for seasoned musicians who already have tons of gear, or for musicians that are just getting started and need a simple solution? ===<br />
<br />
The system is equally valuable for the seasoned musician and the beginner. Experienced performers immediately will recognize that they can hear better and therefore play better, and they instantly appreciate the easy setup. Musicians who are starting will enjoy playing more because they<nowiki>’</nowiki>ll spend more time playing and less time hassling with equipment. They will develop as better players because they can hear themselves and each other. All will benefit from the knowledge that the sound they produce on stage is what is radiated to the audience. Never again will they hear and think one thing only to find out the audience heard something completely different when they asked "How did we sound?" after the performance.<br />
<br />
=== What are some of the details of the electronics in the L1™ Model II power stand? ===<br />
<br />
Powerful amplification is enclosed in the Model II power stand – enough to drive the L1™ Model II system and up to two B1 bass modules to output levels required by bands in venues up to about 500 people.<br />
<br />
=== Why does the Model II power stand contain only a single analog input? ===<br />
<br />
Based on customer feedback, Bose provides a single analog input, which is suitable for many applications and is compatible with outputs from standard mixing consoles, DJ mixers, laptop computers and many other devices. This enables the layout of the power stand to be less cluttered with connectors that ultimately may not be used for many applications. The end result is a clean and compact design.<br />
<br />
Musicians who require more inputs can purchase the T1 ToneMatch™ audio engine, which is specifically designed to work with the L1™ Model II system. The T1 is a powerful multichannel audio device designed for musicians to use with the Model II system. It includes our largest library of ToneMatch™ presets, proprietary zEQ, a complete suite of studio-class effects and processing, and five channel inputs.<br />
<br />
=== Are there similarities between the L1™ Model II system and line arrays currently in use? ===<br />
<br />
Line arrays have been used for large concert performances as the PA component of a traditional triple amplification system. Unlike these large-venue systems, the L1™ Model II system is designed as a portable implementation of a line or pole-shaped source. It is designed to be positioned behind each musician, providing accurate coverage for musicians and audiences.<br />
<br />
=== In nightclubs, you normally see very large loudspeakers for bass. How do your smaller bass enclosures compare? What makes them so special? ===<br />
<br />
Bose has a number of propriety technologies for bass and has a long history of developing systems that produce high output in the bass range from smaller enclosures. The B1 bass module is no exception. The fact that it is used in an integrated system (with amplification and signal processing) means that performance can be enhanced in ways that a conventional component-based solution can<nowiki>’</nowiki>t. Large signal performance, for example, can be greatly improved with the use of a dedicated digital signal processor, which is built into the T1 ToneMatch™ audio engine.<br />
<br />
At the same time, the B1 bass module has been made modular, so that higher bass output can be created for instruments and styles that require it. An upright bass in a jazz trio might use only one bass module. On the other extreme, the electric bass in a 10-piece funk band might use four.<br />
<br />
== Functionality ==<br />
<br />
=== Is this really a "plug and play" solution? How long does it take to set up? ===<br />
<br />
The L1™ Model II system is designed to disassemble into easy-to-carry pieces. Everything can be carried by hand without the need for special equipment. Moreover, the products are designed to assemble in just minutes, and because the approach requires no mixing, the complex task of wiring each instrument to the mixer and then from the mixer to the amplifiers and speakers is eliminated. The musicians simply plug in, and they<nowiki>’</nowiki>re ready to play.<br />
<br />
=== Are sound operators required in the new approach? ===<br />
<br />
No. Just as acoustic-instrument ensembles (such as a string quartet) are able to balance their own sound, so too can a group playing amplified music using the new approach. The reason is that when musicians are in total control, and know that the sound they are creating on stage is what is radiated outward to the audience, they are best-suited to creating the required balance of voices and instruments.<br />
<br />
=== What happens if a musician is blocking the view of the L1™ Model II system? Doesn<nowiki>’</nowiki>t that block the sound? ===<br />
<br />
Sound diffracts (bends) around objects. So long as the musician is not standing literally against the L1™ Model II system, the sound diffracts around the musician or other objects such as a keyboard or other musical instrument.<br />
<br />
Connectivity:<br />
<br />
=== What is the proper method for setting the gain on the L1™ Model II power stand when connected to an analog source? ===<br />
<br />
Play source material at the loudest volume that will be present in the performance and adjust the trim level until you achieve the desired volume. Refer to the signal clip LED on the power stand while adjusting the trim level until you see the LED go from yellow to red in color. Back the trim level off until the signal LED is predominantly yellow with brief peaks into the red.<br />
<br />
=== What is the proper method for setting the gain on the L1™ Model II power stand when connected to a T1 ToneMatch™ audio engine? ===<br />
<br />
Adjust output volume of source to normal operating volume. Make sure that the Master volume and the channel volume on the T1 is set to 0. While playing your instrument/audio sources as loudly as you would during a performance, turn the Trim control on applicable channel of the T1 clockwise until the signal/clip indicator glows green or yellow. If the indicator flashes red or glows steady red, turn the trim control counter-clockwise to decrease the level.<br />
<br />
=== Can I use the bass-line-out on the L1™ Model II power stand to connect to a bass amplifier and cabinet? ===<br />
<br />
The bass-line-out connector provides a flat 40-Hz to 180-Hz bandpass signal when no B1 bass modules are used with the power stand. We recommend unplugging the B1 bass modules to ensure correct EQ compensation of the Bass Line OUT jack, and phase consistency.<br />
<br />
=== Do the mic inputs of the T1 ToneMatch™ audio engine have phantom power? ===<br />
<br />
Phantom power <nowiki>+</nowiki>48v can be applied to Channels 1-3.<br />
<br />
=== How many B1 bass modules can you connect? ===<br />
<br />
One power stand can power up to two B1 bass modules.<br />
<br />
=== Can this product be used in other countries? ===<br />
<br />
There are two voltage versions of the power stand and the A1 PackLite® amplifier. 120V versions are available in the U.S., Canada and some Latin American countries. The 230V versions are available in Europe and Australia.<br />
<br />
Please visit http://www.Bose.com/musicians for up-to-date information about product availability.<br />
<br />
=== How do I know which half of the Cylindrical Radiator® to insert into the power stand first? ===<br />
<br />
The upper and lower halves of the L1™ Model II system are not identical. The bottom half is easily identifiable because it has a large end cap, which gets inserted first into the power stand. The upper half contains the Bose® logo and uses a tongue-and-groove mechanism to ensure a solid mechanical and electrical connection to the lower half. Both halves are clearly labeled on the back, indicating proper insertion.<br />
<br />
=== Can you use 2-wire Speakon® cables for the B1 bass modules? ===<br />
<br />
No. Only 4-wire Speakon® cables should be used with the power stand. The additional two wires (<nowiki>+</nowiki>2 and -2) in the connector are used for sensing purposes. Upon connection, the power stand is able to sense and adjust (EQ and level) for 0, 1 or 2 B1 bass modules connected to the bass-module-out Speakon® connector.<br />
<br />
=== How can I tell if I<nowiki>’</nowiki>m using the correct Speakon® cable? ===<br />
<br />
If you plug in a 4-wire Speakon® cable to the bass-module-out connector with music playing through, you will clearly hear the L1™ Model II system mute for a moment. If you are using an incorrect cable, such as a 2-wire Speakon® cable, the momentary muting will not occur.<br />
<br />
=== Can the system be used with just one half of a L1™ Model II system in instances where the ceiling may not be tall enough for assembly of the full loudspeaker? ===<br />
<br />
Using only one half of the L1™ Model II system will significantly impact the performance. The EQ would be incorrect and your ears still need to be at the same height as some part of the loudspeaker, which is difficult at 3.5 feet tall. While there should not be any damage to the system by using it like this, it is not recommended.<br />
<br />
=== Can I use the system outside? ===<br />
<section begin=temperature /><br />
Yes. You may use your system for outdoor gigs, provided that it is protected from extreme elements. The system has been tested to operate in 0°C to 50°C temperatures and be stored in -30°C to 70°C temperatures. In cases of light rain outside, take precautions to cover the back panel of the power stand. Water must not get into the air inlet slits inside the back panel, on the loudspeaker drivers or inside the L1™ cavity on the power stand.<br />
<section end=temperature /><br />
Unofficial FAQ Extension:<br />
{{#lst:Temperature|conversions}}<br />
<br />
<br />
=== Why doesn<nowiki>’</nowiki>t Bose Corporation publish full system specifications? ===<br />
<br />
Most of the specifications that are used to describe sound systems can be very misleading.<br />
<br />
They pretend that relatively complex physical or perceptual properties can be condensed to a single number (or a small set of numbers) that determines somehow the quality of a product. These numbers then are used to compare or rank different products. In many cases, these numbers only loosely relate to what a user would experience in a real-world application. Furthermore, there are quite a number of variations in the details of how a specific measurement can be carried out. We believe it serves our customers better to describe the product in terms that they can more directly relate to, and to enable and encourage our customers to experience the product directly either through a demonstration or through actual real-world trials they conduct themselves.<br />
<br />
Bose Corporation publishes technical data whenever we think it is helpful. For example, for our products that are used primarily in installed sound systems, detailed technical specifications are available. This data is normally used by professional sound system engineers, who are well-trained to interpret the data correctly and put it into the right context. While some specifications add value in comparing two products that are otherwise very similar, they are mostly meaningless for a product that is fundamentally different or new, such as the L1™ Model II system.<br />
<br />
=== How prone is the system to feedback? ===<br />
<br />
The L1™ Model II system is resistant to, but not immune from, feedback. Its performance in this critical dimension has been shown, in the vast majority of cases, to be significantly better than the traditional triple system amplification approach of backline instrument amplifiers, monitor system and PA system.<br />
<br />
=== Can I connect a passive sub woofer to the Bass Module Output? ===<br />
<br />
No. We do not recommend that you connect anything except the B1 bass module to this output, as the internal amplifier and B1 bass modules are designed to properly equalize the system when connected. Use the '''Bass Line Out''' connection to feed a powered subwoofer or additional amplifier.<br />
<br />
== Applications ==<br />
<br />
=== Where can the L1™ Model II system be used? ===<br />
<br />
The L1™ Model II system is suitable for amplified music performances in venues with occupancies up to 500 people. Typically, this translates to maximum listener distances of about 150 feet (45 meters). Thus the system will fill auditoriums, places of worship, gymnasiums, ballrooms, dance clubs, coffeehouses and more – places where the vast majority of live music performances take place. In larger venues, a musical group can use the new approach on stage and enjoy all the benefits that allow musicians to hear themselves and each other better. Signals from the stage can be fed to speakers that supply sound to distant seating areas.<br />
<br />
=== What kinds of musical groups can use the new technology? ===<br />
<br />
There are no restrictions in this regard. Any instrument, any group size and any genre will benefit from the advantages of hearing themselves better, of being in complete control of their music, of having their audiences hear them better, and of being able to set up and play in a small fraction of the time it takes to set up a conventional system.<br />
<br />
=== You talk about excessive loudness. Are you saying the new system isn<nowiki>’</nowiki>t capable of playing loud? How loud can it play? ===<br />
<br />
The new approach can compete with the maximum levels created by most conventional systems. What<nowiki>’</nowiki>s changed is that a band will rarely, if ever, play at the kind of sustained or persistently high sound levels, because the struggle to hear oneself and one<nowiki>’</nowiki>s fellow musicians – the reason to increase the volume in the first place – is gone. With the new approach, therefore, the dynamics are vastly improved, one of the major contributors to musical quality. In testing at Bose, musical groups plagued by the problem of excessive loudness were delighted to find that within a very short time (one or two sessions), their average level had dropped drastically while their peak level remained the same. They expressed an enormous increase in the enjoyment of playing, and audiences expressed their appreciation of music that was exciting but not overwhelmingly loud.<br />
<br />
=== Does every musician in the band need his or her own L1™ Model II system? ===<br />
<br />
No. In the fullest embodiment of this new approach, each musician in a group has a L1™ Model II system. In some situations – a larger ensemble on a small stage, for example – testing showed that two or more musicians could share one L1™ Model II system without a significant erosion of the benefits of the concept when the musicians were standing or sitting directly next to each other. Two horn players standing side by side or three support vocalists standing next to each other can use one L1 Model II system, as an example.<br />
<br />
=== Can one musician use an L1™ system while the rest of the band plays through a conventional system? ===<br />
<br />
Yes. There are two ways that the musician can use the L1™ Cylindrical Radiator® loudspeaker onstage with a band using the conventional triple system setup.<br />
<br />
A performer can use the system onstage without connecting to any other house reinforcement equipment, including the main front speakers (sometimes known as "house mains") and stage monitors. However, only some of the benefits of the new approach are enjoyed in this case. The musician using the L1™ Model II system will hear him or herself better, will be heard better by the other musicians and will be heard better by the audience. However, the full potential of this new system is not realized because only the performer and not the complete band is equipped and engaged to perform with the benefits of this new amplification approach.<br />
<br />
Performers can also use L1™ Model II systems to enhance their sound onstage, and use the available Line Output jacks on the primary channels to send the audio signal(s) to a house PA. In this case, the musician and the band enjoy the benefits from the musicians<nowiki>’</nowiki> sound onstage and only onstage. There are no advantages for the audience. Loss of the benefits of the "cocktail party" effect, lack of eye-ear coordination, the potential for excessive reverberation, and the problems of bulky and complex equipment all exist if the remainder of the band plays through a triple system.<br />
<br />
=== Can DJs use this system? ===<br />
<br />
Yes. The system has important advantages over conventional systems. One problem with portable<br />
<br />
PA systems is the use of stand-mounted speakers, which are very loud close to the speaker and not loud enough away from the speaker. The L1™ Cylindrical Radiator® loudspeaker is unusual in that you can adjust for the desired level on the dance floor and in the audience, and then walk literally right next to the speaker without it getting excessively loud. This translates into much greater comfort for the guests.<br />
<br />
The system also has a sleek, elegant profile that fits nicely into event décors and minimizes sight-line issues.<br />
<br />
=== Can L1™ systems be used as a traditional PA system? ===<br />
<br />
Yes. L1™ Model II systems can be used to replace PA speakers. Their unique radiation properties help them deliver more even sound coverage and a larger stereo field – a benefit that has been confirmed in listening tests. The benefits of compactness for transportation and rapid assembly also will be enjoyed.<br />
<br />
=== Can musicians really mix themselves? ===<br />
<br />
Yes, when they are in complete control of their sound. Musicians know how to play together acoustically and have done so countless times, regardless of whether they also play with amplification. All musicians know how to alter their playing in order to create a balance when playing with others. In extensive testing at Bose, it was found that this skill is quickly revived when using the L1™ system.<br />
<br />
=== Does the new approach work for electric guitar? Aren<nowiki>’</nowiki>t guitarists particular about their guitar amplifiers? ===<br />
<br />
Yes. For most electric guitarists, the guitar amplifier is considered a part of their instrument, as inseparable from the sound of their instrument as is the wood and body shape of an acoustic guitar. For example, the distortion<br />
<br />
created by the electronic tubes in some guitar amplifiers produces tones essential to many guitarists<nowiki>’</nowiki> sound. Even the speaker transducers and speaker cabinets used in guitar amplifiers produce unique tone essential to some players<nowiki>’</nowiki> sound.<br />
<br />
=== How can these elements of the electric guitar<nowiki>’</nowiki>s tone be included in the L1™ system approach? ===<br />
<br />
There are at least three ways this can be done, and each has been extensively tested by guitarists participating in the Bose® research that led to the new approach. The advantage gained in these approaches constitutes what is arguably the most important gain in electrical guitar sound since the invention of the guitar amplifier itself. The reason is that the Cylindrical Radiator® loudspeaker overcomes the problem of uneven radiation of sound to the stage and audience from traditional guitar amplifiers. This is of particular interest for the electric guitar because the radiation pattern of typical guitar amplifiers is so harshly directional as to be painful to listeners on-axis, and dull and muddy off-axis. Before, guitarists could create the desired "sweet spot" sound in one location (theirs), while all others were blasted on-axis or couldn<nowiki>’</nowiki>t hear the detail well off-axis.<br />
<br />
1) A number of companies have in the past 10 years produced electronic devices that model the tone produced by tubes, guitar transducers and guitar amplifier speaker cabinets. These modeling amps initially helped to solve the problem of recording electric guitar and have become increasingly popular on stage. The electric guitarist simply plugs into one of these devices and the output of the device is then plugged into the L1™ Model II system. This is the most convenient and elegant way to use electric guitar with the L1 system.<br />
<br />
2) One of a number of tube-based or solid-state guitar preamplifiers can be used. The output of these preamplifiers is plugged directly into the power stand.<br />
<br />
3) The third way is for purists who are not satisfied that the modeling amps (first solution above) capture all of the nuances of a traditional guitar amplifier. These guitarists can use a tube amplifier with a microphone in front of the amplifier. Exceptional results have been obtained with the use of one of a growing number of low-wattage tube amplifiers. This class of guitar amplifier is becoming popular with players who want the tone of a tube amplifier but do not want to produce extremely high sound levels in order to get that tone.<br />
<br />
=== How does the output of an L1™ Model II system compare to a loud stack of guitar amplifiers and cabinets? ===<br />
<br />
The full stack is considered a standard by many guitarists, both in terms of tone and output.<br />
<br />
An L1™ Model II system can compete effectively with the output of a full stack. However, there are other benefits, such as the radiation pattern of the L1 Model II system, that distinguish it from the full stack<nowiki>’</nowiki>s acute directional beam. Moreover, the Model II system can be used to amplify other instruments at the same time. The full stack is for one thing only: electric guitar.<br />
<br />
=== Can you create distortion for guitars using the L1™ system? ===<br />
<br />
No. Distortion must be produced first and then fed into the power stand as a clean, non-clipping signal. To achieve distortion, the guitarist can use a few methods:<br />
<br />
- Inline devices: One popular method would be to use any of the effects pedals on the market or use a DSP-based amplifier modeler, such as the Line 6 "Pod," which models the tone produced by amplifier tubes, guitar transducers and guitar amplifier speaker cabinets.<br />
<br />
- Miking a guitar amplifier: Another method would be to use a guitar amplifier and mic the speaker as closely as possible. The trick here is to run the amplifier at the lowest possible level at which the correct tone is attainable but does not diminish the benefits of the L1™ Model II system. Louder amplifiers can be located and miked offstage. Miking small, low-watt amplifiers is a better technique for this method.<br />
<br />
- Use a loading device. Some electric guitarists may prefer to use their amplifier<nowiki>’</nowiki>s output as an input signal into the power stand. Before doing this, they must use a load device such as a "Plate Soak" or a "Hot Plate" to give a line-level output suitable for the input stage of the power stand.<br />
<br />
- Use the "line output" of a guitar amplifier. Some amplifiers have this option and may be suitable for some guitarists. The only suggestion here is to turn the volume of the amplifier down so only the L1™ Model II system is heard.<br />
<br />
Refer to the Bose® website and Musicians Community Forum at [http://www.bose.com/musicians http://www.Bose.com/musicians] to learn how to interface additional instruments with the system.<br />
<br />
=== Can acoustic instruments be amplified with the L1™ Model II system? ===<br />
<br />
Yes. When a T1 is not connected, an acoustic instrument equipped with a pickup system may connect directly into the Model II power stand. In cases where pickups are not present, a microphone may be used. When a T1 is not being used, you may connect directly into the Model II system<nowiki>’</nowiki>s analog input. However, in this instance, a microphone cable must be used in conjunction with a direct box or a transformer to adapt to the power stands ¼ "analog input connector.<br />
<br />
=== How many B1 bass modules can I stack up on stage or when transporting? ===<br />
<br />
Up to four B1 bass modules may be stacked in a column using the integrated alignment tabs on the sides of the enclosures.<br />
<br />
== General (Product) ==<br />
<br />
=== I already own a L1™ Model I or Model II system. Can I purchase the T1 separately and use it with the system? ===<br />
<br />
Yes. The T1 is available for purchase separately and may be used with either an L1™ Model I or Model II system. When used with a Model II system, the audio is connected digitally via the ToneMatch™ ports. When used with a Model I, a separate power supply is required to power the T1 and the audio is analog. When using with a Model I, simply connect the T1<nowiki>’</nowiki>s Master Output jack to the analog input of Channel 3 or 4 on the Model I power stand. The T1 power supply is available through Bose or authorized dealers of the L1 family of products.<br />
<br />
=== What is the 45-day Better Music Guarantee? ===<br />
<br />
At Bose, we recognize that customers may want to experience the L1™ in their own environment with their specific gear. That is why we allow you to purchase and use the system in your specific application for up to 45 days, and if for any reason you are not satisfied you may return it for a refund. This offer is exclusive to Bose® direct sales channels.<br />
<br />
=== What are the weights and dimensions of the L1™ Model II system? ===<br />
==== Weight ====<br />
* L1™ Model II power stand: 23.7 lb (10.7 kg)<br />
* L1™ Model II Cylindrical Radiator® loudspeaker <br />
** Top Section: 16.3 lb (7.4 kg)<br />
** Bottom Section: 17.4 lb (7.9 kg)<br />
* B1 bass module: 25.1 lb (11.4 kg)<br />
<br />
==== Dimensions ====<br />
* L1™ Model II power stand: 5<nowiki>’’</nowiki>H x 10<nowiki>’’</nowiki>W x 27<nowiki>’’</nowiki>D (12.8 cm x 26.2 cm x 69.2 cm) <br />
* L1™ Model II Cylindrical Radiator® loudspeaker <br />
** Top Section: 43 ¼ <nowiki>’’</nowiki>H x 3½<nowiki>’’</nowiki>W x 4<nowiki>’’</nowiki>D (109.86 cm x 8.89 cm x 10.16 cm)<br />
** Bottom Section: 43 3/4<nowiki>’’</nowiki>H x 3½<nowiki>’’</nowiki>W x 4<nowiki>’’</nowiki>D (111.13 cm x 8.89 cm x 10.16 cm) <br />
* B1 bass module: 15<nowiki>’’</nowiki>H x 10¼<nowiki>’’</nowiki>W x 17¾<nowiki>’’</nowiki>D (38.0 cm x 26.0 cm x 45.0 cm)<br />
<br />
=== What is the fully assembled height of the L1™ Model II system? === <br />
84 <nowiki>’’</nowiki> (213.4 cm)<br />
<br />
Note: The bayonet portion of the upper section of the {{L1 CR}} is included in the individual measurements but not in the overall system height. Similarly, the lower section of the {{L1 CR}} fits into the power stand and that portion is not included in the overall system height.<br />
<br />
=== Does the system ship with carrying cases? ===<br />
<br />
Yes. The Model II power stand and Model II Cylindrical Radiator® loudspeaker both ship with padded carrying bags. The B1 bass module ships with a carrying case.<br />
<br />
=== Are hard-shell cases available for the products? ===<br />
<br />
No. Although Bose does not offer hard shell cases directly, visit [http://www.bose.com/musicians www.Bose.com/musicians] to view user comments on this topic. (and [[Hardshell Cases]] in this wiki). <br />
<br />
=== What is the limited warranty? ===<br />
<br />
{{#lst:Warranty Information|L1™ Model II}}<br />
<br />
== The L1™ Model II product family ==<br />
<br />
=== When was the L1™ Model II system first available for consumers to purchase? ===<br />
<br />
On March 28, 2007, Bose Corporation introduced the L1™ Model II system. It will be available for sale May 1, 2007, through our internal sales groups and participating authorized dealers.<br />
<br />
=== Do the new products compete with Bose<nowiki>’</nowiki>s other portable professional systems? ===<br />
<br />
Yes. There are some situations where in the past we would have recommended a Bose® solution comprised of our other portable products, where today we would recommend the L1™ Model II system instead. Live music performance is the most obvious application where we would do so. There remain a number of applications where our other portable products are an excellent choice.<br />
<br />
=== Where can you hear and try the L1™ Model II system? ===<br />
<br />
Order it and try it for 45 days directly from Bose Corporation. We encourage customers to experience the L1™ in their own environment with their specific gear. That is why we offer the ability for you to purchase and use the<br />
<br />
system in your specific application for up to 45 days, and if for any reason you are not satisfied you may return it for a refund. This offer is exclusive to Bose® direct sales channels.<br />
<br />
Additionally, you can easily try out the product at Guitar Center® stores nationwide. Other methods of demonstration are available in North America. For more details, visit [http://www.bose.com/musicians www.Bose.com/musicians].<br />
<br />
=== How does the cost of the L1™ Model II compare to traditional PA equipment? ===<br />
<br />
Because of the enormous reduction in complexity, the new system compares favorably with the cost of a high-quality conventional amplification system for a four piece band. However the enormous reduction in transportation and set up costs mean that the new system is much less expensive to own and operate. Superiority is achieved when this cost advantage is combined with what we feel is a quantum improvement in sound quality.<br />
<br />
=== What products are available in the L1™ Model II family? What is included in the box? ===<br />
<br />
==== The L1™ Model II system ====<br />
includes the following:<br />
<br />
* Cylindrical Radiator® loudspeaker<br />
<br />
* L1™ Model II power stand<br />
<br />
* B1 bass module<br />
<br />
* Padded carrying bags for L1, power stand and B1<br />
<br />
* 4 conductor bass module cable<br />
<br />
* AC power cord<br />
<br />
* Demonstration DVD<br />
<br />
* L1™ Model II Owners Guide, B1 bass module Owner<nowiki>’</nowiki>s Guide, Quick setup guide and product registration card<br />
<br />
==== The L1™ Model II system with T1 ToneMatch™ audio engine ====<br />
includes the following:<br />
<br />
* L1™ Model II system <br />
<br />
* Cylindrical Radiator® loudspeaker<br />
<br />
* L1™ Model II power stand<br />
<br />
* B1 bass module<br />
<br />
* Padded carrying bags for L1, power stand and B1<br />
<br />
* 4 conductor bass module cable<br />
<br />
* AC power cord<br />
<br />
* Demonstration DVD<br />
<br />
* L1™ Model II Owner<nowiki>’</nowiki>s Guide, B1 bass module Owner<nowiki>’</nowiki>s Guide, Quick setup guide and product registration card<br />
<br />
'''T1 ToneMatch™ audio engine'''<br />
<br />
* T1 ToneMatch™ audio engine (with protective top)<br />
<br />
* Soft carry bag<br />
<br />
* ToneMatch cable<br />
<br />
* Carriage<br />
<br />
* Mounting bar<br />
<br />
* DVD-ROM<br />
<br />
<br />
==== The T1 ToneMatch™ audio engine ====<br />
includes the following:<br />
<br />
* T1 ToneMatch™ audio engine (with protective top)<br />
<br />
* Soft carry bag<br />
<br />
* ToneMatch cable<br />
<br />
* Carriage<br />
<br />
* Mounting bar<br />
<br />
* DVD-ROM<br />
<br />
<br />
==== PackLite® power amplifier Model A1====<br />
<br />
Designed for instruments that require additional headroom and increased output in the deep bass range, such as electric bass, bass drum and high-output playback of recorded dance music. The PackLite® power amplifier can power up to two additional B1 bass modules.<br />
<br />
'''PackLite® Extended Bass Package'''<br />
<br />
The PackLite® Extended Bass Package includes:<br />
<br />
* PackLite power amplifier<br />
<br />
* 1/4-in TRS cable (18 in)<br />
<br />
* Nylon carry pouch for the amplifier<br />
<br />
* Power cord<br />
<br />
* Two B1 bass modules<br />
<br />
* Two B1 bass module 4-wire cables (5 ft)<br />
<br />
* Two B1 bass module soft covers<br />
<br />
== Accessories ==<br />
<br />
=== What are the available accessories for the L1™ family of products? ===<br />
<br />
=== B1 bass module ===<br />
<br />
This compact, powerful bass enclosure is designed to be used with L1™ systems helping to deliver the depth and impact of such instruments as bass guitar, drums and low voices. Low-pitched wind or stringed instruments, guitars and keyboards also can benefit from the additional low-end output that the B1 provides. Includes professional padded gig bag, and one cable to connect the B1 bass module to the power stand and slip cover.<br />
<br />
===Standard B1 carrying cover===<br />
<br />
A standard carrying cover for the B1 bass module. Cover is a direct replacement for the cover included with a new L1™ Model II system package.<br />
<br />
===B1 cable 5.5ft (1.7m)===<br />
<br />
Heavy-duty 4-pin cable connects B1 bass modules to L1™ Model II or II power stands. Longer B1 cables may be obtained from [https://www.bhtu.com/Local Settings/Application Data/Microsoft/Word/www.audiopile.net www.audiopile.net].<br />
<br />
===Heavy-duty B1 gig bag===<br />
<br />
Custom designed to hold your B1 bass module. Incorporates our high-end construction features to protect from scuffs and scrapes on all six sides.<br />
<br />
===PackLite® power amplifier Model A1===<br />
<br />
Designed for instruments that require additional headroom and increased output in the deep bass range, such as electric bass, bass drum and high-output playback of recorded dance music. The PackLite® power amplifier can power up to two additional B1 bass modules.<br />
<br />
===Carry pouch for Model A1 amplifier===<br />
<br />
Standard nylon protective pouch for the A1 PackLite power amplifier.<br />
<br />
===¼" TRS Cable for A1 amplifier 18-in (0.5m)===<br />
<br />
Standard, balanced tip-ring-sleeve ¼" cable connects the A1 PackLite® power amplifier to a power stand.<br />
<br />
===Heavy-duty power stand/L1™/duffle carrying bag set===<br />
<br />
Durable and form-fitted, the heavy-duty gig bag set will help protect the L1™ loudspeaker and power stand components during transport. Telescoping travel handle and roller wheels makes for a very easy transport of the power stand. The L1™ bag, lined with extra padding, comes with a shoulder strap. A rugged duffle bag contains convenient pockets and can hold the R1 remote control with plenty of room for cables and accessories.<br />
<br />
===Standard power stand/L1™ carrying bag set===<br />
<br />
Standard carrying bags for the power stand and L1™ loudspeaker. Set of three bags is a direct replacement for the set included with a new L1™ Model II or II system package.<br />
<br />
===L1™ Model II power stand cord (120 volt only)===<br />
<br />
Designed to connect a 120 volt power stand to an AC outlet.<br />
<br />
For product codes and part numbers, please see Appendix A.<br />
<br />
== Support ==<br />
<br />
=== Where can I collaborate with Bose® staff and existing owners to learn more on how the L1™ Model II system can work for my specific application? ===<br />
<br />
We host a public forum that allows our helpful user community to share their experiences and collaborate in real time on topics that are important to them. You will find extensive application specific documentation and helpful hints. The forum is fully searchable and can be accessed at [http://bose.infopop.cc/6/ubb.x http://Bose.infopop.cc/6/ubb.x].<br />
<br />
You also may contact our product support team and speak with our knowledgeable staff of musicians. They may be reached at 877-335-2673.<br />
<br />
=== What is the limited warranty? ===<br />
<br />
The limited warranty on electronic components in the U.S. is one year (the power stand and PackLite® amplifier) and five years on loudspeakers (both the L1™ Model II system and B1 bass module). For limited warranty information in other parts of the world, please visit [https://www.bhtu.com/Local Settings/Application Data/Microsoft/Word/www.bose.com/musicians www.Bose.com/musicians] for more information.<br />
<br />
=== There is a buzz in the system. Any suggestions on how to fix it? ===<br />
<br />
Noise and buzzing is a typical problem with pro audio gear. The new Bose® approach is very much immune to noise because it is a simple, independent system. The typical buzzes and hums associated with ground loops are gone when you use an independent system that is not interconnected electronically to other pieces of equipment. This is not a comprehensive guide to noise troubleshooting, but will offer a suggestion. One of the most important suggestions to alleviate buzz and hum in a system is to plug all interconnected gear into the same electrical circuit. Guitar players or vocalists with effects should plug those units into the same electrical outlet as their power stand is plugged into. This normally fixes all problems.<br />
<br />
=== Can I use this 120-volt system in another country? ===<br />
<br />
The unit does not have a universal power supply; use the 120V version only in 120V countries. Use the 240V version in countries with 220,230 or 240V systems at 50 Hz. We do not have a 100V system.<br />
<br />
=== I need a longer NL4 cable for my B1 bass module. What are my options? ===<br />
<br />
It is generally good practice to locate the B1 bass modules near the L1. If you require more length, ensure that it is a 4-conductor NL4 speaker cable. One vendor that we have used is [http://www.audiopile.net/ www.audiopile.net].<br />
<br />
=== Are there any user-replaceable parts? ===<br />
<br />
Yes. Certain user-replaceable parts are available for the product family. U.S. customers can contact our support department at 877-335-2673 for details.<br />
<br />
=== Are the products repairable? To what extent? ===<br />
<br />
Yes. The products are repairable. The power stand is currently repairable at the board level. Drivers, end caps, and grills can be replaced on the L1™ and B1 units.<br />
<br />
=== What are the replacement costs? ===<br />
<br />
U.S. customers may call 877-335-2673 or e-mail [mailto:support@Bose.com support@Bose.com] for further details.<br />
<br />
== Appendix A: Accessories ==<br />
<br />
The following accessories are available for the L1™ family of products.<br />
<br />
{|border="2" cellspacing="0" cellpadding="4" width="91%"<br />
|align = "center"|'''Accessories'''<br />
|align = "center"|'''Product Code'''<br />
<br />
|-<br />
|=== '''B1 bass module ''' ===<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|B1 bass module <br />
|align = "center"|032494<br />
<br />
|-<br />
|B1 cable 5.5" (1.7m)<br />
|align = "center"|035404<br />
<br />
|-<br />
|Standard B1 carrying cover <br />
|align = "center"|035025<br />
<br />
|-<br />
|Heavy-duty B1 gig bag <br />
|align = "center"|041785<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|=== '''A1 amplifier''' ===<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|PackLite® power amplifier Model A1 <br />
|align = "center"|039057<br />
<br />
|-<br />
|Model A1 amplifier carry pouch <br />
|align = "center"|039860<br />
<br />
|-<br />
|Model A1 ¼" TRS cable 18-in (0.5m) <br />
|align = "center"|039861<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|=== '''Model I ''' ===<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|Power stand power cord<br />
|align = "center"|035393<br />
<br />
|-<br />
|R1 remote control<br />
|align = "center"|035394<br />
<br />
|-<br />
|R1 7-pin cable (5m)<br />
|align = "center"|035403<br />
<br />
|-<br />
|align = "center"|'''Accessories'''<br />
|align = "center"|'''Product Code'''<br />
<br />
|-<br />
|R1 7-pin cable (10m)<br />
|align = "center"|035411<br />
<br />
|-<br />
|L1 carry bags<br />
|align = "center"|034273<br />
<br />
|-<br />
|Power stand fuse kit (120V)<br />
|align = "center"|035408<br />
<br />
|-<br />
|Power stand protective plug<br />
|align = "center"|035410<br />
<br />
|-<br />
|Heavy-duty power stand/L1™/duffle carrying bag set <br />
|align = "center"|041784<br />
<br />
|-<br />
|Standard L1™ Model I power stand/L1™ carrying bag set <br />
|align = "center"|034273<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|=== '''Model II''' ===<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|L1™ Model II Cylindrical Radiator® carry bag<br />
|align = "center"|044023<br />
<br />
|-<br />
|L1™ Model II power stand carry bag<br />
|align = "center"|044024<br />
<br />
|-<br />
|Heavy-duty power stand/L1™/duffle carrying bag set <br />
|align = "center"|041784<br />
<br />
|-<br />
|Standard L1™ Model I power stand/L1™ carrying bag set <br />
|align = "center"|034273<br />
<br />
|-<br />
|&nbsp;<br />
|&nbsp;<br />
<br />
|-<br />
|=== '''T1 ToneMatch™ audio engine ''' ===<br />
|&nbsp;<br />
<br />
|-<br />
|T1 ToneMatch™ audio engine power supply<br />
|align = "center"|042533<br />
<br />
|-<br />
|ToneMatch™ audio engine microphone stand bracket<br />
|align = "center"|042535<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|-<br />
|&nbsp;<br />
|align = "center"|&nbsp;<br />
<br />
|}<br />
<br />
</noinclude><br />
[[Category:Model II]]<br />
[[Category:FAQ]]</div>SThttps://boseperformer.com/index.php?title=User:ST&diff=26145User:ST2026-06-17T23:52:46Z<p>ST: /* Ultima / Princeton */</p>
<hr />
<div><!-- [[Image:STIcon.gif|ST Icon from the forum|center]] --><br />
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<a href="/images/scribblyDragon.jpg" rel="shadowbox" ><img border="0" src="/images/scribblyDragonThumb.gif" alt="Artifact of another life - click for a larger view" title="Artifact of another life - click for a larger view" align="right" ><br />
<a href="http://toonz.ca/bose/wiki/images/d/d0/RattleSnakeNapkin400a.png" rel="shadowbox"><img src="/images/d/d0/RattleSnakeNapkin400a.png" width="200" alt="sketch on a napkin" title="sketch on a napkin" align="right" ></a><br />
<a href="/images/0/08/StIconModelII.gif" rel="shadowbox"><img src="/images/0/08/StIconModelII.gif" align="right" alt="self portrait: Meander Bose" title="self portrait: Meander Bose"></a><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<h3>Links</h3><br />
</html><br />
* [https://twitter.com/ST_Muso Twitter]<br />
* [https://www.linkedin.com/in/stpro/ LinkedIn]<br />
* [http://shadowtoonz.wordpress.com My&nbsp;blog]<br />
<!--<br />
* {{Forum}}<br />
--><br />
<HTML><br />
<!--<br />
<a href="http://www.twitter.com/ST_Muso"><img src="http://twitter-badges.s3.amazonaws.com/twitter-b.png" alt="Follow ST_L1 on Twitter"/></a><br />
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<br />
<div style="clear:both;"></div><br />
<br />
</html><br />
== Current Role ==<br />
Current (2026) &mdash; 2005 the principal author and curator of content on this site<br />
<br />
=== Recent History ===<br />
June 2016 &mdash; June 2020 Community Manager for the {{forum}} and Knowledge Manager at Bose Professional.<br />
<br />
Mid-2016 I took on the role of Community Manager for the {{forum}}. In 2017 my Community Manager role expanded to encompass the Bose Pro Audio Community and [http://community.bose.com Bose Community] with a special focus on wireless headphones and Hearphones the conversation enhancing headphones.<br />
<br />
2007-2016 Community Manager of the original Bose L1 Forum.<br />
<br />
== Background ==<br />
This is ST from the {{forum}}.<br />
<br />
* I got my first {{L1}} in June 2004 and have been using the {{PAS}} in my solo, unplugged duo, and four-to-occasionally-seven piece eclectic band ever since. <br /><br />
* In those early days I had no formal relationship with Bose Corporation but in early dealings with the Bose Live Music Technology Group I found them to be excellent people with a profound sense of the importance of live music. I felt compelled to help. <br /><br />
* You may know me from my posts on the {{forum}} but you might be wondering about this site. If so, see [[Why this Website]]<br /><br />
* [[The Sketcher]] &mdash; I am the author of this online tool for visualizing stage layouts.<br />
<br />
<br />
You can read [http://shadowtoonz.wordpress.com/2005/03/07/st-whats-that-about/ a little background about me] in my blog.<br />
* [https://shadowtoonz.wordpress.com/2015/06/12/eleven-years-of-bose/ Eleven Years of Bose]<br />
* [http://shadowtoonz.wordpress.com/2008/06/15/and-another-year-makes-four/ Four Year Anniversary Blog post]<br />
* [http://shadowtoonz.wordpress.com/2007/06/12/still-counting-after-3-years/ Three Year Anniversary Blog post]<br />
* [http://shadowtoonz.wordpress.com/2006/06/13/still-counting/ Two Year Anniversary Blog post]<br />
<br />
* I was among the first group of individuals honoured by Bose as a [[Live Music Pioneer]]. <ref>Ken-at-Bose announces [http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/6541007893 Live Music Pioneers]</ref><br />
<br />
* My avatar/icon up to August 22, 2007 and my August 2009<br />
<html><table><br />
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<td width="200"><img src="http://toonz.ca/bose/wiki/images/4/45/STIcon.gif" align="" alt="self portrait: Meander Bose" title="self portrait: Meander Bose"></td><br />
<td><img src="http://toonz.ca/bose/wiki/images/0/08/StIconModelII.gif" alt="self portrait: Meander Bose II" title="self portrait: Meander Bose II"> </td><br />
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<br />
* More avatar/icons 2010<br />
<table><tr><br />
<td>[[Image:STCurrentIcon2010.png]]<br />
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<td>[[Image:STPRSHBII.png]]<br />
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<td>[[Image:STESArtist.png]]<br />
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<td>[[Image:STHalloween.png]]<br />
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<td>[[Image:STThanksgivingAni.gif]]<br />
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<!-- <br />
== Contact ==<br />
Please contact me via a Private Message on the {{forum}}.<br />
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{{STPM}}<br />
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<br />
== Other Sites ==<br />
* [http://toonz.ca/Sketcher The Sketcher] Stage Layout Tool<br />
* [http://shadowtoonz.wordpress.com my Bose Blog]<br />
* [http://shadowtoonz.wordpress.com/2005/03/07/st-whats-that-about ST a little background]<br />
<br />
== Gear ==<br />
We have enough {{L1 CR}}s to go '''1:1''' (one per player).<br />
=== Duo ===<br />
{{:Stage Layouts / ST Duo}}<br />
<br />
=== Four Piece Band ===<br />
==== L1® Setup ====<br />
Four L1 Pro systems or {{Model II}} systems (could also be {{Model 1S}})<br />
<br />
[[Image:Stage Layout 4 Piece Band.png|600px|Four Piece band]]<br />
<br />
----<br />
<br />
==== F1 Setup ====<br />
In this setup I run two F1 Stacks (F1 Model 812 with F1 Subwoofer) for the Front of House system and two {{Compact}}s as monitors at the back of the stage. I've also see people set up the {{Compact}}s at the front of the stage facing back toward the performers, without the extensions. <br />
<br />
[[Image:Four Piece Band F1 with Compacts.png|600px|Four Piece band with F1]]<br />
<br />
----<br />
<br />
=== What I run through my L1® ===<br />
<br />
==== Electric Guitar ====<br />
[[File:ST Tiger Eye Hands squarew1024.jpg|250px|right]]<br />
<table><tr><br />
<td valign="top"><br />
</td><br />
<td valign="top"><br />
</td><br />
</tr></table><br />
<br />
==== Hollow and Semi-Hollow Body Electrics ====<br />
These guitars can sound terrific<br />
* Through the {{T1}}/{{ToneMatch Mixers}} with Presets bypassed (making this Utility Flat)<br />
* Straight into any {{L1PS}} no ToneMatch® Preset required, but use one if you prefer<br />
* Straight into the {{Compact}} Channel 2 set to Line Level (no ToneMatch® Preset)<br />
* Straight into the {{Model II}} Power Stand analog input (no preset or other processing)<br />
* Straight into the {{S1}} with ToneMatch Switch off (no preset or other processing) <br />
<br />
I do this with my other large hollowbody and semi-hollowbody electrics. They all sound great straight in.<br />
<br />
And experiment with ToneMatch Presets like:<br />
<br />
Category: Electric Guitar<br />
<br>Preset: General Direct<br />
<br />
Category: Electric Guitar<br />
<br>Preset: Flat w/zEQ<br />
<br />
On the {{S1}} try these to lighten up the low end<br />
*The Guitar Preset<br />
*The Microphone Preset<br />
<br />
===== PRS JA-15 =====<br />
[[File:PRS_JA-15-2.jpg|link=PRS JA-15|150px|click to learn more]]<br />
<br>Click the picture to learn more<br />
<br />
===== PRS SC-J =====<br />
<html>Single Cut Jumbo, shown here <br />
<br><br />
<div style="float:left;margin:5px;max-width:250px;"><br />
<a href="http://toonz.ca/guitars/images/semis/pr002.jpg" rel="shadowbox[PRSSCJ]" title="with the Roland GK divided pickup I use with the Roland VG-99"><br />
<img src="http://toonz.ca/guitars/images/semis/pr002.jpg" height="250" align=""><br />
</a><br />
<br>with the Roland GK divided pickup I use with the Roland VG-99</div><br />
<!--<br />
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<a href="http://toonz.ca/guitars/images/semis/PRS-SCJ002.jpg" rel="shadowbox[PRSSCJ]" title="PRS-SCJ with a great background"><br />
<img src="http://toonz.ca/guitars/images/semis/PRS-SCJ002.jpg" height="250"><br />
</a><br />
<br>Really tough to photograph</div><br />
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<div style="float:left;margin:5px;max-width:250px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRS-SCJ005.jpg" rel="shadowbox[PRSSCJ]" title="Odyssey 600 with PRS-SCJ - both semi-acoustics"><br />
<img src="http://toonz.ca/guitars/images/semis/PRS-SCJ005.jpg" height="250"><br />
</a><br />
<br>Odyssey 600 with PRS-SCJ - both semi-acoustics</div><br />
<br />
<div style="float:left;margin:5px;max-width:250px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRSsc-j%20Stock%20Photo.jpg" rel="shadowbox[PRSSCJ]" title="PRS-SCJ Stock photo"><br />
<img src="http://toonz.ca/guitars/images/semis/PRSsc-j%20Stock%20Photo.jpg" height="250"><br />
</a><br />
<br>stock photo</div><br />
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<div style="clear:both"></div><br />
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</html><br />
<br />
===== Gibson L5-CES (Wes Montgomery)=====<br />
<html><a href="http://toonz.ca/guitars/images/L5Wes01800.jpg" rel="shadowbox" ><img src="http://toonz.ca/guitars/images/L5Wes01800.jpg" style="border:0;float:right;height:200px; padding:10px" alt="Gibson L5-CES (Wes Montgomery) " title="Gibson L5-CES (Wes Montgomery) " > </a></html><br />
I run this several different ways:<br />
* through the {{T1}} with Presets bypassed (making this Utility Flat)<br />
* straight into the {{Compact}} Channel 2 set to Line Level (no ToneMatch® Preset)<br />
* straight into the {{Model II}} Power Stand analog input (no preset or other processing)<br />
<br />
I do the same with my other large hollowbody and semi-hollowbody electrics. They all sound great straight into the various L1®s.<br />
<br />
==== Solid Body ====<br />
<br />
===== PRS Private Stock Single Cut "Tiger Eye" =====<br />
<table><tr><br />
<td valign="top"><br />
I frequently run this on {{T1}} Preset Electric Guitars / Paul Reed Smith Custom 22 (Classic preset #35) - clean - straight in, especially when playing with an unplugged group.<br />
<br />
* T1® Preset<br />
<br />Category: Electric Guitars<br />
<br />Preset:PRS Custom 22<br />
<br />
<br>Otherwise I'll use the [[Kemper Profiling Amp]]<br />
<br />
[[File:KemperProfilingAmpWhite800x500.jpg|link=http://www.kemper-amps.com/|400px |Kemper Profiling Amp]]<br />
<br />
[[Image:T1 Electric Guitars Flat E Guitar zEQ-400.png|300px|right|Flat E Guitar zEQ]]<br />
* T1® Preset<br />
<br />Category: Electric Guitars<br />
<br />Flat E Guitar zEQ<br />
<br />
<br />
<br />
</td><br />
<td style="vertical-align:top;"><br />
<html><a href="http://toonz.ca/guitars/images/tigereye/TigerEye02.jpg" rel="shadowbox" title='PRS Private Stock Single Cut "Tiger Eye"'><img src="http://toonz.ca/guitars/images/tigereye/TigerEye04.jpg" style="height:250px;float:right;border:0px;padding:10px"></a></html><br />
</td><br />
</tr></table><br />
<br />
<!-- [[Image:Prs513-300.jpg|100px]]--><br />
<br />
<br />
<br />
===== Ultima / Princeton =====<br />
<table><tr><br />
<td valign="top"><br />
Kickin' it old school. This is a guilty pleasure that I don't do in public. The reason? I haven't gotten around to having the 57 Princeton rewired with a ground. It can be a little dangerous on a live stage stage. Shocking!<br />
<br />
* Gibson Ultima + 57 Princeton + SM 57<br />
* T1® Preset<br />
** Electric Guitars<br />
** Miked Amp w/ SM 57<br />
</td><br />
<td valign="top"><br />
<html><br />
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[[Image:UltimaPrinceton.jpg|200px|Gibson Ultima and Princeton]]<br />
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</td><br />
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<br />
===== Odyssey 500 / 600 =====<br />
<html><br />
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<br />
<!--<br />
[[Image:Odyssey500600.jpg|400px|Odyssey 600 and 500|link=]]<br />
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<br />
===== Artisan / Carvin =====<br />
<table><tr><br />
<td valign="top"><br />
It's been a very long time since I fired up my [[{{PAGENAME}}#Carvin Quad-X Amp|Carvin Quad-X Amp]]. I used to run it through a stereo Mosvalve 500 into a Boogie 2x12 or 802s believe it or not.<br />
<br />
Recently I ran a 77 Gibson Artisan into the Quad-X into the T1® to my Model II with 2 x B1s. Awesome.<br />
<br />
* 4 channels - no waiting<br />
* 5 effects loops<br />
* 9 tubes<br />
* Cabinet voicing<br />
* Noise gate on first stage of preamp<br />
<br />
Mine (yes of course I have two) are circa 1992. Discontinued around 1994. Some folks are still wondering why.<br />
<br />
*I ran this into T1® Channel 4 using the Preset<br />
** Category: Electric Guitars<br />
** Preset: Gibson Les Paul<br />
<br />
<br />
The Artisan also known as the Hearts and Flowers Les Paul is heavy, 12 pounds at least. Only to be worn with a neoprene strap for sure. We get Guitars for all kinds of reasons. I have no *good* reason for having this one but there is a lot of sentimental significance to it. So it's here to stay.<br />
</td><br />
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<a href="http://toonz.ca/bose/wiki/index.php?title=Carvin_Quad-X_Amp" rel="shadowbox"><img src="http://toonz.ca/bose/wiki/images/d/d1/CarvinQuad-X.jpg"></a><br />
<br><br />
<a href="http://toonz.ca/bose/wiki/images/0/02/LesPaulArtisan.jpg" rel="shadowbox" title="Gibson Artisan / Les Paul Hearts and Flowers"><img src="http://toonz.ca/bose/wiki/images/0/02/LesPaulArtisan.jpg" style="width:150px"></a><br />
</html><br />
<!--<br />
[[Image:LesPaulArtisan.jpg|100px|Gibson Artisan]]<br />
--><br />
[http://bose.infopop.cc/eve/forums/a/tpc/f/6366055944/m/6471040445?r=3441050645#3441050645 Live discussion on the Message Board]<br />
<br />
</td><br />
</tr></table><br />
<br />
===== Kemper Profiling Amp =====<br />
The Kemper Profiling Amp is second only to the {{L1}} as a technology that has transformed the way I play music.<br />
[[File:Kemper Profiler Stage.jpg|link=https://www.kemper-amps.com/stage|400px|right|Kemper Profiler Stage]]<br />
[[File:KemperProfilingAmpWhite800x500.jpg|link=http://www.kemper-amps.com/|350px |Kemper Profiling Amp]]<br />
<br />
I got the Kemper Profiler Stage (right) for outdoor battery-powered gigs. See [[Portable Power Stations]] for more details.<br />
<br />
===== Old School =====<br />
====== ST Mighty Rack======<br />
Before the Kemper Profiling Amp I used to say, "When I want the absolute drop dead best electric sound I can muster I use this." Now I use the Kemper. It's lighter.<br />
<br />
[[File:STMightyRack.png|link=ST Mighty Rack|600px|ST Mighty Rack]]<br />
<br />
For more details please see: [[ST Mighty Rack]]<br />
<br />
====== Carvin Quad-X Amp ======<br />
For four straight ahead channels and all tube sound I sometimes use the Carvin Quad-X Amp. Despite the name, it is a preamp - all tubes. ( 12AX7s) and it came with a gigantic foot switch.<br />
<br />
[[File:92 quadxamp-small.jpg|link=Carvin Quad-X Amp|600px]]<br />
<br />
<br />
For more details please see: [[Carvin Quad-X Amp]]<br />
<br />
====== Mesa/Boogie V-Twin ======<br />
For traveling light (and backup almost always) I used to carry the Mesa/Boogie V-Twin. <br />
<!--<br />
These days I use the [http://www.tc-helicon.com/products/voicelive-play-gtx/ TC-Helicon VoiceLive Play GTX] because it sounds good and it also has phantom power for my microphone. --><br />
<br />
[[File:Mesa Boogie V-Twin mini.gif|link=Mesa/Boogie V-Twin|270px|Mesa/Boogie V-Twin]]<br />
<br />
For more details please see: [http://www.mesaboogie.com/Product_Info/Out_of%20_Production/V-Twin/v-twin.html Mesa Boogie V-Twin]<br />
<br />
===== Virtual Guitar - Roland VG-99, VG-88 & VG-8 =====<br />
When I want a huge palette of sounds that extends beyond traditional guitar then I use [http://www.roland.com/products/en/VG-99/ Roland VG-99], <br />
<br />
[[Image:Vg-99top.jpg|400px|Roland VG-99]] <html><img src="http://toonz.ca/guitars/images/semis/pr002.jpg" style="float:right;height=200px"></html><br />
<br />
and occasionally the older VG-88 or VG-8. <br />
<br />
[[Image:Gibson80p33.jpg|300px|right|Gibson ES Artist]]<br />
[[Image:Roland VG-88.jpg|400px|Roland VG-88 Version 2]]<br />[http://www.roland.com/products/en/VG-88_Version_2/ Details]<br />
<br />
<br />
I have a Roland GK2 pickup mounted on my [[Gibson ES Artist]] (blasphemy?). I run that to the VG-88 and then to the T1® with using one of the following Presets:<br />
<br />
* Utility Flat<br />
* Prerecorded Music / Low Volume<br />
* Prerecorded Music / High Volume<br />
<br />
If you are familiar with the GK2/3 pickups you know that you can also run the electric guitar sound direct to the VG-88. I run that to a separate T1® Channel and use one of these Presets:<br />
* Electric Guitars / Miked Amp w/SM57<br />
* Electric Guitars / Miked Amp w/e609<br />
* Electric Guitars / General Direct<br />
<br />
I don't feel as though I have fully explored the VG-88 so the VG-99 is on the back burner for now.<br />
<br />
In case you are wondering, I normally run mono. Stereo sounds great but for me, there is not enough benefit to warrant bringing two L1®s to run stereo.<br />
<br />
==== Acoustic Guitar ====<br />
[[Image:Larrivee150.png|thumb|right|Larrivée C10-bz]][[File:C10Morgan.jpg|300px|Larrivée C10 BZ and Morgan Concert Cutaway]]<br />
<!-- <br />
* [http://toonz.ca/guitars/ ST Guitars]http://tinyurl.com/STguitars --><br />
<br />
<br />
<br />
<br />
{{:Larrivee & Morgan T1® Settings}}<br />
[[Larrivée Guitars|Larrivée]] with [http://www.lrbaggs.com/html/products/systems_imix.shtml L.R. Baggs iMix no-cut] pickup system. I just had this installed because I wanted to start playing this instrument at live gigs. <br />
* {{T1 no link}} Preset<br />
** Category: L.R. Baggs / Preset: iMix<br />
<br />
==== Microphone ====<br />
===== Condenser Microphone =====<br />
[[Image:Kms105Thumb.jpg|100px|right]] Neumann KMS 105<br />
*Category: Vocal Mics<br />
*Preset: Neumann KMS 105<br />
*Model I / Classic<br />
** #12 KMS 105<br />
<br />
===== Dynamic Microphones =====<br />
====== Sennheiser MD 441 ======<br />
[[File:Sennheiser MD 441 vertical.jpg|50px|right|link=Sennheiser MD 441]]<br />
[[Sennheiser MD 441]]<br />
*Category: Vocal Mics<br />
*Preset: Flat, Vocal zEQ OR<br>Sennheiser MD 431-II<br />
<br />
====== Sennheiser MD 445 ======<br />
[[File:Sennheiser MD 445.jpg|50px|right|link=Sennheiser MD 445]]<br />
*Category: Vocal Mics<br />
*Preset: Flat, Vocal zEQ OR<br>Sennheiser e 855 OR<br>Sennheiser MD 431-II<br />
<br />
<br />
===== Headworn Microphone =====<br />
Crown CM311a [[Image:Cm311a-2.gif|right]] <br />
*Category: Vocal Mics<br />
*Preset: Headworn Mics<br />
*Model I / Classic<br />
** #02 Headworn Microphones<br />
<br />
==== Vocal Processor / Guitar Effects ====<br />
For gigs in really tight places I have been using the [http://www.tc-helicon.com/products/voicelive-play-gtx TC-Helicon VoiceLive Play GTX] since mid-2012. {{#img: image=Voicelive-play-gtx_top.jpg |page=TC-Helicon VoiceLive Play GTX to Compact| width=150px |title=TC-Helicon VoiceLive Play GTX }}. This unit was replaced by the TC-Helicon VoiceLive 3.<br />
<br />
In January 2014 the <br />
[http://www.tc-helicon.com/products/voicelive-3 TC-Helicon VoiceLive 3] was released and I've been experimenting with that. {{#img: image=Tch-voicelive-3-floor.jpg |page=TC-Helicon_VoiceLive_3_to_Compact| width=300px |title=TC-Helicon VoiceLive 3}}<br />
<br />
<br />
The big appeal for me was the guitar amp emulations, looper, and ''adaptive tone'' features. I haven't used the harmony features. The small form-factor was a big part of the decision to use these.<br />
<br />
Update: I found that I wasn't the vocal features. I got the Kemper Profiling Amp and these were so much better than the TC-Helicon guitar amp emulations, so I stopped using the latter. And finally, I had planned to use the looper as a practice tool, and for capturing song ideas. In the end it was simpler to capture the ideas directly to the computer using the T1® USB interface and some recording software. The VoiceLive&nbsp;3 has left the building.<br />
<br />
== Doing Sound ==<br />
Doing Sound - or "Being the Sound Guy" was never on my list of things to accomplish. <br />
<br />
If someone were to ask me how to use the L1®s to provide sound reinforcement for live musicians I would insist that s/he watch three video presentations before doing anything else.<br />
<br />
* [[The L1® Approach and the History Of Amplification]]<br />
* [[Clifford Henricksen Introduces the L1®]]<br />
* [[Cliff Goodwin|Playing better with the L1® System - Cliff Goodwin]]<br />
<br />
Then I would offer these gig reports of four of the shows where I supported several acts crossing a stage using multiple L1®s at the back of the stage.<br />
<br />
* [[Gig Report / 8 Live Acts 7 Hours]]<br />
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/237109823 Lots of acts: Lots of L1®s]<br />
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/686106993 Butting Heads over the Sound - Taking One for the Team]<br />
* [http://shadowtoonz.wordpress.com/2006/03/27/but-i-never-wanted-to-be-the-sound-guy/ But I Never Wanted To Be the Sound Guy]<br />
<br />
And some notes about working with performers.<br />
[[Introducing Performers to the Bose System]]<br />
<br />
== History ==<br />
=== First Post on the Message Board ===<br />
Just in case the site gets reorganized and we lose it here is [http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/279101525?r=370107355#370107355 my first post on the message board].<br />
<blockquote><br />
:I was there on Thursday (had the flu and very nearly didn't go).<br />
<br />
:Ended up sitting about 5 feet in front of Tony Sarno (I was in the front row). I was blown away without being blown away. If you ever get a chance to sit that close to a band running PASs you that bizarre statement will make sense.<br />
<br />
:Had a great chat with Tony and Wolf after the show.<br />
<br />
:Friday morning as soon as L&M (the store that sponsored the show) opened, I picked up my PAS. (one bass module)<br />
<br />
:Since I'm under the weather, I took the rest of the day to get to know the unit. Good times.<br />
<br />
:Get my first chance to try it out live tonight.<br />
<br />
:Many many thanks to all the people at Bose who made the investment to travel to Canada.<br />
<br />
:I was somewhat taken aback that Bose would make so large an investment (you sent what - 10 people including the band?)<br />
<br />
:Tony, if you happen to see this, I'll send you the information about the McIntyre amp later today.<br />
<br />
:Wolfe, if you happen to see this, I'm the guy with the Musicman EVH and the PRSs.<br />
<br />
:I'll post more about how I intend to use it and some questions in the other forums.<br />
</blockquote><br />
<br />
<br />
----<br />
[[Category:Pioneer]]<br />
[[Category:ST]]</div>SThttps://boseperformer.com/index.php?title=User:ST&diff=26144User:ST2026-06-17T23:51:11Z<p>ST: </p>
<hr />
<div><!-- [[Image:STIcon.gif|ST Icon from the forum|center]] --><br />
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<div class="rightColTOC"><br />
<a href="/images/scribblyDragon.jpg" rel="shadowbox" ><img border="0" src="/images/scribblyDragonThumb.gif" alt="Artifact of another life - click for a larger view" title="Artifact of another life - click for a larger view" align="right" ><br />
<a href="http://toonz.ca/bose/wiki/images/d/d0/RattleSnakeNapkin400a.png" rel="shadowbox"><img src="/images/d/d0/RattleSnakeNapkin400a.png" width="200" alt="sketch on a napkin" title="sketch on a napkin" align="right" ></a><br />
<a href="/images/0/08/StIconModelII.gif" rel="shadowbox"><img src="/images/0/08/StIconModelII.gif" align="right" alt="self portrait: Meander Bose" title="self portrait: Meander Bose"></a><br />
<br /><br />
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<br /><br />
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<br /><br />
<br /><br />
<br /><br />
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<br /><br />
<br /><br />
<h3>Links</h3><br />
</html><br />
* [https://twitter.com/ST_Muso Twitter]<br />
* [https://www.linkedin.com/in/stpro/ LinkedIn]<br />
* [http://shadowtoonz.wordpress.com My&nbsp;blog]<br />
<!--<br />
* {{Forum}}<br />
--><br />
<HTML><br />
<!--<br />
<a href="http://www.twitter.com/ST_Muso"><img src="http://twitter-badges.s3.amazonaws.com/twitter-b.png" alt="Follow ST_L1 on Twitter"/></a><br />
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</div><br />
<br />
<br />
<div style="clear:both;"></div><br />
<br />
</html><br />
== Current Role ==<br />
Current (2026) &mdash; 2005 the principal author and curator of content on this site<br />
<br />
=== Recent History ===<br />
June 2016 &mdash; June 2020 Community Manager for the {{forum}} and Knowledge Manager at Bose Professional.<br />
<br />
Mid-2016 I took on the role of Community Manager for the {{forum}}. In 2017 my Community Manager role expanded to encompass the Bose Pro Audio Community and [http://community.bose.com Bose Community] with a special focus on wireless headphones and Hearphones the conversation enhancing headphones.<br />
<br />
2007-2016 Community Manager of the original Bose L1 Forum.<br />
<br />
== Background ==<br />
This is ST from the {{forum}}.<br />
<br />
* I got my first {{L1}} in June 2004 and have been using the {{PAS}} in my solo, unplugged duo, and four-to-occasionally-seven piece eclectic band ever since. <br /><br />
* In those early days I had no formal relationship with Bose Corporation but in early dealings with the Bose Live Music Technology Group I found them to be excellent people with a profound sense of the importance of live music. I felt compelled to help. <br /><br />
* You may know me from my posts on the {{forum}} but you might be wondering about this site. If so, see [[Why this Website]]<br /><br />
* [[The Sketcher]] &mdash; I am the author of this online tool for visualizing stage layouts.<br />
<br />
<br />
You can read [http://shadowtoonz.wordpress.com/2005/03/07/st-whats-that-about/ a little background about me] in my blog.<br />
* [https://shadowtoonz.wordpress.com/2015/06/12/eleven-years-of-bose/ Eleven Years of Bose]<br />
* [http://shadowtoonz.wordpress.com/2008/06/15/and-another-year-makes-four/ Four Year Anniversary Blog post]<br />
* [http://shadowtoonz.wordpress.com/2007/06/12/still-counting-after-3-years/ Three Year Anniversary Blog post]<br />
* [http://shadowtoonz.wordpress.com/2006/06/13/still-counting/ Two Year Anniversary Blog post]<br />
<br />
* I was among the first group of individuals honoured by Bose as a [[Live Music Pioneer]]. <ref>Ken-at-Bose announces [http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/6541007893 Live Music Pioneers]</ref><br />
<br />
* My avatar/icon up to August 22, 2007 and my August 2009<br />
<html><table><br />
<tr><br />
<td width="200"><img src="http://toonz.ca/bose/wiki/images/4/45/STIcon.gif" align="" alt="self portrait: Meander Bose" title="self portrait: Meander Bose"></td><br />
<td><img src="http://toonz.ca/bose/wiki/images/0/08/StIconModelII.gif" alt="self portrait: Meander Bose II" title="self portrait: Meander Bose II"> </td><br />
</td></table><br />
</td><br />
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<br />
* More avatar/icons 2010<br />
<table><tr><br />
<td>[[Image:STCurrentIcon2010.png]]<br />
</td><br />
<td>[[Image:STPRSHBII.png]]<br />
</td><br />
<td>[[Image:STESArtist.png]]<br />
</td><br />
<td>[[Image:STHalloween.png]]<br />
</td><br />
<td>[[Image:STThanksgivingAni.gif]]<br />
</td><br />
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</tr><br />
</table><br />
<br />
<!-- <br />
== Contact ==<br />
Please contact me via a Private Message on the {{forum}}.<br />
<br />
{{STPM}}<br />
--><br />
<br />
== Other Sites ==<br />
* [http://toonz.ca/Sketcher The Sketcher] Stage Layout Tool<br />
* [http://shadowtoonz.wordpress.com my Bose Blog]<br />
* [http://shadowtoonz.wordpress.com/2005/03/07/st-whats-that-about ST a little background]<br />
<br />
== Gear ==<br />
We have enough {{L1 CR}}s to go '''1:1''' (one per player).<br />
=== Duo ===<br />
{{:Stage Layouts / ST Duo}}<br />
<br />
=== Four Piece Band ===<br />
==== L1® Setup ====<br />
Four L1 Pro systems or {{Model II}} systems (could also be {{Model 1S}})<br />
<br />
[[Image:Stage Layout 4 Piece Band.png|600px|Four Piece band]]<br />
<br />
----<br />
<br />
==== F1 Setup ====<br />
In this setup I run two F1 Stacks (F1 Model 812 with F1 Subwoofer) for the Front of House system and two {{Compact}}s as monitors at the back of the stage. I've also see people set up the {{Compact}}s at the front of the stage facing back toward the performers, without the extensions. <br />
<br />
[[Image:Four Piece Band F1 with Compacts.png|600px|Four Piece band with F1]]<br />
<br />
----<br />
<br />
=== What I run through my L1® ===<br />
<br />
==== Electric Guitar ====<br />
[[File:ST Tiger Eye Hands squarew1024.jpg|250px|right]]<br />
<table><tr><br />
<td valign="top"><br />
</td><br />
<td valign="top"><br />
</td><br />
</tr></table><br />
<br />
==== Hollow and Semi-Hollow Body Electrics ====<br />
These guitars can sound terrific<br />
* Through the {{T1}}/{{ToneMatch Mixers}} with Presets bypassed (making this Utility Flat)<br />
* Straight into any {{L1PS}} no ToneMatch® Preset required, but use one if you prefer<br />
* Straight into the {{Compact}} Channel 2 set to Line Level (no ToneMatch® Preset)<br />
* Straight into the {{Model II}} Power Stand analog input (no preset or other processing)<br />
* Straight into the {{S1}} with ToneMatch Switch off (no preset or other processing) <br />
<br />
I do this with my other large hollowbody and semi-hollowbody electrics. They all sound great straight in.<br />
<br />
And experiment with ToneMatch Presets like:<br />
<br />
Category: Electric Guitar<br />
<br>Preset: General Direct<br />
<br />
Category: Electric Guitar<br />
<br>Preset: Flat w/zEQ<br />
<br />
On the {{S1}} try these to lighten up the low end<br />
*The Guitar Preset<br />
*The Microphone Preset<br />
<br />
===== PRS JA-15 =====<br />
[[File:PRS_JA-15-2.jpg|link=PRS JA-15|150px|click to learn more]]<br />
<br>Click the picture to learn more<br />
<br />
===== PRS SC-J =====<br />
<html>Single Cut Jumbo, shown here <br />
<br><br />
<div style="float:left;margin:5px;max-width:250px;"><br />
<a href="http://toonz.ca/guitars/images/semis/pr002.jpg" rel="shadowbox[PRSSCJ]" title="with the Roland GK divided pickup I use with the Roland VG-99"><br />
<img src="http://toonz.ca/guitars/images/semis/pr002.jpg" height="250" align=""><br />
</a><br />
<br>with the Roland GK divided pickup I use with the Roland VG-99</div><br />
<!--<br />
<div style="float:left;margin:5px; max-width:175px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRS-SCJ002.jpg" rel="shadowbox[PRSSCJ]" title="PRS-SCJ with a great background"><br />
<img src="http://toonz.ca/guitars/images/semis/PRS-SCJ002.jpg" height="250"><br />
</a><br />
<br>Really tough to photograph</div><br />
<br />
<div style="float:left;margin:5px;max-width:250px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRS-SCJ005.jpg" rel="shadowbox[PRSSCJ]" title="Odyssey 600 with PRS-SCJ - both semi-acoustics"><br />
<img src="http://toonz.ca/guitars/images/semis/PRS-SCJ005.jpg" height="250"><br />
</a><br />
<br>Odyssey 600 with PRS-SCJ - both semi-acoustics</div><br />
<br />
<div style="float:left;margin:5px;max-width:250px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRSsc-j%20Stock%20Photo.jpg" rel="shadowbox[PRSSCJ]" title="PRS-SCJ Stock photo"><br />
<img src="http://toonz.ca/guitars/images/semis/PRSsc-j%20Stock%20Photo.jpg" height="250"><br />
</a><br />
<br>stock photo</div><br />
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<br />
===== Gibson L5-CES (Wes Montgomery)=====<br />
<html><a href="http://toonz.ca/guitars/images/L5Wes01800.jpg" rel="shadowbox" ><img src="http://toonz.ca/guitars/images/L5Wes01800.jpg" style="border:0;float:right;height:200px; padding:10px" alt="Gibson L5-CES (Wes Montgomery) " title="Gibson L5-CES (Wes Montgomery) " > </a></html><br />
I run this several different ways:<br />
* through the {{T1}} with Presets bypassed (making this Utility Flat)<br />
* straight into the {{Compact}} Channel 2 set to Line Level (no ToneMatch® Preset)<br />
* straight into the {{Model II}} Power Stand analog input (no preset or other processing)<br />
<br />
I do the same with my other large hollowbody and semi-hollowbody electrics. They all sound great straight into the various L1®s.<br />
<br />
==== Solid Body ====<br />
<br />
===== PRS Private Stock Single Cut "Tiger Eye" =====<br />
<table><tr><br />
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I frequently run this on {{T1}} Preset Electric Guitars / Paul Reed Smith Custom 22 (Classic preset #35) - clean - straight in, especially when playing with an unplugged group.<br />
<br />
* T1® Preset<br />
<br />Category: Electric Guitars<br />
<br />Preset:PRS Custom 22<br />
<br />
<br>Otherwise I'll use the [[Kemper Profiling Amp]]<br />
<br />
[[File:KemperProfilingAmpWhite800x500.jpg|link=http://www.kemper-amps.com/|400px |Kemper Profiling Amp]]<br />
<br />
[[Image:T1 Electric Guitars Flat E Guitar zEQ-400.png|300px|right|Flat E Guitar zEQ]]<br />
* T1® Preset<br />
<br />Category: Electric Guitars<br />
<br />Flat E Guitar zEQ<br />
<br />
<br />
<br />
</td><br />
<td style="vertical-align:top;"><br />
<html><a href="http://toonz.ca/guitars/images/tigereye/TigerEye02.jpg" rel="shadowbox" title='PRS Private Stock Single Cut "Tiger Eye"'><img src="http://toonz.ca/guitars/images/tigereye/TigerEye04.jpg" style="height:250px;float:right;border:0px;padding:10px"></a></html><br />
</td><br />
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<br />
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<br />
<br />
<br />
===== Ultima / Princeton =====<br />
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Kickin' it old school. This is a guilty pleasure that I don't do in public. The reason? I haven't gotten around to having the 57 Princeton rewired with a ground. It can be a little dangerous on a live stage stage. Shocking!<br />
<br />
* Gibson Ultima + 57 Princeton + SM 57<br />
* T1® Preset<br />
** Electric Guitars<br />
** Miked Amp w/ SM 57<br />
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[[Image:UltimaPrinceton.jpg|200px|Gibson Ultima and Princeton]]<br />
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</td><br />
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<br />
===== Odyssey 500 / 600 =====<br />
<html><br />
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<br />
===== Artisan / Carvin =====<br />
<table><tr><br />
<td valign="top"><br />
It's been a very long time since I fired up my [[{{PAGENAME}}#Carvin Quad-X Amp|Carvin Quad-X Amp]]. I used to run it through a stereo Mosvalve 500 into a Boogie 2x12 or 802s believe it or not.<br />
<br />
Recently I ran a 77 Gibson Artisan into the Quad-X into the T1® to my Model II with 2 x B1s. Awesome.<br />
<br />
* 4 channels - no waiting<br />
* 5 effects loops<br />
* 9 tubes<br />
* Cabinet voicing<br />
* Noise gate on first stage of preamp<br />
<br />
Mine (yes of course I have two) are circa 1992. Discontinued around 1994. Some folks are still wondering why.<br />
<br />
*I ran this into T1® Channel 4 using the Preset<br />
** Category: Electric Guitars<br />
** Preset: Gibson Les Paul<br />
<br />
<br />
The Artisan also known as the Hearts and Flowers Les Paul is heavy, 12 pounds at least. Only to be worn with a neoprene strap for sure. We get Guitars for all kinds of reasons. I have no *good* reason for having this one but there is a lot of sentimental significance to it. So it's here to stay.<br />
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<br><br />
<a href="http://toonz.ca/bose/wiki/images/0/02/LesPaulArtisan.jpg" rel="shadowbox" title="Gibson Artisan / Les Paul Hearts and Flowers"><img src="http://toonz.ca/bose/wiki/images/0/02/LesPaulArtisan.jpg" style="width:150px"></a><br />
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<!--<br />
[[Image:LesPaulArtisan.jpg|100px|Gibson Artisan]]<br />
--><br />
[http://bose.infopop.cc/eve/forums/a/tpc/f/6366055944/m/6471040445?r=3441050645#3441050645 Live discussion on the Message Board]<br />
<br />
</td><br />
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<br />
===== Kemper Profiling Amp =====<br />
The Kemper Profiling Amp is second only to the {{L1}} as a technology that has transformed the way I play music.<br />
[[File:Kemper Profiler Stage.jpg|link=https://www.kemper-amps.com/stage|400px|right|Kemper Profiler Stage]]<br />
[[File:KemperProfilingAmpWhite800x500.jpg|link=http://www.kemper-amps.com/|350px |Kemper Profiling Amp]]<br />
<br />
I got the Kemper Profiler Stage (right) for outdoor battery-powered gigs. See [[Portable Power Stations]] for more details.<br />
<br />
===== Old School =====<br />
====== ST Mighty Rack======<br />
Before the Kemper Profiling Amp I used to say, "When I want the absolute drop dead best electric sound I can muster I use this." Now I use the Kemper. It's lighter.<br />
<br />
[[File:STMightyRack.png|link=ST Mighty Rack|600px|ST Mighty Rack]]<br />
<br />
For more details please see: [[ST Mighty Rack]]<br />
<br />
====== Carvin Quad-X Amp ======<br />
For four straight ahead channels and all tube sound I sometimes use the Carvin Quad-X Amp. Despite the name, it is a preamp - all tubes. ( 12AX7s) and it came with a gigantic foot switch.<br />
<br />
[[File:92 quadxamp-small.jpg|link=Carvin Quad-X Amp|600px]]<br />
<br />
<br />
For more details please see: [[Carvin Quad-X Amp]]<br />
<br />
====== Mesa/Boogie V-Twin ======<br />
For traveling light (and backup almost always) I used to carry the Mesa/Boogie V-Twin. <br />
<!--<br />
These days I use the [http://www.tc-helicon.com/products/voicelive-play-gtx/ TC-Helicon VoiceLive Play GTX] because it sounds good and it also has phantom power for my microphone. --><br />
<br />
[[File:Mesa Boogie V-Twin mini.gif|link=Mesa/Boogie V-Twin|270px|Mesa/Boogie V-Twin]]<br />
<br />
For more details please see: [http://www.mesaboogie.com/Product_Info/Out_of%20_Production/V-Twin/v-twin.html Mesa Boogie V-Twin]<br />
<br />
===== Virtual Guitar - Roland VG-99, VG-88 & VG-8 =====<br />
When I want a huge palette of sounds that extends beyond traditional guitar then I use [http://www.roland.com/products/en/VG-99/ Roland VG-99], <br />
<br />
[[Image:Vg-99top.jpg|400px|Roland VG-99]] <html><img src="http://toonz.ca/guitars/images/semis/pr002.jpg" style="float:right;height=200px"></html><br />
<br />
and occasionally the older VG-88 or VG-8. <br />
<br />
[[Image:Gibson80p33.jpg|300px|right|Gibson ES Artist]]<br />
[[Image:Roland VG-88.jpg|400px|Roland VG-88 Version 2]]<br />[http://www.roland.com/products/en/VG-88_Version_2/ Details]<br />
<br />
<br />
I have a Roland GK2 pickup mounted on my [[Gibson ES Artist]] (blasphemy?). I run that to the VG-88 and then to the T1® with using one of the following Presets:<br />
<br />
* Utility Flat<br />
* Prerecorded Music / Low Volume<br />
* Prerecorded Music / High Volume<br />
<br />
If you are familiar with the GK2/3 pickups you know that you can also run the electric guitar sound direct to the VG-88. I run that to a separate T1® Channel and use one of these Presets:<br />
* Electric Guitars / Miked Amp w/SM57<br />
* Electric Guitars / Miked Amp w/e609<br />
* Electric Guitars / General Direct<br />
<br />
I don't feel as though I have fully explored the VG-88 so the VG-99 is on the back burner for now.<br />
<br />
In case you are wondering, I normally run mono. Stereo sounds great but for me, there is not enough benefit to warrant bringing two L1®s to run stereo.<br />
<br />
==== Acoustic Guitar ====<br />
[[Image:Larrivee150.png|thumb|right|Larrivée C10-bz]][[File:C10Morgan.jpg|300px|Larrivée C10 BZ and Morgan Concert Cutaway]]<br />
<!-- <br />
* [http://toonz.ca/guitars/ ST Guitars]http://tinyurl.com/STguitars --><br />
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<br />
<br />
<br />
{{:Larrivee & Morgan T1® Settings}}<br />
[[Larrivée Guitars|Larrivée]] with [http://www.lrbaggs.com/html/products/systems_imix.shtml L.R. Baggs iMix no-cut] pickup system. I just had this installed because I wanted to start playing this instrument at live gigs. <br />
* {{T1 no link}} Preset<br />
** Category: L.R. Baggs / Preset: iMix<br />
<br />
==== Microphone ====<br />
===== Condenser Microphone =====<br />
[[Image:Kms105Thumb.jpg|100px|right]] Neumann KMS 105<br />
*Category: Vocal Mics<br />
*Preset: Neumann KMS 105<br />
*Model I / Classic<br />
** #12 KMS 105<br />
<br />
===== Dynamic Microphones =====<br />
====== Sennheiser MD 441 ======<br />
[[File:Sennheiser MD 441 vertical.jpg|50px|right|link=Sennheiser MD 441]]<br />
[[Sennheiser MD 441]]<br />
*Category: Vocal Mics<br />
*Preset: Flat, Vocal zEQ OR<br>Sennheiser MD 431-II<br />
<br />
====== Sennheiser MD 445 ======<br />
[[File:Sennheiser MD 445.jpg|50px|right|link=Sennheiser MD 445]]<br />
*Category: Vocal Mics<br />
*Preset: Flat, Vocal zEQ OR<br>Sennheiser e 855 OR<br>Sennheiser MD 431-II<br />
<br />
<br />
===== Headworn Microphone =====<br />
Crown CM311a [[Image:Cm311a-2.gif|right]] <br />
*Category: Vocal Mics<br />
*Preset: Headworn Mics<br />
*Model I / Classic<br />
** #02 Headworn Microphones<br />
<br />
==== Vocal Processor / Guitar Effects ====<br />
For gigs in really tight places I have been using the [http://www.tc-helicon.com/products/voicelive-play-gtx TC-Helicon VoiceLive Play GTX] since mid-2012. {{#img: image=Voicelive-play-gtx_top.jpg |page=TC-Helicon VoiceLive Play GTX to Compact| width=150px |title=TC-Helicon VoiceLive Play GTX }}. This unit was replaced by the TC-Helicon VoiceLive 3.<br />
<br />
In January 2014 the <br />
[http://www.tc-helicon.com/products/voicelive-3 TC-Helicon VoiceLive 3] was released and I've been experimenting with that. {{#img: image=Tch-voicelive-3-floor.jpg |page=TC-Helicon_VoiceLive_3_to_Compact| width=300px |title=TC-Helicon VoiceLive 3}}<br />
<br />
<br />
The big appeal for me was the guitar amp emulations, looper, and ''adaptive tone'' features. I haven't used the harmony features. The small form-factor was a big part of the decision to use these.<br />
<br />
Update: I found that I wasn't the vocal features. I got the Kemper Profiling Amp and these were so much better than the TC-Helicon guitar amp emulations, so I stopped using the latter. And finally, I had planned to use the looper as a practice tool, and for capturing song ideas. In the end it was simpler to capture the ideas directly to the computer using the T1® USB interface and some recording software. The VoiceLive&nbsp;3 has left the building.<br />
<br />
== Doing Sound ==<br />
Doing Sound - or "Being the Sound Guy" was never on my list of things to accomplish. <br />
<br />
If someone were to ask me how to use the L1®s to provide sound reinforcement for live musicians I would insist that s/he watch three video presentations before doing anything else.<br />
<br />
* [[The L1® Approach and the History Of Amplification]]<br />
* [[Clifford Henricksen Introduces the L1®]]<br />
* [[Cliff Goodwin|Playing better with the L1® System - Cliff Goodwin]]<br />
<br />
Then I would offer these gig reports of four of the shows where I supported several acts crossing a stage using multiple L1®s at the back of the stage.<br />
<br />
* [[Gig Report / 8 Live Acts 7 Hours]]<br />
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/237109823 Lots of acts: Lots of L1®s]<br />
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/686106993 Butting Heads over the Sound - Taking One for the Team]<br />
* [http://shadowtoonz.wordpress.com/2006/03/27/but-i-never-wanted-to-be-the-sound-guy/ But I Never Wanted To Be the Sound Guy]<br />
<br />
And some notes about working with performers.<br />
[[Introducing Performers to the Bose System]]<br />
<br />
== History ==<br />
=== First Post on the Message Board ===<br />
Just in case the site gets reorganized and we lose it here is [http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/279101525?r=370107355#370107355 my first post on the message board].<br />
<blockquote><br />
:I was there on Thursday (had the flu and very nearly didn't go).<br />
<br />
:Ended up sitting about 5 feet in front of Tony Sarno (I was in the front row). I was blown away without being blown away. If you ever get a chance to sit that close to a band running PASs you that bizarre statement will make sense.<br />
<br />
:Had a great chat with Tony and Wolf after the show.<br />
<br />
:Friday morning as soon as L&M (the store that sponsored the show) opened, I picked up my PAS. (one bass module)<br />
<br />
:Since I'm under the weather, I took the rest of the day to get to know the unit. Good times.<br />
<br />
:Get my first chance to try it out live tonight.<br />
<br />
:Many many thanks to all the people at Bose who made the investment to travel to Canada.<br />
<br />
:I was somewhat taken aback that Bose would make so large an investment (you sent what - 10 people including the band?)<br />
<br />
:Tony, if you happen to see this, I'll send you the information about the McIntyre amp later today.<br />
<br />
:Wolfe, if you happen to see this, I'm the guy with the Musicman EVH and the PRSs.<br />
<br />
:I'll post more about how I intend to use it and some questions in the other forums.<br />
</blockquote><br />
<br />
<br />
----<br />
[[Category:Pioneer]]<br />
[[Category:ST]]</div>SThttps://boseperformer.com/index.php?title=User:ST&diff=26143User:ST2026-06-17T23:49:47Z<p>ST: </p>
<hr />
<div><!-- [[Image:STIcon.gif|ST Icon from the forum|center]] --><br />
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<a href="/images/scribblyDragon.jpg" rel="shadowbox" ><img border="0" src="http://toonz.ca/images/scribblyDragonThumb.gif" alt="Artifact of another life - click for a larger view" title="Artifact of another life - click for a larger view" align="right" ><br />
<a href="http://toonz.ca/bose/wiki/images/d/d0/RattleSnakeNapkin400a.png" rel="shadowbox"><img src="/images/d/d0/RattleSnakeNapkin400a.png" width="200" alt="sketch on a napkin" title="sketch on a napkin" align="right" ></a><br />
<a href="/images/0/08/StIconModelII.gif" rel="shadowbox"><img src="/images/0/08/StIconModelII.gif" align="right" alt="self portrait: Meander Bose" title="self portrait: Meander Bose"></a><br />
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<br /><br />
<h3>Links</h3><br />
</html><br />
* [https://twitter.com/ST_Muso Twitter]<br />
* [https://www.linkedin.com/in/stpro/ LinkedIn]<br />
* [http://shadowtoonz.wordpress.com My&nbsp;blog]<br />
<!--<br />
* {{Forum}}<br />
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<a href="http://www.twitter.com/ST_Muso"><img src="http://twitter-badges.s3.amazonaws.com/twitter-b.png" alt="Follow ST_L1 on Twitter"/></a><br />
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</html><br />
== Current Role ==<br />
Current (2026) &mdash; 2005 the principal author and curator of content on this site<br />
<br />
=== Recent History ===<br />
June 2016 &mdash; June 2020 Community Manager for the {{forum}} and Knowledge Manager at Bose Professional.<br />
<br />
Mid-2016 I took on the role of Community Manager for the {{forum}}. In 2017 my Community Manager role expanded to encompass the Bose Pro Audio Community and [http://community.bose.com Bose Community] with a special focus on wireless headphones and Hearphones the conversation enhancing headphones.<br />
<br />
2007-2016 Community Manager of the original Bose L1 Forum.<br />
<br />
== Background ==<br />
This is ST from the {{forum}}.<br />
<br />
* I got my first {{L1}} in June 2004 and have been using the {{PAS}} in my solo, unplugged duo, and four-to-occasionally-seven piece eclectic band ever since. <br /><br />
* In those early days I had no formal relationship with Bose Corporation but in early dealings with the Bose Live Music Technology Group I found them to be excellent people with a profound sense of the importance of live music. I felt compelled to help. <br /><br />
* You may know me from my posts on the {{forum}} but you might be wondering about this site. If so, see [[Why this Website]]<br /><br />
* [[The Sketcher]] &mdash; I am the author of this online tool for visualizing stage layouts.<br />
<br />
<br />
You can read [http://shadowtoonz.wordpress.com/2005/03/07/st-whats-that-about/ a little background about me] in my blog.<br />
* [https://shadowtoonz.wordpress.com/2015/06/12/eleven-years-of-bose/ Eleven Years of Bose]<br />
* [http://shadowtoonz.wordpress.com/2008/06/15/and-another-year-makes-four/ Four Year Anniversary Blog post]<br />
* [http://shadowtoonz.wordpress.com/2007/06/12/still-counting-after-3-years/ Three Year Anniversary Blog post]<br />
* [http://shadowtoonz.wordpress.com/2006/06/13/still-counting/ Two Year Anniversary Blog post]<br />
<br />
* I was among the first group of individuals honoured by Bose as a [[Live Music Pioneer]]. <ref>Ken-at-Bose announces [http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/6541007893 Live Music Pioneers]</ref><br />
<br />
* My avatar/icon up to August 22, 2007 and my August 2009<br />
<html><table><br />
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<td width="200"><img src="http://toonz.ca/bose/wiki/images/4/45/STIcon.gif" align="" alt="self portrait: Meander Bose" title="self portrait: Meander Bose"></td><br />
<td><img src="http://toonz.ca/bose/wiki/images/0/08/StIconModelII.gif" alt="self portrait: Meander Bose II" title="self portrait: Meander Bose II"> </td><br />
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* More avatar/icons 2010<br />
<table><tr><br />
<td>[[Image:STCurrentIcon2010.png]]<br />
</td><br />
<td>[[Image:STPRSHBII.png]]<br />
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<td>[[Image:STESArtist.png]]<br />
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<td>[[Image:STHalloween.png]]<br />
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<td>[[Image:STThanksgivingAni.gif]]<br />
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<!-- <br />
== Contact ==<br />
Please contact me via a Private Message on the {{forum}}.<br />
<br />
{{STPM}}<br />
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<br />
== Other Sites ==<br />
* [http://toonz.ca/Sketcher The Sketcher] Stage Layout Tool<br />
* [http://shadowtoonz.wordpress.com my Bose Blog]<br />
* [http://shadowtoonz.wordpress.com/2005/03/07/st-whats-that-about ST a little background]<br />
<br />
== Gear ==<br />
We have enough {{L1 CR}}s to go '''1:1''' (one per player).<br />
=== Duo ===<br />
{{:Stage Layouts / ST Duo}}<br />
<br />
=== Four Piece Band ===<br />
==== L1® Setup ====<br />
Four L1 Pro systems or {{Model II}} systems (could also be {{Model 1S}})<br />
<br />
[[Image:Stage Layout 4 Piece Band.png|600px|Four Piece band]]<br />
<br />
----<br />
<br />
==== F1 Setup ====<br />
In this setup I run two F1 Stacks (F1 Model 812 with F1 Subwoofer) for the Front of House system and two {{Compact}}s as monitors at the back of the stage. I've also see people set up the {{Compact}}s at the front of the stage facing back toward the performers, without the extensions. <br />
<br />
[[Image:Four Piece Band F1 with Compacts.png|600px|Four Piece band with F1]]<br />
<br />
----<br />
<br />
=== What I run through my L1® ===<br />
<br />
==== Electric Guitar ====<br />
[[File:ST Tiger Eye Hands squarew1024.jpg|250px|right]]<br />
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</td><br />
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<br />
==== Hollow and Semi-Hollow Body Electrics ====<br />
These guitars can sound terrific<br />
* Through the {{T1}}/{{ToneMatch Mixers}} with Presets bypassed (making this Utility Flat)<br />
* Straight into any {{L1PS}} no ToneMatch® Preset required, but use one if you prefer<br />
* Straight into the {{Compact}} Channel 2 set to Line Level (no ToneMatch® Preset)<br />
* Straight into the {{Model II}} Power Stand analog input (no preset or other processing)<br />
* Straight into the {{S1}} with ToneMatch Switch off (no preset or other processing) <br />
<br />
I do this with my other large hollowbody and semi-hollowbody electrics. They all sound great straight in.<br />
<br />
And experiment with ToneMatch Presets like:<br />
<br />
Category: Electric Guitar<br />
<br>Preset: General Direct<br />
<br />
Category: Electric Guitar<br />
<br>Preset: Flat w/zEQ<br />
<br />
On the {{S1}} try these to lighten up the low end<br />
*The Guitar Preset<br />
*The Microphone Preset<br />
<br />
===== PRS JA-15 =====<br />
[[File:PRS_JA-15-2.jpg|link=PRS JA-15|150px|click to learn more]]<br />
<br>Click the picture to learn more<br />
<br />
===== PRS SC-J =====<br />
<html>Single Cut Jumbo, shown here <br />
<br><br />
<div style="float:left;margin:5px;max-width:250px;"><br />
<a href="http://toonz.ca/guitars/images/semis/pr002.jpg" rel="shadowbox[PRSSCJ]" title="with the Roland GK divided pickup I use with the Roland VG-99"><br />
<img src="http://toonz.ca/guitars/images/semis/pr002.jpg" height="250" align=""><br />
</a><br />
<br>with the Roland GK divided pickup I use with the Roland VG-99</div><br />
<!--<br />
<div style="float:left;margin:5px; max-width:175px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRS-SCJ002.jpg" rel="shadowbox[PRSSCJ]" title="PRS-SCJ with a great background"><br />
<img src="http://toonz.ca/guitars/images/semis/PRS-SCJ002.jpg" height="250"><br />
</a><br />
<br>Really tough to photograph</div><br />
<br />
<div style="float:left;margin:5px;max-width:250px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRS-SCJ005.jpg" rel="shadowbox[PRSSCJ]" title="Odyssey 600 with PRS-SCJ - both semi-acoustics"><br />
<img src="http://toonz.ca/guitars/images/semis/PRS-SCJ005.jpg" height="250"><br />
</a><br />
<br>Odyssey 600 with PRS-SCJ - both semi-acoustics</div><br />
<br />
<div style="float:left;margin:5px;max-width:250px"><br />
<a href="http://toonz.ca/guitars/images/semis/PRSsc-j%20Stock%20Photo.jpg" rel="shadowbox[PRSSCJ]" title="PRS-SCJ Stock photo"><br />
<img src="http://toonz.ca/guitars/images/semis/PRSsc-j%20Stock%20Photo.jpg" height="250"><br />
</a><br />
<br>stock photo</div><br />
--><br />
<div style="clear:both"></div><br />
<br />
</html><br />
<br />
===== Gibson L5-CES (Wes Montgomery)=====<br />
<html><a href="http://toonz.ca/guitars/images/L5Wes01800.jpg" rel="shadowbox" ><img src="http://toonz.ca/guitars/images/L5Wes01800.jpg" style="border:0;float:right;height:200px; padding:10px" alt="Gibson L5-CES (Wes Montgomery) " title="Gibson L5-CES (Wes Montgomery) " > </a></html><br />
I run this several different ways:<br />
* through the {{T1}} with Presets bypassed (making this Utility Flat)<br />
* straight into the {{Compact}} Channel 2 set to Line Level (no ToneMatch® Preset)<br />
* straight into the {{Model II}} Power Stand analog input (no preset or other processing)<br />
<br />
I do the same with my other large hollowbody and semi-hollowbody electrics. They all sound great straight into the various L1®s.<br />
<br />
==== Solid Body ====<br />
<br />
===== PRS Private Stock Single Cut "Tiger Eye" =====<br />
<table><tr><br />
<td valign="top"><br />
I frequently run this on {{T1}} Preset Electric Guitars / Paul Reed Smith Custom 22 (Classic preset #35) - clean - straight in, especially when playing with an unplugged group.<br />
<br />
* T1® Preset<br />
<br />Category: Electric Guitars<br />
<br />Preset:PRS Custom 22<br />
<br />
<br>Otherwise I'll use the [[Kemper Profiling Amp]]<br />
<br />
[[File:KemperProfilingAmpWhite800x500.jpg|link=http://www.kemper-amps.com/|400px |Kemper Profiling Amp]]<br />
<br />
[[Image:T1 Electric Guitars Flat E Guitar zEQ-400.png|300px|right|Flat E Guitar zEQ]]<br />
* T1® Preset<br />
<br />Category: Electric Guitars<br />
<br />Flat E Guitar zEQ<br />
<br />
<br />
<br />
</td><br />
<td style="vertical-align:top;"><br />
<html><a href="http://toonz.ca/guitars/images/tigereye/TigerEye02.jpg" rel="shadowbox" title='PRS Private Stock Single Cut "Tiger Eye"'><img src="http://toonz.ca/guitars/images/tigereye/TigerEye04.jpg" style="height:250px;float:right;border:0px;padding:10px"></a></html><br />
</td><br />
</tr></table><br />
<br />
<!-- [[Image:Prs513-300.jpg|100px]]--><br />
<br />
<br />
<br />
===== Ultima / Princeton =====<br />
<table><tr><br />
<td valign="top"><br />
Kickin' it old school. This is a guilty pleasure that I don't do in public. The reason? I haven't gotten around to having the 57 Princeton rewired with a ground. It can be a little dangerous on a live stage stage. Shocking!<br />
<br />
* Gibson Ultima + 57 Princeton + SM 57<br />
* T1® Preset<br />
** Electric Guitars<br />
** Miked Amp w/ SM 57<br />
</td><br />
<td valign="top"><br />
<html><br />
<a href="http://toonz.ca/bose/wiki/images/4/48/UltimaPrinceton.jpg" rel="shadowbox"><img src="http://toonz.ca/bose/wiki/images/4/48/UltimaPrinceton.jpg" style="width:200px" alt="Gibson Ultima and Princeton"><br />
</html><br />
<!--<br />
[[Image:UltimaPrinceton.jpg|200px|Gibson Ultima and Princeton]]<br />
--><br />
</td><br />
</tr></table><br />
<br />
===== Odyssey 500 / 600 =====<br />
<html><br />
<a href="http://toonz.ca/bose/wiki/images/8/88/Odyssey500600.jpg" rel="shadowbox" title="Odyssey 600 and 500"><img src="http://toonz.ca/bose/wiki/images/8/88/Odyssey500600.jpg" style="width:400px" alt="Odyssey 600 and 500" ></a><br />
</html><br />
<br />
<!--<br />
[[Image:Odyssey500600.jpg|400px|Odyssey 600 and 500|link=]]<br />
--><br />
<br />
===== Artisan / Carvin =====<br />
<table><tr><br />
<td valign="top"><br />
It's been a very long time since I fired up my [[{{PAGENAME}}#Carvin Quad-X Amp|Carvin Quad-X Amp]]. I used to run it through a stereo Mosvalve 500 into a Boogie 2x12 or 802s believe it or not.<br />
<br />
Recently I ran a 77 Gibson Artisan into the Quad-X into the T1® to my Model II with 2 x B1s. Awesome.<br />
<br />
* 4 channels - no waiting<br />
* 5 effects loops<br />
* 9 tubes<br />
* Cabinet voicing<br />
* Noise gate on first stage of preamp<br />
<br />
Mine (yes of course I have two) are circa 1992. Discontinued around 1994. Some folks are still wondering why.<br />
<br />
*I ran this into T1® Channel 4 using the Preset<br />
** Category: Electric Guitars<br />
** Preset: Gibson Les Paul<br />
<br />
<br />
The Artisan also known as the Hearts and Flowers Les Paul is heavy, 12 pounds at least. Only to be worn with a neoprene strap for sure. We get Guitars for all kinds of reasons. I have no *good* reason for having this one but there is a lot of sentimental significance to it. So it's here to stay.<br />
</td><br />
<td valign="top"><br />
<html><br />
<a href="http://toonz.ca/bose/wiki/index.php?title=Carvin_Quad-X_Amp" rel="shadowbox"><img src="http://toonz.ca/bose/wiki/images/d/d1/CarvinQuad-X.jpg"></a><br />
<br><br />
<a href="http://toonz.ca/bose/wiki/images/0/02/LesPaulArtisan.jpg" rel="shadowbox" title="Gibson Artisan / Les Paul Hearts and Flowers"><img src="http://toonz.ca/bose/wiki/images/0/02/LesPaulArtisan.jpg" style="width:150px"></a><br />
</html><br />
<!--<br />
[[Image:LesPaulArtisan.jpg|100px|Gibson Artisan]]<br />
--><br />
[http://bose.infopop.cc/eve/forums/a/tpc/f/6366055944/m/6471040445?r=3441050645#3441050645 Live discussion on the Message Board]<br />
<br />
</td><br />
</tr></table><br />
<br />
===== Kemper Profiling Amp =====<br />
The Kemper Profiling Amp is second only to the {{L1}} as a technology that has transformed the way I play music.<br />
[[File:Kemper Profiler Stage.jpg|link=https://www.kemper-amps.com/stage|400px|right|Kemper Profiler Stage]]<br />
[[File:KemperProfilingAmpWhite800x500.jpg|link=http://www.kemper-amps.com/|350px |Kemper Profiling Amp]]<br />
<br />
I got the Kemper Profiler Stage (right) for outdoor battery-powered gigs. See [[Portable Power Stations]] for more details.<br />
<br />
===== Old School =====<br />
====== ST Mighty Rack======<br />
Before the Kemper Profiling Amp I used to say, "When I want the absolute drop dead best electric sound I can muster I use this." Now I use the Kemper. It's lighter.<br />
<br />
[[File:STMightyRack.png|link=ST Mighty Rack|600px|ST Mighty Rack]]<br />
<br />
For more details please see: [[ST Mighty Rack]]<br />
<br />
====== Carvin Quad-X Amp ======<br />
For four straight ahead channels and all tube sound I sometimes use the Carvin Quad-X Amp. Despite the name, it is a preamp - all tubes. ( 12AX7s) and it came with a gigantic foot switch.<br />
<br />
[[File:92 quadxamp-small.jpg|link=Carvin Quad-X Amp|600px]]<br />
<br />
<br />
For more details please see: [[Carvin Quad-X Amp]]<br />
<br />
====== Mesa/Boogie V-Twin ======<br />
For traveling light (and backup almost always) I used to carry the Mesa/Boogie V-Twin. <br />
<!--<br />
These days I use the [http://www.tc-helicon.com/products/voicelive-play-gtx/ TC-Helicon VoiceLive Play GTX] because it sounds good and it also has phantom power for my microphone. --><br />
<br />
[[File:Mesa Boogie V-Twin mini.gif|link=Mesa/Boogie V-Twin|270px|Mesa/Boogie V-Twin]]<br />
<br />
For more details please see: [http://www.mesaboogie.com/Product_Info/Out_of%20_Production/V-Twin/v-twin.html Mesa Boogie V-Twin]<br />
<br />
===== Virtual Guitar - Roland VG-99, VG-88 & VG-8 =====<br />
When I want a huge palette of sounds that extends beyond traditional guitar then I use [http://www.roland.com/products/en/VG-99/ Roland VG-99], <br />
<br />
[[Image:Vg-99top.jpg|400px|Roland VG-99]] <html><img src="http://toonz.ca/guitars/images/semis/pr002.jpg" style="float:right;height=200px"></html><br />
<br />
and occasionally the older VG-88 or VG-8. <br />
<br />
[[Image:Gibson80p33.jpg|300px|right|Gibson ES Artist]]<br />
[[Image:Roland VG-88.jpg|400px|Roland VG-88 Version 2]]<br />[http://www.roland.com/products/en/VG-88_Version_2/ Details]<br />
<br />
<br />
I have a Roland GK2 pickup mounted on my [[Gibson ES Artist]] (blasphemy?). I run that to the VG-88 and then to the T1® with using one of the following Presets:<br />
<br />
* Utility Flat<br />
* Prerecorded Music / Low Volume<br />
* Prerecorded Music / High Volume<br />
<br />
If you are familiar with the GK2/3 pickups you know that you can also run the electric guitar sound direct to the VG-88. I run that to a separate T1® Channel and use one of these Presets:<br />
* Electric Guitars / Miked Amp w/SM57<br />
* Electric Guitars / Miked Amp w/e609<br />
* Electric Guitars / General Direct<br />
<br />
I don't feel as though I have fully explored the VG-88 so the VG-99 is on the back burner for now.<br />
<br />
In case you are wondering, I normally run mono. Stereo sounds great but for me, there is not enough benefit to warrant bringing two L1®s to run stereo.<br />
<br />
==== Acoustic Guitar ====<br />
[[Image:Larrivee150.png|thumb|right|Larrivée C10-bz]][[File:C10Morgan.jpg|300px|Larrivée C10 BZ and Morgan Concert Cutaway]]<br />
<!-- <br />
* [http://toonz.ca/guitars/ ST Guitars]http://tinyurl.com/STguitars --><br />
<br />
<br />
<br />
<br />
{{:Larrivee & Morgan T1® Settings}}<br />
[[Larrivée Guitars|Larrivée]] with [http://www.lrbaggs.com/html/products/systems_imix.shtml L.R. Baggs iMix no-cut] pickup system. I just had this installed because I wanted to start playing this instrument at live gigs. <br />
* {{T1 no link}} Preset<br />
** Category: L.R. Baggs / Preset: iMix<br />
<br />
==== Microphone ====<br />
===== Condenser Microphone =====<br />
[[Image:Kms105Thumb.jpg|100px|right]] Neumann KMS 105<br />
*Category: Vocal Mics<br />
*Preset: Neumann KMS 105<br />
*Model I / Classic<br />
** #12 KMS 105<br />
<br />
===== Dynamic Microphones =====<br />
====== Sennheiser MD 441 ======<br />
[[File:Sennheiser MD 441 vertical.jpg|50px|right|link=Sennheiser MD 441]]<br />
[[Sennheiser MD 441]]<br />
*Category: Vocal Mics<br />
*Preset: Flat, Vocal zEQ OR<br>Sennheiser MD 431-II<br />
<br />
====== Sennheiser MD 445 ======<br />
[[File:Sennheiser MD 445.jpg|50px|right|link=Sennheiser MD 445]]<br />
*Category: Vocal Mics<br />
*Preset: Flat, Vocal zEQ OR<br>Sennheiser e 855 OR<br>Sennheiser MD 431-II<br />
<br />
<br />
===== Headworn Microphone =====<br />
Crown CM311a [[Image:Cm311a-2.gif|right]] <br />
*Category: Vocal Mics<br />
*Preset: Headworn Mics<br />
*Model I / Classic<br />
** #02 Headworn Microphones<br />
<br />
==== Vocal Processor / Guitar Effects ====<br />
For gigs in really tight places I have been using the [http://www.tc-helicon.com/products/voicelive-play-gtx TC-Helicon VoiceLive Play GTX] since mid-2012. {{#img: image=Voicelive-play-gtx_top.jpg |page=TC-Helicon VoiceLive Play GTX to Compact| width=150px |title=TC-Helicon VoiceLive Play GTX }}. This unit was replaced by the TC-Helicon VoiceLive 3.<br />
<br />
In January 2014 the <br />
[http://www.tc-helicon.com/products/voicelive-3 TC-Helicon VoiceLive 3] was released and I've been experimenting with that. {{#img: image=Tch-voicelive-3-floor.jpg |page=TC-Helicon_VoiceLive_3_to_Compact| width=300px |title=TC-Helicon VoiceLive 3}}<br />
<br />
<br />
The big appeal for me was the guitar amp emulations, looper, and ''adaptive tone'' features. I haven't used the harmony features. The small form-factor was a big part of the decision to use these.<br />
<br />
Update: I found that I wasn't the vocal features. I got the Kemper Profiling Amp and these were so much better than the TC-Helicon guitar amp emulations, so I stopped using the latter. And finally, I had planned to use the looper as a practice tool, and for capturing song ideas. In the end it was simpler to capture the ideas directly to the computer using the T1® USB interface and some recording software. The VoiceLive&nbsp;3 has left the building.<br />
<br />
== Doing Sound ==<br />
Doing Sound - or "Being the Sound Guy" was never on my list of things to accomplish. <br />
<br />
If someone were to ask me how to use the L1®s to provide sound reinforcement for live musicians I would insist that s/he watch three video presentations before doing anything else.<br />
<br />
* [[The L1® Approach and the History Of Amplification]]<br />
* [[Clifford Henricksen Introduces the L1®]]<br />
* [[Cliff Goodwin|Playing better with the L1® System - Cliff Goodwin]]<br />
<br />
Then I would offer these gig reports of four of the shows where I supported several acts crossing a stage using multiple L1®s at the back of the stage.<br />
<br />
* [[Gig Report / 8 Live Acts 7 Hours]]<br />
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/237109823 Lots of acts: Lots of L1®s]<br />
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/686106993 Butting Heads over the Sound - Taking One for the Team]<br />
* [http://shadowtoonz.wordpress.com/2006/03/27/but-i-never-wanted-to-be-the-sound-guy/ But I Never Wanted To Be the Sound Guy]<br />
<br />
And some notes about working with performers.<br />
[[Introducing Performers to the Bose System]]<br />
<br />
== History ==<br />
=== First Post on the Message Board ===<br />
Just in case the site gets reorganized and we lose it here is [http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/279101525?r=370107355#370107355 my first post on the message board].<br />
<blockquote><br />
:I was there on Thursday (had the flu and very nearly didn't go).<br />
<br />
:Ended up sitting about 5 feet in front of Tony Sarno (I was in the front row). I was blown away without being blown away. If you ever get a chance to sit that close to a band running PASs you that bizarre statement will make sense.<br />
<br />
:Had a great chat with Tony and Wolf after the show.<br />
<br />
:Friday morning as soon as L&M (the store that sponsored the show) opened, I picked up my PAS. (one bass module)<br />
<br />
:Since I'm under the weather, I took the rest of the day to get to know the unit. Good times.<br />
<br />
:Get my first chance to try it out live tonight.<br />
<br />
:Many many thanks to all the people at Bose who made the investment to travel to Canada.<br />
<br />
:I was somewhat taken aback that Bose would make so large an investment (you sent what - 10 people including the band?)<br />
<br />
:Tony, if you happen to see this, I'll send you the information about the McIntyre amp later today.<br />
<br />
:Wolfe, if you happen to see this, I'm the guy with the Musicman EVH and the PRSs.<br />
<br />
:I'll post more about how I intend to use it and some questions in the other forums.<br />
</blockquote><br />
<br />
<br />
----<br />
[[Category:Pioneer]]<br />
[[Category:ST]]</div>SThttps://boseperformer.com/index.php?title=Gibson_Howard_Roberts_Artist&diff=26142Gibson Howard Roberts Artist2026-06-17T23:30:50Z<p>ST: </p>
<hr />
<div><div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><h2>Introduction</h2><br />
<br />
<br />
[[File:Gibson Howard Roberts Portrait.jpg|200px|right]]<br />
<br />
<br />
Gibson’s endorsement with jazz guitarist Howard Roberts began in the mid-1960s with the introduction of the Epiphone Howard Roberts – a unique 16” cutaway model with a pointy Florentine cut-away, oval sound hole, and carved top. A short-lived model, the original Howard Roberts was discontinued in 1969 along with all other USA-made Epiphone models. In 1974 Gibson brought back the Howard Roberts model with some redesign and new branding as the Howard Roberts Custom. The Artist is essentially the same guitar as a Custom, but with upgraded gold hardware, an ebony fingerboard and a different tailpiece name-badge. It features a laminate maple body, multi-ply bindings, slotted block fretboard inlays, and a decidedly Epiphone headstock design, complete with floral / vine inlays.<br />
<br />
Low C neck carve with 1-11/16” nut width, 25.4” scale. Figured maple neck, Grover Rotomatic tuners. <br />
</div><br />
</div> <br />
<br />
<br />
[[File:Howard Roberts Artist Headstock.jpg|Howard Roberts Artist Headstock.jpg|right]]<br />
<br />
Gibson manufactured the Howard Roberts Custom between 1973 and 1981. Designed for jazz session guitarist Howard Roberts (who recorded the themes for the Munsters, the Twilight Zone and many other TV classics), this signature model was originally built as an Epiphone in the ’60s. In the ’70s, Gibson made two versions of this guitar, the Custom and the Artist. The two were essentially the same with a distinct oval sound hole, but the Custom featured a Rosewood instead of ebony fingerboard and chrome hardware.<br />
<br />
Featured on untold thousands of major studio recordings, movie and TV soundtracks as both a sideman and soloist, the late Howard Roberts was almost surely one of the most prolifically recorded jazz guitarists of all time. Like his contemporary Johnny Smith, Roberts also consulted in the creation of a number of technically innovative guitars.<br />
<br />
An instrument as versatile as its celebrated creator, the Howard Roberts Model was introduced by Gibson under its Epiphone label in 1965. Made in Kalamazoo, this original guitar combined an arched 16″ Florentine cutaway body with a unique oval soundhole, a design with roots in Orville Gibson’s very earliest guitars. With its long-scale neck, the Howard Roberts also revived the celebrated vine peghead inlay of the prewar Epiphone Deluxe.<br />
<br />
The Epiphone Howard Roberts was discontinued by 1968, but revived under the Gibson logo in 1970. A full-sized floating humbucking pickup was produced for this model alone, and unique separate treble and bass tone controls. Three years later, Gibson premiered this version of the model, the Howard Roberts Custom. Produced in limited numbers, the Howard Roberts Custom was offered for less than a decade.<br />
[[File:Howard Roberts Artist Specifications.jpg|right]]<br />
Features –<br />
<br />
Body size at lower bout: 16″. Scale length: 25 1/2″ Nut Width: 1 11/16″<br />
<br />
Finish: Wine Red finish, nitrocellulose lacquer<br />
<br />
Materials: Seven-ply bound figured maple body; three piece flame maple neck; solid rosewood fingerboard; ornate NY Epi Deluxe style peghead vine inlay, Gibson peghead logo, and split block pearl fingerboard inlays.<br />
<br />
Hardware: includes custom trapeze tailpiece; original compensated adjustable ebony bridge with mother of pearl foot inlay; unique full-sized original floating pickup; master volume with separate treble and bass tone controls; original black barrel knobs.<br />
<br />
This specific model: <br />
Made in the Kalamazoo Plant, MI, USA<br />
<br>on December 13th, 1977<br />
<br>Production Number: 14<br />
<br />
<br />
[[File:Gibson Howard Roberts gib78p23.jpg]]<br />
<br />
[[File:Howard Roberts Artist body.jpg]]<br />
<br />
[[File:Howard Roberts Artist Tailpiece.jpg]]<br />
<br />
[[Media:Gibson 1978 Catalog 4.pdf]]<br />
<br />
<br />
<html><br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/QcMMeqrl10A?start=214" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
</html><br />
<br />
<br />
<br />
----<br />
[[Category:Guitar]]<br />
[[Category:ST]]</div>SThttps://boseperformer.com/index.php?title=Parker_P8_EN_Guitar&diff=26141Parker P8 EN Guitar2026-06-06T14:20:40Z<p>ST: </p>
<hr />
<div><table><tr><br />
<td valign="top" width="250">__TOC__</td><br />
<td valign="top"><br />
This is what I am using with my {{Compact}}<br />
<br />
[[Image:ParkerP8EnFront.jpg|400px|right|Parker P8 EN front view]]<br />
<br />
[http://www.parkerguitars.com/Event-Series/ Parker P8 EN] Event Series<br />
<br />
</td><br />
</tr></table> <br />
<br />
=== General Description ===<br />
Parker's first acoustic guitar features a solid cedar top, rosewood binding, solid flame maple back & flame maple sides. It has a mahogany neck with ebony microdot inlaid fingerboard & bridge. Electronics are a Fishman® hum canceling pickup combined with their Acoustic Matrix undersaddle pickup. 1/4" and XLR outputs are provided.<br />
<br />
Introduced: January 2006<br />
<br />
=== Features ===<br />
* Solid Cedar top with Rosewood binding.<br />
* Solid Flame Maple back. Flame Maple sides. Rosewood binding.<br />
* Bass balanced Ebony bridge with compensated bone saddle.<br />
* Mahogany neck, microdot inlaid Ebony fingerboard, zero fret, Rosewood capped headstock.<br />
* Fishman® hum canceling pickup combined with Acoustic Matrix Undersaddle pickup.<br />
* 1/4" and XLR mono/stereo outputs.<br />
* Grover Sta-Tite (97 series) gold machine heads - 14:1<br />
<br />
=== Controls ===<br />
It is great having these controls right on the guitar.<br />
<br />
* Top mounted volume control<br />
* Controls: magnetic/piezo blend, bass & treble cut/boost.<br />
<br />
<br />
[[Image:ParkerP8EnControl.jpg|Parker P8 EN Controls]]<br />
<br />
=== Electronics ===<br />
* Mag. Pickups: Exclusive Fishman® Blender System<br />
* Mag. Config: 1 under saddle pickup / 1 exclusive Rare Earth®<br />
* Mag. PU Select:Blend option<br />
<br />
* Piezo System: Fishman® Acoustic Matrix® Undersaddle pickup<br />
<br />
* PreAmp/Mixer: Hum cancelling neck position Fishman® complimented with a Fishman® Acoustic Matrix® Undersaddle pickup<br />
<br />
* Other Controls:<br />
Top mounted master volume, magnetic/piezo blend, independent boost/cut style bass and treble controls.<br />
<br />
* Output: 1/4" and XLR mono/stereo<br />
<br />
[[Image:ParkerP8EnBack.jpg|Parker P8 EN Back - Flamed Maple with Rosewood Binding]]<br />
<br />
=== Specifications ===<br />
<br />
P8E<br />
Tones/Sounds:<br />
Bold sounds of cedar and flame maple yeilding bright, compressed, balanced tones capable of cutting through an ensemble mix.<br />
<br />
==== Body ====<br />
<br />
Wood:<br />
Solid Cedar top with Rosewood binding<br />
<br />
==== Construction ==== <br />
Solid Flame Maple back and Laminated Flame Maple sides, Rosewood Binding<br />
<br />
Finish: Polyurethane<br />
<br />
Bridge: Bass balanced bridge with compensated bone saddle<br />
<br />
<br />
==== Neck ====<br />
Wood: Mahogany with rosewood capped headstock<br />
<br />
Neck Design: 5 piece construction<br />
<br />
Neck-Body Joint: Dove-tail style<br />
<br />
Scale: 25.5"<br />
<br />
Number of Frets: 19 Frets<br />
<br />
Fret Material: Nickel S<br />
<br />
Fret Size: .045" high, .095" wide<br />
<br />
Fret Board: Ebony fingerboard with microdot inlays<br />
<br />
Fretboard Shape: 10"-13" conical form<br />
<br />
Neck Shape: Width: regular, Thickness: regular<br />
<br />
Body Length: 19.5"<br />
<br />
Lower Bout Width: 15.0"<br />
<br />
Upper Bout Width 11.25<br />
<br />
Waist Width: 9.5"<br />
<br />
Body Depth: (neck block): 3.5"<br />
<br />
Finish: Polyurethane<br />
<br />
Nut: Bone<br />
<br />
Nut Width: 1.69"<br />
<br />
String Spacing: 2.14"<br />
<br />
Truss Rod: Lightweight steel<br />
<br />
Tuners: Grover® Sta-Tite (97 series) gold machine heads - 14:1<br />
<br />
=== Miscellaneous ===<br />
<br />
Weight:<br />
4 1/2 pounds<br />
<br />
Strings:<br />
Vinci .012" - .053"<br />
<br />
<br />
Case/Bag: Parker Hardshell Case<br />
<br />
<br />
----<br />
[[Category:ST]]<br />
[[Category:Compact]]<br />
[[Category:Guitar]]</div>SThttps://boseperformer.com/index.php?title=Hamer_Studio_Custom_GATC&diff=26140Hamer Studio Custom GATC2026-05-30T02:00:22Z<p>ST: </p>
<hr />
<div>Hamer Sunburst Studio Custom GATC<br />
<!--<br />
http://toonz.ca/guitars/hamer/HamerStudioGATC.jpg<br />
<br />
<br />
http://toonz.ca/guitars/hamer/HamerSunburstArchtop.png<br />
<br />
<br />
http://toonz.ca/guitars/hamer/HamerStudioCustom3.jpg<br />
<br />
--><br />
<br />
[http://www.hamerguitars.com/?fa=detail&mid=392 Hamer Studio Custom (GATC)]<br />
<br />
[[File:Hamer01.jpg]]<br />
<br />
[[File:Hamer02.jpg]]<br />
<br />
If you look closely, you'll see that this guitar has a bound headstock. This tiny detail sets it apart from the production versions of this guitar. <br />
<br />
I got my Hamer Sunburst Studio GATC in 1991-ish, and played it a lot. Unfortunately, it got damaged, so I shipped it back to Hamer Guitars for repair. About four months later, I got a phone call from none other than [https://dantzig.com/workshop/who-i-am/ Jol Dantzig]. He was very apologetic because, somehow, someone had misinterpreted the damage as a factory blemish. Hamer didn't sell "B" stock. Their practice was to crush substandard guitars. He was calling to tell me that my guitar had been crushed. He said that he had inspected the neck and could see that I had loved and played that guitar a lot. He offered to make me a new one and asked if there were any special features that I'd like. The only thing I wanted was a bound headstock to go with the bound neck. <br />
<br />
<br />
Jol said he would go down to the wood room and pick something special for me. He warned me it would take a while to make the new guitar because they were a small factory making handmade instruments, but promised me it would be worth the wait. It took over a year, but this stunning guitar was everything Jol said it would be. As a tribute to the first one, Jol stamped it with the original serial number.<br />
<br />
[https://www.hamerfanclub.com/494-2/ History of the Hamer Sunburst]<br />
<br />
----<br />
[[Category:ST]]<br />
[[Category:Guitar]]<br />
[[Category:Hamer]]</div>SThttps://boseperformer.com/index.php?title=Sony_FE_300_F2.8_GM_OSS_Preset_Focus&diff=26139Sony FE 300 F2.8 GM OSS Preset Focus2026-05-24T17:23:33Z<p>ST: /* Overview */</p>
<hr />
<div>== Overview ==<br />
This is applicable to the Sony A1 II (but not A1). It may be applicable to other newer models, when used with the Sony FE 300 F2.8 GM OSS.<br />
<br />
The Sony FE 300mm F2.8 GM OSS includes a Function Ring near the front of the lens. Sony officially documents this ring as supporting:<br />
* Power Focus <br />
* APS‑C / Full Frame toggle <br />
<br />
However, the lens also supports an *undocumented third mode*: (not mentioned in the [https://www.sony.com/electronics/support/res/manuals/5054/9160c8ce0087829b9805932cfbe6608c/50541710M.pdf FE300 F2.8 GM OSS Operating Guide])<br />
<br />
<big>Preset Focus</big> — allowing the user to ''store'' and ''instantly recall'' a focus distance.<br />
<br />
This feature behaves similarly to the Focus Preset system found on the FE 400mm F2.8 GM and FE 600mm F4 GM, but is implemented through the Function Ring instead of a dedicated switch.<br />
[[File:Sony FE 300 F2.8 GM OSS Buttons and Controls.png|thumb|'''Sony FE 300 F2.8 GM OSS Buttons and Controls''']]<br />
This article explains how to enable the feature and how to use it in the field.<br />
<br />
== Enabling Preset Focus on the Function Ring ==<br />
The Preset Focus mode is activated through the camera menus, not the lens switches.<br />
<br />
=== Steps ===<br />
# On the camera body, open the '''Setup Menu'''.<br />
# Navigate to: <br />
#*Setup <br>→ Operation Customize <br>→ Dial Customize <br>→ '''Function Ring (Lens)''' ← choose this <br> (Menu names may vary slightly depending on camera model.)<br />
# Select '''Preset Focus''' from the available options:<br />
#* Power Focus (default) <br />
#* APS‑C / Full Frame <br />
#* '''Preset Focus''' ← choose this<br />
<br />
Once selected, the Function Ring on the lens will operate in Preset Focus mode.<br />
<br />
== How Preset Focus Works ==<br />
Preset Focus mode gives the Function Ring two behaviours:<br />
<br />
* **Turn + Hold** → Saves (registers) the current focus distance <br />
* **Turn briefly** → Recalls the previously saved focus distance <br />
<br />
The recall is nearly instantaneous and works in AF‑C, AF‑S, and MF.<br />
<br />
When saving a preset, the camera will display a brief on‑screen message such as: <br />
''Preset Focus / Zoom Position Set''<br />
<br />
== Setting a Preset Focus Distance ==<br />
To store a focus distance:<br />
<br />
# Aim the camera at the subject or area you want to store.<br />
# Use AF or MF to achieve accurate focus.<br />
# **Turn and hold** the Function Ring for about one second.<br />
# Wait for the on‑screen confirmation message.<br />
<br />
The current focus distance is now stored until you overwrite it with a new one.<br />
<br />
== Recalling a Preset Focus Distance ==<br />
To instantly return to the stored distance:<br />
<br />
# **Turn the Function Ring briefly** (a short twist in either direction).<br />
# The lens will snap to the saved focus distance.<br />
<br />
This works even if:<br />
* You are currently focused at a completely different distance <br />
* AF‑C is active <br />
* The subject is moving <br />
* The scene has low contrast or clutter <br />
<br />
== Overwriting the Preset ==<br />
To update the stored distance:<br />
<br />
# Focus on the new target distance.<br />
# **Turn and hold** the Function Ring again.<br />
# Wait for the confirmation message.<br />
<br />
The previous preset is replaced.<br />
<br />
== Practical Applications ==<br />
=== Birds in Flight (e.g., swallows) ===<br />
* Pre‑focus on a predictable flight lane or feeding zone. <br />
* Track birds freely. <br />
* Instantly snap back to the lane when a bird enters it. <br />
* Avoids AF hunting in empty sky.<br />
<br />
=== Perched Birds in Clutter (e.g., eagles in branches) ===<br />
* Store the exact distance of the perch. <br />
* If AF jumps to foreground branches, recall instantly. <br />
* Useful when the subject is partially obscured.<br />
<br />
=== Low‑Light or Pre‑Sunrise Shooting ===<br />
* AF may hesitate in dim light. <br />
* Preset Focus ensures instant reacquisition of a known distance.<br />
<br />
=== Repetitive Behaviour Patterns ===<br />
* Herons returning to the same landing spot <br />
* Cranes walking predictable paths <br />
* Ducks surfacing in the same area <br />
<br />
Preset Focus allows you to prepare for the moment before it happens.<br />
<br />
== Notes and Limitations ==<br />
* Only one preset distance can be stored at a time. <br />
* The feature is camera‑driven, not lens‑driven, which is why it is not documented in the lens manual. <br />
* Works with or without teleconverters. <br />
* Works in all AF modes. <br />
* Does not interfere with OSS or focus limiter settings.<br />
<br />
== Summary ==<br />
The FE 300mm F2.8 GM OSS II includes a powerful but undocumented **Preset Focus** capability accessible through the Function Ring. <br />
Once enabled, it provides:<br />
* Instant recall of a stored focus distance <br />
* Fast reacquisition in challenging conditions <br />
* Behaviour similar to the 400mm/600mm GM Focus Preset system <br />
* Significant benefits for wildlife and action photography<br />
<br />
This feature can dramatically improve keeper rates in situations where subjects move unpredictably or where AF may struggle with clutter or low contrast.<br />
<br />
<br />
----<br />
[[Category:Sony]]<br />
[[Category:Lens]]</div>SThttps://boseperformer.com/index.php?title=Sony_FE_300_F2.8_GM_OSS_Preset_Focus&diff=26138Sony FE 300 F2.8 GM OSS Preset Focus2026-05-24T17:10:03Z<p>ST: </p>
<hr />
<div>== Overview ==<br />
The Sony FE 300mm F2.8 GM OSS includes a Function Ring near the front of the lens. Sony officially documents this ring as supporting:<br />
* Power Focus <br />
* APS‑C / Full Frame toggle <br />
<br />
However, the lens also supports an **undocumented third mode**: (not mentioned in the [https://www.sony.com/electronics/support/res/manuals/5054/9160c8ce0087829b9805932cfbe6608c/50541710M.pdf FE300 F2.8 GM OSS Operating Guide])<br />
<br />
<big>Preset Focus</big> — allowing the user to ''store'' and ''instantly recall'' a focus distance.<br />
<br />
This feature behaves similarly to the Focus Preset system found on the FE 400mm F2.8 GM and FE 600mm F4 GM, but is implemented through the Function Ring instead of a dedicated switch.<br />
[[File:Sony FE 300 F2.8 GM OSS Buttons and Controls.png|thumb|'''Sony FE 300 F2.8 GM OSS Buttons and Controls''']]<br />
This article explains how to enable the feature and how to use it in the field.<br />
<br />
== Enabling Preset Focus on the Function Ring ==<br />
The Preset Focus mode is activated through the camera menus, not the lens switches.<br />
<br />
=== Steps ===<br />
# On the camera body, open the '''Setup Menu'''.<br />
# Navigate to: <br />
#*Setup <br>→ Operation Customize <br>→ Dial Customize <br>→ '''Function Ring (Lens)''' ← choose this <br> (Menu names may vary slightly depending on camera model.)<br />
# Select '''Preset Focus''' from the available options:<br />
#* Power Focus (default) <br />
#* APS‑C / Full Frame <br />
#* '''Preset Focus''' ← choose this<br />
<br />
Once selected, the Function Ring on the lens will operate in Preset Focus mode.<br />
<br />
== How Preset Focus Works ==<br />
Preset Focus mode gives the Function Ring two behaviours:<br />
<br />
* **Turn + Hold** → Saves (registers) the current focus distance <br />
* **Turn briefly** → Recalls the previously saved focus distance <br />
<br />
The recall is nearly instantaneous and works in AF‑C, AF‑S, and MF.<br />
<br />
When saving a preset, the camera will display a brief on‑screen message such as: <br />
''Preset Focus / Zoom Position Set''<br />
<br />
== Setting a Preset Focus Distance ==<br />
To store a focus distance:<br />
<br />
# Aim the camera at the subject or area you want to store.<br />
# Use AF or MF to achieve accurate focus.<br />
# **Turn and hold** the Function Ring for about one second.<br />
# Wait for the on‑screen confirmation message.<br />
<br />
The current focus distance is now stored until you overwrite it with a new one.<br />
<br />
== Recalling a Preset Focus Distance ==<br />
To instantly return to the stored distance:<br />
<br />
# **Turn the Function Ring briefly** (a short twist in either direction).<br />
# The lens will snap to the saved focus distance.<br />
<br />
This works even if:<br />
* You are currently focused at a completely different distance <br />
* AF‑C is active <br />
* The subject is moving <br />
* The scene has low contrast or clutter <br />
<br />
== Overwriting the Preset ==<br />
To update the stored distance:<br />
<br />
# Focus on the new target distance.<br />
# **Turn and hold** the Function Ring again.<br />
# Wait for the confirmation message.<br />
<br />
The previous preset is replaced.<br />
<br />
== Practical Applications ==<br />
=== Birds in Flight (e.g., swallows) ===<br />
* Pre‑focus on a predictable flight lane or feeding zone. <br />
* Track birds freely. <br />
* Instantly snap back to the lane when a bird enters it. <br />
* Avoids AF hunting in empty sky.<br />
<br />
=== Perched Birds in Clutter (e.g., eagles in branches) ===<br />
* Store the exact distance of the perch. <br />
* If AF jumps to foreground branches, recall instantly. <br />
* Useful when the subject is partially obscured.<br />
<br />
=== Low‑Light or Pre‑Sunrise Shooting ===<br />
* AF may hesitate in dim light. <br />
* Preset Focus ensures instant reacquisition of a known distance.<br />
<br />
=== Repetitive Behaviour Patterns ===<br />
* Herons returning to the same landing spot <br />
* Cranes walking predictable paths <br />
* Ducks surfacing in the same area <br />
<br />
Preset Focus allows you to prepare for the moment before it happens.<br />
<br />
== Notes and Limitations ==<br />
* Only one preset distance can be stored at a time. <br />
* The feature is camera‑driven, not lens‑driven, which is why it is not documented in the lens manual. <br />
* Works with or without teleconverters. <br />
* Works in all AF modes. <br />
* Does not interfere with OSS or focus limiter settings.<br />
<br />
== Summary ==<br />
The FE 300mm F2.8 GM OSS II includes a powerful but undocumented **Preset Focus** capability accessible through the Function Ring. <br />
Once enabled, it provides:<br />
* Instant recall of a stored focus distance <br />
* Fast reacquisition in challenging conditions <br />
* Behaviour similar to the 400mm/600mm GM Focus Preset system <br />
* Significant benefits for wildlife and action photography<br />
<br />
This feature can dramatically improve keeper rates in situations where subjects move unpredictably or where AF may struggle with clutter or low contrast.<br />
<br />
<br />
----<br />
[[Category:Sony]]<br />
[[Category:Lens]]</div>SThttps://boseperformer.com/index.php?title=Sony_FE_300_F2.8_GM_OSS&diff=26137Sony FE 300 F2.8 GM OSS2026-05-24T16:57:45Z<p>ST: ST moved page Sony FE 300 F2.8 GM OSS to Sony FE 300 F2.8 GM OSS Preset Focus</p>
<hr />
<div>#REDIRECT [[Sony FE 300 F2.8 GM OSS Preset Focus]]</div>SThttps://boseperformer.com/index.php?title=Sony_FE_300_F2.8_GM_OSS_Preset_Focus&diff=26136Sony FE 300 F2.8 GM OSS Preset Focus2026-05-24T16:57:45Z<p>ST: ST moved page Sony FE 300 F2.8 GM OSS to Sony FE 300 F2.8 GM OSS Preset Focus</p>
<hr />
<div>== Overview ==<br />
The Sony FE 300mm F2.8 GM OSS II includes a Function Ring near the front of the lens. Sony officially documents this ring as supporting:<br />
* Power Focus <br />
* APS‑C / Full Frame toggle <br />
<br />
However, the lens also supports an **undocumented third mode**: (not mentioned in the [https://www.sony.com/electronics/support/res/manuals/5054/9160c8ce0087829b9805932cfbe6608c/50541710M.pdf FE300 F2.8 GM OSS Operating Guide])<br />
<br />
<big>Preset Focus</big> — allowing the user to ''store'' and ''instantly recall'' a focus distance.<br />
<br />
This feature behaves similarly to the Focus Preset system found on the FE 400mm F2.8 GM and FE 600mm F4 GM, but is implemented through the Function Ring instead of a dedicated switch.<br />
[[File:Sony FE 300 F2.8 GM OSS Buttons and Controls.png|thumb|'''Sony FE 300 F2.8 GM OSS Buttons and Controls''']]<br />
This article explains how to enable the feature and how to use it in the field.<br />
<br />
== Enabling Preset Focus on the Function Ring ==<br />
The Preset Focus mode is activated through the camera menus, not the lens switches.<br />
<br />
=== Steps ===<br />
# On the camera body, open the '''Setup Menu'''.<br />
# Navigate to: <br />
#*Setup <br>→ Operation Customize <br>→ Dial Customize <br>→ '''Function Ring (Lens)''' ← choose this <br> (Menu names may vary slightly depending on camera model.)<br />
# Select '''Preset Focus''' from the available options:<br />
#* Power Focus (default) <br />
#* APS‑C / Full Frame <br />
#* '''Preset Focus''' ← choose this<br />
<br />
Once selected, the Function Ring on the lens will operate in Preset Focus mode.<br />
<br />
== How Preset Focus Works ==<br />
Preset Focus mode gives the Function Ring two behaviours:<br />
<br />
* **Turn + Hold** → Saves (registers) the current focus distance <br />
* **Turn briefly** → Recalls the previously saved focus distance <br />
<br />
The recall is nearly instantaneous and works in AF‑C, AF‑S, and MF.<br />
<br />
When saving a preset, the camera will display a brief on‑screen message such as: <br />
''Preset Focus / Zoom Position Set''<br />
<br />
== Setting a Preset Focus Distance ==<br />
To store a focus distance:<br />
<br />
# Aim the camera at the subject or area you want to store.<br />
# Use AF or MF to achieve accurate focus.<br />
# **Turn and hold** the Function Ring for about one second.<br />
# Wait for the on‑screen confirmation message.<br />
<br />
The current focus distance is now stored until you overwrite it with a new one.<br />
<br />
== Recalling a Preset Focus Distance ==<br />
To instantly return to the stored distance:<br />
<br />
# **Turn the Function Ring briefly** (a short twist in either direction).<br />
# The lens will snap to the saved focus distance.<br />
<br />
This works even if:<br />
* You are currently focused at a completely different distance <br />
* AF‑C is active <br />
* The subject is moving <br />
* The scene has low contrast or clutter <br />
<br />
== Overwriting the Preset ==<br />
To update the stored distance:<br />
<br />
# Focus on the new target distance.<br />
# **Turn and hold** the Function Ring again.<br />
# Wait for the confirmation message.<br />
<br />
The previous preset is replaced.<br />
<br />
== Practical Applications ==<br />
=== Birds in Flight (e.g., swallows) ===<br />
* Pre‑focus on a predictable flight lane or feeding zone. <br />
* Track birds freely. <br />
* Instantly snap back to the lane when a bird enters it. <br />
* Avoids AF hunting in empty sky.<br />
<br />
=== Perched Birds in Clutter (e.g., eagles in branches) ===<br />
* Store the exact distance of the perch. <br />
* If AF jumps to foreground branches, recall instantly. <br />
* Useful when the subject is partially obscured.<br />
<br />
=== Low‑Light or Pre‑Sunrise Shooting ===<br />
* AF may hesitate in dim light. <br />
* Preset Focus ensures instant reacquisition of a known distance.<br />
<br />
=== Repetitive Behaviour Patterns ===<br />
* Herons returning to the same landing spot <br />
* Cranes walking predictable paths <br />
* Ducks surfacing in the same area <br />
<br />
Preset Focus allows you to prepare for the moment before it happens.<br />
<br />
== Notes and Limitations ==<br />
* Only one preset distance can be stored at a time. <br />
* The feature is camera‑driven, not lens‑driven, which is why it is not documented in the lens manual. <br />
* Works with or without teleconverters. <br />
* Works in all AF modes. <br />
* Does not interfere with OSS or focus limiter settings.<br />
<br />
== Summary ==<br />
The FE 300mm F2.8 GM OSS II includes a powerful but undocumented **Preset Focus** capability accessible through the Function Ring. <br />
Once enabled, it provides:<br />
* Instant recall of a stored focus distance <br />
* Fast reacquisition in challenging conditions <br />
* Behaviour similar to the 400mm/600mm GM Focus Preset system <br />
* Significant benefits for wildlife and action photography<br />
<br />
This feature can dramatically improve keeper rates in situations where subjects move unpredictably or where AF may struggle with clutter or low contrast.<br />
<br />
<br />
----<br />
[[Category:Sony]]<br />
[[Category:Lens]]</div>SThttps://boseperformer.com/index.php?title=Sony_FE_300_F2.8_GM_OSS_Preset_Focus&diff=26135Sony FE 300 F2.8 GM OSS Preset Focus2026-05-24T16:56:34Z<p>ST: /* Enabling Preset Focus on the Function Ring */</p>
<hr />
<div>== Overview ==<br />
The Sony FE 300mm F2.8 GM OSS II includes a Function Ring near the front of the lens. Sony officially documents this ring as supporting:<br />
* Power Focus <br />
* APS‑C / Full Frame toggle <br />
<br />
However, the lens also supports an **undocumented third mode**: (not mentioned in the [https://www.sony.com/electronics/support/res/manuals/5054/9160c8ce0087829b9805932cfbe6608c/50541710M.pdf FE300 F2.8 GM OSS Operating Guide])<br />
<br />
<big>Preset Focus</big> — allowing the user to ''store'' and ''instantly recall'' a focus distance.<br />
<br />
This feature behaves similarly to the Focus Preset system found on the FE 400mm F2.8 GM and FE 600mm F4 GM, but is implemented through the Function Ring instead of a dedicated switch.<br />
[[File:Sony FE 300 F2.8 GM OSS Buttons and Controls.png|thumb|'''Sony FE 300 F2.8 GM OSS Buttons and Controls''']]<br />
This article explains how to enable the feature and how to use it in the field.<br />
<br />
== Enabling Preset Focus on the Function Ring ==<br />
The Preset Focus mode is activated through the camera menus, not the lens switches.<br />
<br />
=== Steps ===<br />
# On the camera body, open the '''Setup Menu'''.<br />
# Navigate to: <br />
#*Setup <br>→ Operation Customize <br>→ Dial Customize <br>→ '''Function Ring (Lens)''' ← choose this <br> (Menu names may vary slightly depending on camera model.)<br />
# Select '''Preset Focus''' from the available options:<br />
#* Power Focus (default) <br />
#* APS‑C / Full Frame <br />
#* '''Preset Focus''' ← choose this<br />
<br />
Once selected, the Function Ring on the lens will operate in Preset Focus mode.<br />
<br />
== How Preset Focus Works ==<br />
Preset Focus mode gives the Function Ring two behaviours:<br />
<br />
* **Turn + Hold** → Saves (registers) the current focus distance <br />
* **Turn briefly** → Recalls the previously saved focus distance <br />
<br />
The recall is nearly instantaneous and works in AF‑C, AF‑S, and MF.<br />
<br />
When saving a preset, the camera will display a brief on‑screen message such as: <br />
''Preset Focus / Zoom Position Set''<br />
<br />
== Setting a Preset Focus Distance ==<br />
To store a focus distance:<br />
<br />
# Aim the camera at the subject or area you want to store.<br />
# Use AF or MF to achieve accurate focus.<br />
# **Turn and hold** the Function Ring for about one second.<br />
# Wait for the on‑screen confirmation message.<br />
<br />
The current focus distance is now stored until you overwrite it with a new one.<br />
<br />
== Recalling a Preset Focus Distance ==<br />
To instantly return to the stored distance:<br />
<br />
# **Turn the Function Ring briefly** (a short twist in either direction).<br />
# The lens will snap to the saved focus distance.<br />
<br />
This works even if:<br />
* You are currently focused at a completely different distance <br />
* AF‑C is active <br />
* The subject is moving <br />
* The scene has low contrast or clutter <br />
<br />
== Overwriting the Preset ==<br />
To update the stored distance:<br />
<br />
# Focus on the new target distance.<br />
# **Turn and hold** the Function Ring again.<br />
# Wait for the confirmation message.<br />
<br />
The previous preset is replaced.<br />
<br />
== Practical Applications ==<br />
=== Birds in Flight (e.g., swallows) ===<br />
* Pre‑focus on a predictable flight lane or feeding zone. <br />
* Track birds freely. <br />
* Instantly snap back to the lane when a bird enters it. <br />
* Avoids AF hunting in empty sky.<br />
<br />
=== Perched Birds in Clutter (e.g., eagles in branches) ===<br />
* Store the exact distance of the perch. <br />
* If AF jumps to foreground branches, recall instantly. <br />
* Useful when the subject is partially obscured.<br />
<br />
=== Low‑Light or Pre‑Sunrise Shooting ===<br />
* AF may hesitate in dim light. <br />
* Preset Focus ensures instant reacquisition of a known distance.<br />
<br />
=== Repetitive Behaviour Patterns ===<br />
* Herons returning to the same landing spot <br />
* Cranes walking predictable paths <br />
* Ducks surfacing in the same area <br />
<br />
Preset Focus allows you to prepare for the moment before it happens.<br />
<br />
== Notes and Limitations ==<br />
* Only one preset distance can be stored at a time. <br />
* The feature is camera‑driven, not lens‑driven, which is why it is not documented in the lens manual. <br />
* Works with or without teleconverters. <br />
* Works in all AF modes. <br />
* Does not interfere with OSS or focus limiter settings.<br />
<br />
== Summary ==<br />
The FE 300mm F2.8 GM OSS II includes a powerful but undocumented **Preset Focus** capability accessible through the Function Ring. <br />
Once enabled, it provides:<br />
* Instant recall of a stored focus distance <br />
* Fast reacquisition in challenging conditions <br />
* Behaviour similar to the 400mm/600mm GM Focus Preset system <br />
* Significant benefits for wildlife and action photography<br />
<br />
This feature can dramatically improve keeper rates in situations where subjects move unpredictably or where AF may struggle with clutter or low contrast.<br />
<br />
<br />
----<br />
[[Category:Sony]]<br />
[[Category:Lens]]</div>SThttps://boseperformer.com/index.php?title=File:Sony_FE_300_F2.8_GM_OSS_Buttons_and_Controls.png&diff=26134File:Sony FE 300 F2.8 GM OSS Buttons and Controls.png2026-05-24T16:55:29Z<p>ST: </p>
<hr />
<div>Sony FE 300 F2.8 GM OSS Buttons and Controls</div>SThttps://boseperformer.com/index.php?title=Sony_FE_300_F2.8_GM_OSS_Preset_Focus&diff=26133Sony FE 300 F2.8 GM OSS Preset Focus2026-05-24T16:52:35Z<p>ST: formatting</p>
<hr />
<div>== Overview ==<br />
The Sony FE 300mm F2.8 GM OSS II includes a Function Ring near the front of the lens. Sony officially documents this ring as supporting:<br />
* Power Focus <br />
* APS‑C / Full Frame toggle <br />
<br />
However, the lens also supports an **undocumented third mode**: (not mentioned in the [https://www.sony.com/electronics/support/res/manuals/5054/9160c8ce0087829b9805932cfbe6608c/50541710M.pdf FE300 F2.8 GM OSS Operating Guide])<br />
<br />
<big>Preset Focus</big> — allowing the user to ''store'' and ''instantly recall'' a focus distance.<br />
<br />
This feature behaves similarly to the Focus Preset system found on the FE 400mm F2.8 GM and FE 600mm F4 GM, but is implemented through the Function Ring instead of a dedicated switch.<br />
<br />
This article explains how to enable the feature and how to use it in the field.<br />
<br />
== Enabling Preset Focus on the Function Ring ==<br />
The Preset Focus mode is activated through the camera menus, not the lens switches.<br />
<br />
=== Steps ===<br />
# On the camera body, open the '''Setup Menu'''.<br />
# Navigate to: <br />
#*Setup <br>→ Operation Customize <br>→ Dial Customize <br>→ '''Function Ring (Lens)''' ← choose this <br> (Menu names may vary slightly depending on camera model.)<br />
# Select '''Preset Focus''' from the available options:<br />
#* Power Focus (default) <br />
#* APS‑C / Full Frame <br />
#* '''Preset Focus''' ← choose this<br />
<br />
Once selected, the Function Ring on the lens will operate in Preset Focus mode.<br />
<br />
== How Preset Focus Works ==<br />
Preset Focus mode gives the Function Ring two behaviours:<br />
<br />
* **Turn + Hold** → Saves (registers) the current focus distance <br />
* **Turn briefly** → Recalls the previously saved focus distance <br />
<br />
The recall is nearly instantaneous and works in AF‑C, AF‑S, and MF.<br />
<br />
When saving a preset, the camera will display a brief on‑screen message such as: <br />
''Preset Focus / Zoom Position Set''<br />
<br />
== Setting a Preset Focus Distance ==<br />
To store a focus distance:<br />
<br />
# Aim the camera at the subject or area you want to store.<br />
# Use AF or MF to achieve accurate focus.<br />
# **Turn and hold** the Function Ring for about one second.<br />
# Wait for the on‑screen confirmation message.<br />
<br />
The current focus distance is now stored until you overwrite it with a new one.<br />
<br />
== Recalling a Preset Focus Distance ==<br />
To instantly return to the stored distance:<br />
<br />
# **Turn the Function Ring briefly** (a short twist in either direction).<br />
# The lens will snap to the saved focus distance.<br />
<br />
This works even if:<br />
* You are currently focused at a completely different distance <br />
* AF‑C is active <br />
* The subject is moving <br />
* The scene has low contrast or clutter <br />
<br />
== Overwriting the Preset ==<br />
To update the stored distance:<br />
<br />
# Focus on the new target distance.<br />
# **Turn and hold** the Function Ring again.<br />
# Wait for the confirmation message.<br />
<br />
The previous preset is replaced.<br />
<br />
== Practical Applications ==<br />
=== Birds in Flight (e.g., swallows) ===<br />
* Pre‑focus on a predictable flight lane or feeding zone. <br />
* Track birds freely. <br />
* Instantly snap back to the lane when a bird enters it. <br />
* Avoids AF hunting in empty sky.<br />
<br />
=== Perched Birds in Clutter (e.g., eagles in branches) ===<br />
* Store the exact distance of the perch. <br />
* If AF jumps to foreground branches, recall instantly. <br />
* Useful when the subject is partially obscured.<br />
<br />
=== Low‑Light or Pre‑Sunrise Shooting ===<br />
* AF may hesitate in dim light. <br />
* Preset Focus ensures instant reacquisition of a known distance.<br />
<br />
=== Repetitive Behaviour Patterns ===<br />
* Herons returning to the same landing spot <br />
* Cranes walking predictable paths <br />
* Ducks surfacing in the same area <br />
<br />
Preset Focus allows you to prepare for the moment before it happens.<br />
<br />
== Notes and Limitations ==<br />
* Only one preset distance can be stored at a time. <br />
* The feature is camera‑driven, not lens‑driven, which is why it is not documented in the lens manual. <br />
* Works with or without teleconverters. <br />
* Works in all AF modes. <br />
* Does not interfere with OSS or focus limiter settings.<br />
<br />
== Summary ==<br />
The FE 300mm F2.8 GM OSS II includes a powerful but undocumented **Preset Focus** capability accessible through the Function Ring. <br />
Once enabled, it provides:<br />
* Instant recall of a stored focus distance <br />
* Fast reacquisition in challenging conditions <br />
* Behaviour similar to the 400mm/600mm GM Focus Preset system <br />
* Significant benefits for wildlife and action photography<br />
<br />
This feature can dramatically improve keeper rates in situations where subjects move unpredictably or where AF may struggle with clutter or low contrast.<br />
<br />
<br />
----<br />
[[Category:Sony]]<br />
[[Category:Lens]]</div>SThttps://boseperformer.com/index.php?title=Sony_FE_300_F2.8_GM_OSS_Preset_Focus&diff=26132Sony FE 300 F2.8 GM OSS Preset Focus2026-05-24T16:49:02Z<p>ST: Created page with "== Overview == The Sony **FE 300mm F2.8 GM OSS II** includes a Function Ring near the front of the lens. Sony officially documents this ring as supporting: * Power Focus * APS‑C / Full Frame toggle However, the lens also supports an **undocumented third mode**: (not mentioned in the [https://www.sony.com/electronics/support/res/manuals/5054/9160c8ce0087829b9805932cfbe6608c/50541710M.pdf FE300 F2.8 GM OSS Operating Guide]) * **Preset Focus** — allowing the user..."</p>
<hr />
<div>== Overview ==<br />
The Sony **FE 300mm F2.8 GM OSS II** includes a Function Ring near the front of the lens. <br />
Sony officially documents this ring as supporting:<br />
* Power Focus <br />
* APS‑C / Full Frame toggle <br />
<br />
However, the lens also supports an **undocumented third mode**: (not mentioned in the [https://www.sony.com/electronics/support/res/manuals/5054/9160c8ce0087829b9805932cfbe6608c/50541710M.pdf FE300 F2.8 GM OSS Operating Guide])<br />
* **Preset Focus** — allowing the user to *store* and *instantly recall* a focus distance.<br />
<br />
This feature behaves similarly to the Focus Preset system found on the FE 400mm F2.8 GM and FE 600mm F4 GM, but is implemented through the Function Ring instead of a dedicated switch.<br />
<br />
This article explains how to enable the feature and how to use it in the field.<br />
<br />
== Enabling Preset Focus on the Function Ring ==<br />
The Preset Focus mode is activated through the camera menus, not the lens switches.<br />
<br />
=== Steps ===<br />
# On the camera body, open the '''Setup Menu'''.<br />
# Navigate to: <br />
#*Setup <br>→ Operation Customize <br>→ Dial Customize <br>→ '''Function Ring (Lens)''' ← choose this <br> (Menu names may vary slightly depending on camera model.)<br />
# Select '''Preset Focus''' from the available options:<br />
#* Power Focus (default) <br />
#* APS‑C / Full Frame <br />
#* '''Preset Focus''' ← choose this<br />
<br />
Once selected, the Function Ring on the lens will operate in Preset Focus mode.<br />
<br />
== How Preset Focus Works ==<br />
Preset Focus mode gives the Function Ring two behaviours:<br />
<br />
* **Turn + Hold** → Saves (registers) the current focus distance <br />
* **Turn briefly** → Recalls the previously saved focus distance <br />
<br />
The recall is nearly instantaneous and works in AF‑C, AF‑S, and MF.<br />
<br />
When saving a preset, the camera will display a brief on‑screen message such as: <br />
''Preset Focus / Zoom Position Set''<br />
<br />
== Setting a Preset Focus Distance ==<br />
To store a focus distance:<br />
<br />
# Aim the camera at the subject or area you want to store.<br />
# Use AF or MF to achieve accurate focus.<br />
# **Turn and hold** the Function Ring for about one second.<br />
# Wait for the on‑screen confirmation message.<br />
<br />
The current focus distance is now stored until you overwrite it with a new one.<br />
<br />
== Recalling a Preset Focus Distance ==<br />
To instantly return to the stored distance:<br />
<br />
# **Turn the Function Ring briefly** (a short twist in either direction).<br />
# The lens will snap to the saved focus distance.<br />
<br />
This works even if:<br />
* You are currently focused at a completely different distance <br />
* AF‑C is active <br />
* The subject is moving <br />
* The scene has low contrast or clutter <br />
<br />
== Overwriting the Preset ==<br />
To update the stored distance:<br />
<br />
# Focus on the new target distance.<br />
# **Turn and hold** the Function Ring again.<br />
# Wait for the confirmation message.<br />
<br />
The previous preset is replaced.<br />
<br />
== Practical Applications ==<br />
=== Birds in Flight (e.g., swallows) ===<br />
* Pre‑focus on a predictable flight lane or feeding zone. <br />
* Track birds freely. <br />
* Instantly snap back to the lane when a bird enters it. <br />
* Avoids AF hunting in empty sky.<br />
<br />
=== Perched Birds in Clutter (e.g., eagles in branches) ===<br />
* Store the exact distance of the perch. <br />
* If AF jumps to foreground branches, recall instantly. <br />
* Useful when the subject is partially obscured.<br />
<br />
=== Low‑Light or Pre‑Sunrise Shooting ===<br />
* AF may hesitate in dim light. <br />
* Preset Focus ensures instant reacquisition of a known distance.<br />
<br />
=== Repetitive Behaviour Patterns ===<br />
* Herons returning to the same landing spot <br />
* Cranes walking predictable paths <br />
* Ducks surfacing in the same area <br />
<br />
Preset Focus allows you to prepare for the moment before it happens.<br />
<br />
== Notes and Limitations ==<br />
* Only one preset distance can be stored at a time. <br />
* The feature is camera‑driven, not lens‑driven, which is why it is not documented in the lens manual. <br />
* Works with or without teleconverters. <br />
* Works in all AF modes. <br />
* Does not interfere with OSS or focus limiter settings.<br />
<br />
== Summary ==<br />
The FE 300mm F2.8 GM OSS II includes a powerful but undocumented **Preset Focus** capability accessible through the Function Ring. <br />
Once enabled, it provides:<br />
* Instant recall of a stored focus distance <br />
* Fast reacquisition in challenging conditions <br />
* Behaviour similar to the 400mm/600mm GM Focus Preset system <br />
* Significant benefits for wildlife and action photography<br />
<br />
This feature can dramatically improve keeper rates in situations where subjects move unpredictably or where AF may struggle with clutter or low contrast.<br />
<br />
<br />
----<br />
[[Category:Sony]]<br />
[[Category:Lens]]</div>SThttps://boseperformer.com/index.php?title=Sub1/Sub2&diff=26131Sub1/Sub22026-05-17T00:31:27Z<p>ST: </p>
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--><br />
[[File:Sub1 Sub2.jpg|link=https://pro.bose.com/en_us/solutions/portable/l1-pro-family/sub1-sub2.html|thumb|Bose Sub1 and Sub2]]<br />
<h3>Introduction</h3><br />
Introduced: October 2020<br />
<br>First available: January 2021<br />
<br />
Use the Sub1 or Sub 2 bass modules with the [[L1 Pro|Bose L1 Pro32]]<br />
* Sub1 creates a compact system (down to 40 Hz)<br />
* Sub2 plays lower and louder (down to 37 Hz)<br />
* Extreme portability using [[{{PAGENAME}}#RaceTrack_Woofer|RaceTrack woofers]]<br />
Use the Sub1 or Sub 2 bass modules with other PA systems (e.g., Bose S1 Pro or third-party systems)<br />
<br />
=== Documentation ===<br />
*[[Media:Sub1-Sub2 Owners Guide.pdf|Sub1/Sub2 Owners Guide]]<br />
*[[Media:Sub1-Sub2 Quick Start Guide.pdf|Sub1/Sub2 Quick Start Guide]]<br />
* [https://assets.bose.com/content/dam/Bose_DAM/Web/pro/global/products/portable_PA/sub1_bass_module/downloads/technical_information/tds_sub1_en.pdf Sub1 Technical Data Sheet]<br />
* [https://assets.bose.com/content/dam/Bose_DAM/Web/pro/global/products/portable_PA/sub2_bass_module/downloads/technical_information/tds_sub2_en.pdf Sub2 Technical Data Sheet]<br />
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<!--<br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/kQ4Pon0DLcs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
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<br />
=== Firmware Updates ===<br />
[[File:Sub1 Sub2 io panel USBC.jpg|150px|right|Sub1 Sub2 USB C service port]]<br />
==== Version 5.06 ====<br />
May 26, 2021<br />
* Fixes an issue that allows users to disable Low Power Standby mode.<br />
* Allows wider range of Standby button press lengths when powering on product.<br />
* Implements timed audio output mute when powering on product.<br />
* Updates to green/red signal/clip LED threshold.<br />
==== Installation ====<br />
* Use a USB C cable (click the picture to the right to see where it connects on the Sub)<br />
* Go to http://btu.bose.com using a PC or Mac<br />
* Follow the prompts on the screen<br />
* [https://assets.bose.com/content/dam/Bose_DAM/Web/consumer_electronics/global/products/speakers/l1_pro8/pdf/ig_L1Pro_FW_update_EN.pdf Instructions]<br />
<br />
=== Comparisons Sub1/Sub2 Subwoofers ===<br />
{{Sub Comparison}}<br />
<br />
=== RaceTrack Woofer===<br />
[[File:Sub RaceTrack12.jpg|left|thumb|RaceTrack Woofer]]<br />
<br />
: Unique RaceTrack woofers integrated in the Bose Sub1 and Sub2 modular subwoofers deliver powerful bass, have an optimized center of gravity, and save a lot of space. This slim design means you get the full impact of a conventional subwoofer without the cumbersome size, freeing up room in your vehicle and on the stage, and making every carry in between — home to car, vehicle to venue — much easier. <ref>[https://pro.bose.com/en_us/solutions/portable/l1-pro-family/sub1-sub2.html RaceTrack Woofer] on pro.bose.com</ref><br />
<br />
Although the comparisons are approximate and this assumes that other variables like input power are similar: <br />
*The 7"x13" RaceTrack woofer in the Sub1 is comparable to 12" round driver. <br />
*The 10"x18" RaceTrack woofer is comparable to a 15" round driver. <br />
<br />
Note: Both the Sub1 and L1 Pro8 use a 7"x13" RaceTrack woofer.<br />
The L1 Pro8 is rated at 240 watts RMS to the subwoofer. The Sub1 is rated at 480 watts RMS.<br />
<br />
<br><br />
<br />
{{Cardioid Subs}}<br />
<br />
=== Level Control ===<br />
{{Sub1/Sub2 Level Control}}<br />
<br />
<div></div><br />
=== SubMatch Cable===<br />
{{SubMatch Cable}}<br />
<br />
=== Crossover Frequencies ===<br />
[[File:Sub1_Sub2_io_panel.jpg|thumb|Sub io panel]]<br />
* LINE IN EQ set to L1: 200 Hz <br>Use with any full size L1 System) <br />
** This is selected automatically when using the SubMatch cable connection with an L1 Pro32<br />
* S1 Pro: 150 Hz<br />
** Press and hold LINE OUT EQ button for 4 seconds. The HPF LED will illuminate green. To deactivate the S1 Pro EQ, press and hold for<br />
four seconds<br />
*LINE IN EQ set to LPF: 100 Hz<br>Use this with third-party full-range and mid-high speaker systems<br />
<br />
=== SubMatch Connection Signal Flow ===<br />
[[File:Sub1 Sub2 io panel.jpg|thumb]]<br />
====L1 Pro 32 SubMatch Output====<br />
* Full range audio signal<br />
* AC Power<br />
<br />
====Sub1/Sub2 SubMatch Pass Thru====<br />
* Full range audio signal (unaffected by any settings on the Sub1/Sub2)<br />
* AC Power<br />
<br />
====Sub1/Sub2 using a SubMatch port for input====<br />
;LINE IN EQ (LPF or L1)<br />
* The LINE IN EQ is automatically set to '''L1''' regardless of the position of the button<br />
<br />
;LINE OUT EQ (FULL RANGE or HPF)<br />
* Line Out 1 LINE OUT EQ is FULL RANGE or HPF depending on the setting of the Line Out EQ button<br />
* Line Out 2 LINE OUT EQ is FULL RANGE or HPF depending on the setting of the Line Out EQ button<br />
<br />
<br />
=== S1 Pro+ with Sub1 or Sub2 ===<br />
See [[S1 Pro+ with Sub1 or Sub2]]<br />
<br />
=== {{S1 Pro}} with Sub1/Sub2 ===<br />
See [[S1 Pro with Sub1 or Sub2]]<br />
<br />
=== {{Compact}} with Sub1/Sub2 ===<br />
See [[L1 Compact with Sub1 or Sub2]]<br />
<br />
=== Sub2 with Sub1 ===<br />
{{Template:Sub2 with Sub1}}<br />
<br />
<br />
{{L1 Model II with Sub1/Sub2}}<br />
<br />
=== Cooling ===<br />
;Question: <br />
How are the Sub1/Sub2 cooled?<br />
;Answer:<br />
Sub1 and Sub2 have extruded aluminum heat sinks mounted to the backside of the I/O panel. This pulls heat out of the electronics and transfers some to the air moving through the acoustic volume of the sub and helps to cool.<ref>[https://www.facebook.com/groups/BoseL1/permalink/10159635582172446/?comment_id=10159637158957446 Bose Professional]</ref><br />
<br />
=== Running Multiple Subwoofers ===<br />
If you are running two or more subwoofers, you want to read these articles:<br />
* [https://blogs.qsc.com/live-sound/what-does-subwoofers-mutual-coupling-mean/ What does subwoofer mutual coupling mean?]<br />
* [https://www.soundonsound.com/techniques/bass-place Sound on Sound Bass Place]<br />
* [https://www.fulcrum-acoustic.com/wp-content/uploads/2019/10/3_The-Subwoofer-Power-Alley-1.pdf The Subwoofer Power Alley]<br />
<br />
<br />
{{Comparing L1 Pro Power Stands to Subs}}<br />
<br />
== Questions about this article ==<br />
[https://twitter.com/ST_Muso/status/1395188406393655300 Questions about this article?]<br />
<br />
</div><br />
----<br />
[[Category:L1 Pro]]<br />
[[Category:Sub]]<br />
[[Category:S1 Pro]]</div>SThttps://boseperformer.com/index.php?title=L1_Pro_Hiss&diff=26130L1 Pro Hiss2026-05-16T11:45:01Z<p>ST: </p>
<hr />
<div>{{L1 Pro icon}}<br />
This information applies to all L1 Pro models.<br />
<br />
;Some people turn up the inputs 1 and 2 with nothing attached and are concerned about hiss from the system.<br />
<br />
<details><summary><big>Do NOT turn up the volume with nothing connected to the inputs</big>. The system is not designed to operate this way, and it serves no purpose.</summary><br />
<br />
:It's not advised to turn up a channel to halfway with nothing plugged into it and NOT mute it. Not with this system, or any PA system. This is not how a PA is used. As has been stated several times on various posts, the Pro32 is a very loud system with an aggressive taper on the first 50% of the volume dial. Digital gain + analog gain working together to provide a smooth taper for mic or line level instruments without having select what type of input source. Noise floor levels are imperceptible when proper gain staging in use, and in the presence of ambient event noise.<br />
<br />
Source: [https://www.facebook.com/groups/BoseL1/posts/10159761707557446/?comment_id=10159762725097446&reply_comment_id=10159763243987446 Craig Small - Bose]<br />
</details><br />
<br />
If you turn up an L1 Pro16 channel beyond 1/2 way in a quiet house and relatively no ambient noise: you will hear some noise floor because that setting is LOUD. Do the exact same thing in a club or venue and you will not hear the noise floor. Channels 1 & 2 can accommodate mic level and line level inputs, and do so by intersecting hardware/preamp gain and digital/DSP gain. While no signal is present, you may hear the DSP gain "steps" while increasing or decreasing the volume. But when an audio source is connected, the user hears a smooth, continuous volume taper. This is what matters to the user and to the audience.<br />
<br />
Source: [https://www.facebook.com/groups/BoseL1/posts/10160533849937446/?comment_id=10160534431292446 Craig Small - Bose]<br />
<br />
<br />
;Why doesn't this happen on channel 3?<br />
<br />
:Channel 3 is purely line level, so it has less gain. If you're running aux out, I'd recommend going into ch 3<br />
<br />
Source: [https://www.facebook.com/groups/BoseL1/posts/10159761707557446?comment_id=10159762725097446&reply_comment_id=10159764452547446 Craig Small - Bose]<br />
<br />
{{FAQItem<br />
|question = I get excessive hiss when connecting the LINE OUT from an L1 Pro to a second L1 Pro with an XLR cable<br />
|answer = Connect the first L1 Pro LINE OUT to the second L1 Pro Channel 3 input <br />
The cable: Female XLR to 1/4-inch (6.3mm) Tip-Ring-Sleeve cable <br />
For more details see [[L1 Pro Daisy Chain]] <br />
}}<br />
<br />
{{FAQItem<br />
|question = I get excessive hiss when connecting a mixer to the L1 Pro Channels 1 or 2 with an XLR cable<br />
|answer = Connect the mixer mono output to the L1 Pro Channel 3 input <br />
The cable: Female XLR to 1/4-inch (6.3mm) Tip-Ring-Sleeve cable <br />
For more details see [[Mixer to L1 Pro]] <br />
}}<br />
<br />
----<br />
[[Category:L1 Pro]]</div>SThttps://boseperformer.com/index.php?title=L1_Pro_Hiss&diff=26129L1 Pro Hiss2026-05-16T11:39:33Z<p>ST: </p>
<hr />
<div>{{L1 Pro icon}}<br />
This information applies to all L1 Pro models.<br />
<br />
;Some people turn up the inputs 1 and 2 with nothing attached and are concerned about hiss from the system.<br />
<br />
:It's not advised to turn up a channel to halfway with nothing plugged into it and NOT mute it. Not with this system, or any PA system. This is not how a PA is used. As has been stated several times on various posts, the Pro32 is a very loud system with an aggressive taper on the first 50% of the volume dial. Digital gain + analog gain working together to provide a smooth taper for mic or line level instruments without having select what type of input source. Noise floor levels are imperceptible when proper gain staging in use, and in the presence of ambient event noise.<br />
<br />
Source: [https://www.facebook.com/groups/BoseL1/posts/10159761707557446/?comment_id=10159762725097446&reply_comment_id=10159763243987446 Craig Small - Bose]<br />
<br />
If you turn up an L1 Pro16 channel beyond 1/2 way in a quiet house and relatively no ambient noise: you will hear some noise floor because that setting is LOUD. Do the exact same thing in a club or venue and you will not hear the noise floor. Channels 1 & 2 can accommodate mic level and line level inputs, and do so by intersecting hardware/preamp gain and digital/DSP gain. While no signal is present, you may hear the DSP gain "steps" while increasing or decreasing the volume. But when an audio source is connected, the user hears a smooth, continuous volume taper. This is what matters to the user and to the audience.<br />
<br />
Source: [https://www.facebook.com/groups/BoseL1/posts/10160533849937446/?comment_id=10160534431292446 Craig Small - Bose]<br />
<br />
<br />
;Why doesn't this happen on channel 3?<br />
<br />
:Channel 3 is purely line level, so it has less gain. If you're running aux out, I'd recommend going into ch 3<br />
<br />
Source: [https://www.facebook.com/groups/BoseL1/posts/10159761707557446?comment_id=10159762725097446&reply_comment_id=10159764452547446 Craig Small - Bose]<br />
<br />
{{FAQItem<br />
|question = I get excessive hiss when connecting the LINE OUT from an L1 Pro to a second L1 Pro with an XLR cable<br />
|answer = Connect the first L1 Pro LINE OUT to the second L1 Pro Channel 3 input <br />
The cable: Female XLR to 1/4-inch (6.3mm) Tip-Ring-Sleeve cable <br />
For more details see [[L1 Pro Daisy Chain]] <br />
}}<br />
<br />
{{FAQItem<br />
|question = I get excessive hiss when connecting a mixer to the L1 Pro Channels 1 or 2 with an XLR cable<br />
|answer = Connect the mixer mono output to the L1 Pro Channel 3 input <br />
The cable: Female XLR to 1/4-inch (6.3mm) Tip-Ring-Sleeve cable <br />
For more details see [[Mixer to L1 Pro]] <br />
}}<br />
<br />
----<br />
[[Category:L1 Pro]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26128Mixer to S1 Pro+2026-04-18T05:32:14Z<p>ST: </p>
<hr />
<div>{{S1 Pro+ icon}}<br />
{{DivToc<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
<details><summary>Keep it Simple</summary><br />
<br />
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><br><br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
:[[File:Mixer to S1 Pro+ from OG1.jpg|thumb|Mixer to S1 Pro+ from Owners Guide]] Connect the mixer mono output to the S1 Pro+ Channel 1 or 2 XLR inputs. Use an XLR cable (e.g., typical microphone cable)<br />
<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve outputs<br />
::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+.<br />
<br />
These methods have the highest likelihood of success with the fewest variables and the least troubleshooting. <br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
{{ Callout<br />
| type = warning<br />
| title = No Y-Adapters<br />
| 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.'''<br />
}}<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use. <details><summary>Reasons</summary><br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
</details><br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26127Mixer to S1 Pro+2026-04-18T05:30:42Z<p>ST: </p>
<hr />
<div>{{S1 Pro+ icon}}<br />
{{DivToc<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
<details><summary>Keep it Simple</summary><br />
<br />
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><br><br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
:[[File:Mixer to S1 Pro+ from OG1.jpg|thumb|Mixer to S1 Pro+ from Owners Guide]] Connect the mixer mono output to the S1 Pro+ Channel 1 or 2 XLR inputs. Use an XLR cable (e.g., typical microphone cable)<br />
<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
These methods have the highest likelihood of success with the fewest variables and the least troubleshooting. <br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
{{ Callout<br />
| type = warning<br />
| title = No Y-Adapters<br />
| 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.'''<br />
}}<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use. <details><summary>Reasons</summary><br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
</details><br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26126Mixer to S1 Pro+2026-04-18T05:28:27Z<p>ST: XLR mixer output to XLR inputs on channels 1 or 2</p>
<hr />
<div>{{S1 Pro+ icon}}<br />
{{DivToc<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
<details><summary>Keep it Simple</summary><br />
<br />
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><br><br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
:[[File:Mixer to S1 Pro+ from OG1.jpg|thumb|Mixer to S1 Pro+ from Owners Guide]] Connect the mixer mono output to the S1 Pro+ Channel 1 or 2 XLR inputs.<br />
<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is most likely way to connect a mixer to your S1 Pro+ successfully.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
{{ Callout<br />
| type = warning<br />
| title = No Y-Adapters<br />
| 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.'''<br />
}}<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use. <details><summary>Reasons</summary><br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
</details><br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=File:Mixer_to_S1_Pro%2B_from_OG1.jpg&diff=26125File:Mixer to S1 Pro+ from OG1.jpg2026-04-18T05:23:25Z<p>ST: </p>
<hr />
<div>Mixer to S1 Pro+ from Owners Guide page 46</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26124Mixer to S1 Pro+2026-04-16T03:19:28Z<p>ST: </p>
<hr />
<div>{{S1 Pro+ icon}}<br />
{{DivToc<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
<details><summary>Keep it Simple</summary><br />
<br />
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><br><br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is most likely way to connect a mixer to your S1 Pro+ successfully.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
{{ Callout<br />
| type = warning<br />
| title = No Y-Adapters<br />
| 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.'''<br />
}}<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use. <details><summary>Reasons</summary><br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
</details><br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26123Mixer to S1 Pro+2026-04-16T03:17:31Z<p>ST: </p>
<hr />
<div>{{S1 Pro+ icon}}<br />
{{DivToc<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
<details><summary>Keep it Simple</summary><br />
<br />
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><br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
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+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
{{ Callout<br />
| type = warning<br />
| title = No Y-Adapters<br />
| 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.'''<br />
}}<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use. <details><summary>Reasons</summary><br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
</details><br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=S1_Pro_Mixer_Settings&diff=26122S1 Pro Mixer Settings2026-04-16T03:16:46Z<p>ST: </p>
<hr />
<div>{{S1 Pro icon}}<br />
{{S1 Pro with External Device<br />
<br />
|Device=mixer<br />
<br />
}}</div>SThttps://boseperformer.com/index.php?title=Connecting_Gear&diff=26121Connecting Gear2026-04-16T03:16:18Z<p>ST: /* Common Connections A to B */</p>
<hr />
<div>== Introduction==<br />
; Integrated systems<br />
All the current Bose Portable PA systems are <br />
<details><summary>Complete Integrated systems</summary> <br />
with built-in mixers, digital signal processors, power amplifiers, low-frequency and mid-high frequency drivers. Provide a sound source (microphone, instrument), and you have a complete sound system.</details> <br />
<br />
They can be part of a larger signal flow with components in front of, and following them in the signal chain because they have inputs and outputs. <details><summary>Example</summary><br />
Microphones & instruments &rarr; mixer &rarr; '''L1 Pro''' &rarr; Front of House PA<br />
</details><br />
<br />
=== Core Principles of Signal Flow===<br />
This article will discuss signal flow, cables and device names in this order: <br />
;Source to Destination <br />
:Throughout this site, we talk about connections by following the signal flow from the source to the destination. <br />
<details><summary>Examples</summary><br />
* Microphone &rarr; Mixer &rarr; Loudspeaker <br />
* Guitar &rarr; Guitar Modeler &rarr; Mixer &rarr; Loudspeaker <br />
<br />
'''We will NOT say'''<br />
* '''L1 Pro''' &rarr; Mixer &rarr; Microphone because the sound signal does not travel this way <br />
* '''L1 Pro''' &rarr; Mixer &rarr; Guitar Modeler &rarr; Guitar because the sound signal does not travel this way<br />
<br />
'''It is valid to say'''<br />
* Microphones and Instruments &rarr; Mixer &rarr; S1 Pro+ <br />
<br />
And it's also possible to use an S1 Pro+ as a personal monitor and send its output to a Front of House sound system.<br />
* Microphone and Instrument &rarr; S1 Pro+ &rarr; Front of House<br />
</details><br />
<br />
'''[[The Simplest Thing That Could Possibly Work]]'''<br />
<br />
:Throughout this site, we talk about the simplest thing that could possibly work. <br />
<br />
'''Short version:''' <br />
Choosing the simplest, fastest solution that still has a realistic chance of achieving the desired outcome—without over‑engineering or adding unnecessary steps.<br />
<details><br />
<summary>'''Longer explanation:'''</summary> <br />
This phrase is often used in technical troubleshooting, product support, and knowledge‑building environments to describe a problem‑solving strategy based on:<br />
# '''Speed over perfection''' <br />
# '''A viable solution—not guesswork''' <br />
# '''Iterative troubleshooting''' <br />
# '''Avoiding complexity unless necessary'''<br />
<br />
More details: [[The Simplest Thing That Could Possibly Work]]<br />
</details><br />
<br />
== Principles ==<br />
[[L1 Inputs General Information|Bose Systems General Information]] gives you all the details about <br />
* Combo inputs <br />
* {{14TRS}}<br />
* {{14TS}}<br />
* XLR<br />
* Line level vs mic level<br />
* Inputs vs outputs<br />
<br />
[[Balanced vs Unbalanced]]<br />
<br />
[[Gain Staging]]<br />
<br />
[[Ground Loop]]<br />
<br />
[[Line Noise]]<br />
<br />
== Common Connections A to B ==<br />
==== L1 Pro Connections ====<br />
[[L1 Pro to S1 Pro]]<br />
<br />
[[L1 Pro to S1 Pro+]]<br />
<br />
==== Mixer Connections ====<br />
[[Mixer to L1 Pro]]<br />
<br />
[[Stereo Mixer to Mono L1®|Mixer to L1 Model I or L1 Model II]]<br />
<!-- <br />
[[L1® Model I with Mixer to Analog Input|L1 Model I with Mixer to Analog Input|Mixer to L1 Model I]]<br />
<br />
[[L1® Model II with Mixer to Analog Input|L1® Model II with Mixer to Analog Input|Mixer to L1 Model II]]<br />
--><br />
<br />
[[Mixer to Two L1 Model II]]<br />
<br />
[[S1 Pro Mixer Settings|Mixer to S1 Pro]]<br />
<br />
[[Mixer to Share Presets on S1 Pro]]<br />
<br />
[[Mixer to S1 Pro]]<br />
<br />
[[Mixer to S1 Pro as Monitor]]<br />
<br />
[[Mixer to S1 Pro+]]<br />
<br />
[[Mixer to ToneMatch Mixer|Mixer to ToneMatch Mixer]]<br />
<br />
==== S1 Pro Connections ====<br />
<br />
[[S1 Pro B1 Compatibility]]<br />
<br />
[[S1 Pro to L1 Pro]]<br />
<br />
[[S1 Pro to a Third Party Mixer]]<br />
==== S1 Pro+ Connections ====<br />
[[S1 Pro+ Daisy Chain]]<br />
<br />
[[S1 Pro+ Daisy Chain Wireless]]<br />
<br />
[[S1 Pro+ Line Out to a Third Party Device|S1 Pro+ to a Mixer]]<br />
<br />
[[S1 Pro+ to L1 Pro]]<br />
<br />
[[S1 Pro+ to Mixer|S1 Pro+ to Third Party Device]]<br />
<br />
==== ToneMatch Mixer Connections ====<br />
<br />
[[T1 Compatibility With L1 Pro Systems|T1 to L1 Pro]]<br />
<br />
[[ToneMatch® Mixer to S1 Pro System|ToneMatch Mixer to S1 Pro]]<br />
<!--<br />
[[ToneMatch Mixer to S1 Pro+]]<br />
<br />
[[ToneMatch Mixer to L1 Legacy]]<br />
<br />
[[ToneMatch Mixer to L1 Pro]]<br />
<br />
[[ToneMatch to Third Party Devices]]<br />
--><br />
[[T8S ToneMatch Mixer to T8S ToneMatch Mixer]]<br />
<br />
[[T8S ToneMatch Mixer Aux Output to S1 Pro]]<br />
<br />
== [[Troubleshooting]] ==<br />
There are several different forms of "trouble". At least initially, let's break them down into Acoustics, Gear, Venue, Power.<br />
:In general, troubleshooting is the identification of, or diagnosis of "trouble" in a system caused by a system failure of some sort. The problem is initially described as symptoms of malfunction, and troubleshooting is the process of determining the causes of these symptoms.<br />
&mdash; Source: [http://en.wikipedia.org/wiki/Troubleshooting Troubleshooting] - Wikipedia<br />
<br />
See [[Troubleshooting|Troubleshooting your Bose system]]<br />
<br />
== Related Topics ==<br />
* [[Gain Staging]]<br />
* [[ToneMatch Presets]]<br />
* [[Feedback]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26120Mixer to S1 Pro+2026-04-16T03:13:51Z<p>ST: </p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
<details><summary>Keep it Simple</summary><br />
<br />
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><br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
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+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
{{ Callout<br />
| type = warning<br />
| title = No Y-Adapters<br />
| 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.'''<br />
}}<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use. <details><summary>Reasons</summary><br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
</details><br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26119Mixer to S1 Pro+2026-04-16T03:08:57Z<p>ST: </p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
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.<br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest, cleanest path to successfully connecting your mixer to your S1 Pro+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
{{ Callout<br />
| type = warning<br />
| title = No Y-Adapters<br />
| 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.'''<br />
}}<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use because:<br />
<br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
<br />
This simplicity is exactly why Channel 3 is recommended for external mixers.<br />
<br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Stereo_Mixer_to_Mono_L1%C2%AE&diff=26118Stereo Mixer to Mono L1®2026-04-16T03:03:13Z<p>ST: </p>
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===Using a stereo mixer with an {{L1}} or S1 Pro(+) ===<br />
<br />
;General principles for connecting a stereo mixer to the mono input on your {{L1}}. <br />
<br />
[[Image:Mackie1202VLZ4.png|250px|Stereo Mixer]]<br />
<br />
The inputs on the [[Mixer to L1 Pro|L1 Pro Input 3]], [[Mixer to S1 Pro+|S1 Pro+]], {{Model 1S}}, {{Model II}}, and the [[L1%C2%AE_Compact#Channel_2|Compact Channel 2]] &frac14; inch jack are MONO. Check to see if your mixer has a MONO output. If it does, then use that. <br />
<br />
If your mixer does not have a mono output pan all your inputs to one side (e.g. LEFT) and take the LEFT output and connect that to your {{L1}}.<br />
<br />
For best results do '''NOT''' use any kind of Y-adapter to connect stereo outputs from a mixer to a mono input on an {{L1}}. See [[Why_Not_Wye|Why Not Wye]] for details.<br />
<br />
<html><br />
</div><br />
<div style="clear:both"></div><br />
</html><br />
<br />
==== L1® Inputs ====<br />
<br />
=====L1® Model 1S Analog Input=====<br />
<br />
[[File:Model II Analog Input Level Green.png|link=Model_1S#Analog_Input|Model 1S Analog Input]] <br />
<br />
<br />
=====L1® Model II Analog Input=====<br />
<br />
[[File:Model II Analog Input Level Green.png|link=Model_II#Analog_Input||Model II Analog Input]] <br />
<br />
{{Analog Input Trim|Device=Mixer}}<br />
<br />
=====L1® Compact Channel 2=====<br />
{{Compact Channel 2}}<br />
<br />
=== General Principles===<br />
<br />
It's easy to make this work. You can pan all your inputs hard LEFT and take the LEFT output and connect that to your {{L1}}. If you have a stereo source and two stereo channels, then you can <br />
<br />
#Run the left side of the stereo source to the left input on one stereo channel,<br />
#Run and the right side of the stereo source to the left side of another stereo channel.<br />
#Pan any other inputs hard left<br />
#Use the left output of mixer and connect that to the {{L1}} Analog input.<br />
<br />
Question: Is there a loss of quality when using only one output (e.g. Left only)? <br>No loss of quality. See [[Mixer Left Output Only]]<br />
<br />
==== Connections ====<br />
Where possible use a balanced connection between the mixer output and the L1® input.<br />
<br />
===== XLR Mixer to 1/4 Tip-Ring-Sleeve L1® =====<br />
{{XLR Female to 1/4 TRS}}<br />
<br />
===== 1/4 Tip-Ring-Sleeve Mixer to 1/4 Tip-Ring-Sleeve L1® =====<br />
{{1/4 TRS to 1/4 TRS}}<br />
<br />
Here are a some examples of how you can get a mono output out of your stereo mixer.<br />
<br />
=== Specific Mixers ===<br />
<br />
==== Allen & Heath ZED 10-FX ====<br />
<br />
[[File:AllenHeathZFX10MonoLeft.png|link=http://www.allen-heath.com/ahproducts/zed-10fx/||800px|Allen Heath ZED 10-FX web page]]<br />
<br />
<br />
[http://www.allen-heath.com/ahproducts/zed-10fx/ Allen Heath ZED-FX10 web page]<br />
<br />
Use a cable like this:<br />
<br />
{{XLR Female to 1/4 TRS}}<br />
<br />
==== Allen & Heath ZED Sixty-14FX ====<br />
<br />
[[File:Allen Heath ZED Sixty-14FX Mono Left.png|link=http://www.allen-heath.com/ahproducts/zed60-14fx/|800px|Allen Heath ZED Sixty 14-FX web page]]<br />
<br />
<br />
[http://www.allen-heath.com/ahproducts/zed60-14fx/ Allen Heath ZED Sixty-14FX web page]<br />
<br />
Use a cable like this:<br />
<br />
{{XLR Female to 1/4 TRS}}<br />
<br />
<br />
==== Alto Live 802 ====<br />
<br />
[[File:Alto Live 802 Mono Left.png|link=http://http://www.altoproaudio.com/products/live-802/|800px|Alto Live 802 web page]]<br />
<br />
[[File:Alto Live 802 Mono Left Output.png|link=http://http://www.altoproaudio.com/products/live-802/|800px|Alto Live 802 web page]]<br />
<br />
<br />
[http://www.altoproaudio.com/products/live-802/ Alto Live 802 web page]<br />
<br />
Use a cable like this:<br />
<br />
{{1/4 TRS to 1/4 TRS}}<br />
<br />
<br />
==== Behringer Eurorack UB1222FX ====<br />
<br />
[[File:Behringer UBC1222FXPannedLeftMono.png|link=http://www.behringer.com/EN/Products/UB1222FX-PRO.aspx||800px|Behringer Eurorack UB1222FX web page]]<br />
<br />
<br />
Use a cable like this:<br />
<br />
{{XLR Female to 1/4 TRS}}<br />
<br />
==== Behringer Eurorack X1222USB ====<br />
<br />
[[File:Behringer X1222 USB Mono.png|link=https://www.music-group.com/Categories/Behringer/Mixers/Analog-Mixers/X1222USB/p/P0A0I||800px|Behringer Eurorack X1222USB web page]]<br />
<br />
Use a cable like this:<br />
<br />
{{XLR Female to 1/4 TRS}}<br />
<br />
==== Behringer Xenix 1202FX ====<br />
<br />
[[File:Behringer Xenyx 1202FX Mono.jpg|link=https://media.music-group.com/media/PLM/data/docs/P0571/1002FX_1202FX_M_EN.pdf||800px|Behringer Xenyx 1202FX owners manual]]<br />
<br />
The 1/4 inch (6.3mm) outputs on this mixer are unbalanced mono.<br />
<br />
Use a cable like this:<br />
<br />
{{1/4 TS}}<br />
<br />
[[File:TsMtsM.png]]<br />
<br />
==== Mackie 1402 VLZ4 ====<br />
<br />
[[File:Mackie1402VL4PannedLeftMono.png|link=http://www.mackie.com/products/vlz4-series-compact-mixers/downloads|Mackie 1402VLZ4 web page]]<br />
<br />
<!--<br />
[[Image:Mackie1402VL4PannedLeftMono.png]]<br />
--><br />
[http://www.mackie.com/products/vlz4-series-compact-mixers/downloads/ Mackie 1402VLZ4 web page]<br />
<br />
==== Mackie CFX-12 ====<br />
<br />
[[File:MackieCFX12PannedLeftMono.png|link=http://www.mackie.com/pdf/CFXMKIISeries_OM.pdf|Mackie CFX-12 Manual]]<br />
<br />
<br />
[http://www.mackie.com/pdf/CFXMKIISeries_OM.pdf link to Mackie CFX-12 Manual]<br />
<br />
==== Mackie ProFX8 ====<br />
<br />
[[File:MackieProFX8PannedLeftMono.png|link=http://www.mackie.com/products/profx8/||Mackie ProFX8 web page]]<br />
<br />
<!--<br />
[[Image:Mackie1402VL4PannedLeftMono.png]]<br />
--><br />
[http://www.mackie.com/products/profx8/ Mackie ProFX8 web page]<br />
<br />
==== Mackie ProFX12 ====<br />
<br />
[[File:MackieProFX12 Mono Output.png|link=http://www.mackie.com/products/profx12/||Mackie ProFX12 web page]]<br />
<br />
[http://www.mackie.com/products/profxseries/pdf/ProFX-OM.pdf Mackie ProFX12 manual]<br />
<br />
==== Mackie ProFX12V2 ====<br />
<br />
[[File:MackieProFX12V2 Mono Output.png|link=http://www.mackie.com/products/profx12/||Mackie ProFX12 web page]]<br />
<br />
[http://www.mackie.com/products/profxseries/pdf/ProFX-OM.pdf Mackie ProFX12 manual]<br />
<br />
<br />
==== Presonus Studio Live 16.0.2 ====<br />
There is a Mono output. <br />
<br />
[[Image:Presonus1602Mono.png]]<br />
<br />
Use a cable like this:<br />
<br />
{{XLR Female to 1/4 TRS}}<br />
<br />
If you don't have access to cable like the one above, you can use one of the &frac14; inch jack Tip-Ring-Sleeve balanced outputs. You can pan all the inputs to the LEFT side and use the LEFT output.<br />
<br />
[[Image:Presonus1602.png]]<br />
<br />
<br />
<br />
[http://www.presonus.com/downloads/products/pdf/StudioLive1602_OwnersManual_EN6.pdf Presonus Studio Live 16.0.2 Owners Manual]<br />
<br />
<br />
==== Yamaha MG10 ====<br />
<br />
[[File:YamahaMG10PanLeft.png|link=http://usa.yamaha.com/products/live_sound/mixers/analog-mixers/mg_standard_model/mg10/?mode=model#tab=product_lineup||Yamaha MG10 web page]]<br />
<br />
{{1/4 TRS to 1/4 TRS}}<br />
<br />
[http://usa.yamaha.com/products/live_sound/mixers/analog-mixers/mg_standard_model/mg10/?mode=model#tab=product_lineup Yamaha MG10 web page]<br />
<br />
==== Yamaha MG10/2 ====<br />
<br />
[[File:YamahaMG102PanLeft.png|link=https://usa.yamaha.com/files/download/other_assets/5/333545/MG10_2E.pdf|Yamaha MG10/2 owners guide]]<br />
<br />
{{1/4 TRS to 1/4 TRS}}<br />
<br />
<br />
==== Yamaha MG12XU ====<br />
<br />
[[File:YamahaMG12XUPanLeft.png|link=http://www.yamahaproaudio.com/global/en/products/mixers/mg_xu/|Yamaha MG12XU web page]]<br />
<br />
{{1/4 TRS to 1/4 TRS}}<br />
<br />
[http://www.yamahaproaudio.com/global/en/products/mixers/mg_xu/ Yamaha MGXU web page]<br />
<br />
<br />
==== Yamaha MG82CX ====<br />
<br />
[[File:Yamaha MG82CX mono output.png|link=http://download.yamaha.com/api/asset/file/?language=en&site=usa.yamaha.com&asset_id=8050|Yamaha MB82CX]]<br />
<br />
{{1/4 TRS to 1/4 TRS}}<br />
<br />
----<br />
[[Category:Connections]]<br />
[[Category:Mixer]]<br />
[[Category:Allen Heath]]<br />
<br />
[[Category:Yamaha]]<br />
[[Category:Mackie]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26117Mixer to S1 Pro+2026-04-16T02:59:17Z<p>ST: </p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
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.<br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest, cleanest path to successfully connecting your mixer to your S1 Pro+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the S1 Pro+ line‑level input specifications.<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use because:<br />
<br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
<br />
This simplicity is exactly why Channel 3 is recommended for external mixers.<br />
<br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the S1 Pro+. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
<details><summary>Full Detailed Version</summary><br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
</details><br />
== References ==<br />
{{S1 Pro+ Owners Guide}}<br />
<br />
{{S1 Pro+ Service Manual}}<br />
<br />
<br />
----<br />
<br />
[[Category:S1 Pro+]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26116Mixer to S1 Pro+2026-04-16T02:51:21Z<p>ST: </p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
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.<br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest, cleanest path to successfully connecting your mixer to your S1 Pro+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the L1 Pro’s line‑level input specifications.<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use because:<br />
<br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
<br />
This simplicity is exactly why Channel 3 is recommended for external mixers.<br />
<br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the L1 Pro. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
<br />
== References ==<br />
{{S1 Pro+ Documentation}}<br />
----<br />
<br />
[[Category:L1 Pro]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26115Mixer to S1 Pro+2026-04-16T02:50:25Z<p>ST: </p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
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.<br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest, cleanest path to successfully connecting your mixer to your S1 Pro+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the L1 Pro’s line‑level input specifications.<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use because:<br />
<br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
<br />
This simplicity is exactly why Channel 3 is recommended for external mixers.<br />
<br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the L1 Pro. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<details><summary>Full Detailed Version</summary><br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
== Specifications for the Mixer Section ==<br />
[[File:L1 Pro Mixer Section Specifications.jpg]]<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
<br />
== References ==<br />
{{S1 Pro+ Documentation}}<br />
</details><br />
----<br />
<br />
[[Category:L1 Pro]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26114Mixer to S1 Pro+2026-04-16T02:47:39Z<p>ST: </p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
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.<br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest, cleanest path to successfully connecting your mixer to your S1 Pro+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the L1 Pro’s line‑level input specifications.<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use because:<br />
<br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
<br />
This simplicity is exactly why Channel 3 is recommended for external mixers.<br />
<br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the L1 Pro. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<!--<br />
== Specifications for the Mixer Section ==<br />
[[File:L1 Pro Mixer Section Specifications.jpg]]<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
--><br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
<br />
== References ==<br />
{{S1 Pro+ Documentation}}<br />
----<br />
<br />
[[Category:L1 Pro]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26113Mixer to S1 Pro+2026-04-16T02:44:39Z<p>ST: </p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an S1 Pro+ Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
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.<br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest, cleanest path to successfully connecting your mixer to your S1 Pro+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the L1 Pro’s line‑level input specifications.<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use because:<br />
<br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
<br />
This simplicity is exactly why Channel 3 is recommended for external mixers.<br />
<br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the L1 Pro. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
== Full Version ==<br />
;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.<br />
;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.<br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
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. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
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.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
== L1 Pro8 and L1 Pro16 ==<br />
<br />
[[File:L1 Pro16 Line Level Inputs.jpg|600px]]<br />
<br />
== L1 Pro32 ==<br />
<br />
[[File:L1 Pro32 Line Level Inputs.jpg|600px]]<br />
<br />
== Specifications for the Mixer Section ==<br />
[[File:L1 Pro Mixer Section Specifications.jpg]]<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
<br />
== References ==<br />
{{S1 Pro+ Documentation}}<br />
----<br />
<br />
[[Category:L1 Pro]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Mixer_to_S1_Pro%2B&diff=26112Mixer to S1 Pro+2026-04-16T02:42:47Z<p>ST: Created page with "{{DivToc |RightHead = Connect a Mixer to an L1 Pro Summary |RightBody = === The Simplest Thing That Could Possibly Work === 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. ;Here is '''the simplest thing that could possibly work''': : Connect the mixer mon..."</p>
<hr />
<div>{{DivToc<br />
<br />
|RightHead = Connect a Mixer to an L1 Pro Summary<br />
<br />
|RightBody =<br />
<br />
=== The Simplest Thing That Could Possibly Work ===<br />
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.<br />
<br />
;Here is '''the simplest thing that could possibly work''':<br />
: Connect the mixer mono output to the S1 Pro+ Channel 3 input using the ¼″ (6.3 mm) Tip-Ring-Sleeve connection.<br />
* Mixer with XLR Outputs<br />
::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+.<br />
<br />
* Mixer with ¼″ (6.3 mm) Tip-Ring-Sleeve<br />
::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+.<br />
<br />
<br />
This method has the highest likelihood of success with the fewest variables and the least troubleshooting. It is the shortest, cleanest path to successfully connecting your mixer to your S1 Pro+.<br />
<br />
=== Recommended Connection Method ===<br />
=== 1. Use the Mixer’s Mono Output ===<br />
If your mixer has a Left (Mono) output, use that.<br />
<br />
If it does not, use the Left output and pan all mixer channels hard left so all signals feed that output.<br />
<br />
Recommended cable: XLR (mixer) → ¼″ (6.3 mm) Tip-Ring-Sleeve (S1 Pro+ Channel 3).<br />
<br />
This provides a robust, balanced, noise‑resistant connection and matches the L1 Pro’s line‑level input specifications.<br />
<br />
=== 2. Connect to Channel 3 on the S1 Pro+ ===<br />
Channel 3 is the most predictable and trouble‑free input for mixer use because:<br />
<br />
* No ToneMatch switch (not required with a mixer)<br />
* No reverb <br />
* Bass/Treble controls set at 12:00 o'clock <br />
* Accepts up Line-Level source (same as Channels 1 & 2 ¼″ (6.3 mm) Tip-Ring-Sleeve inputs)<br />
* Lower effective sensitivity → less likely to clip<br />
* Behaves consistently regardless of the source<br />
* Leaves Channels 1 & 2 free for microphones, instruments, or other sources<br />
<br />
This simplicity is exactly why Channel 3 is recommended for external mixers.<br />
<br />
=== 3. Set Initial Levels ===<br />
Mixer main fader: 0 dB (unity)<br />
<br />
S1 Pro+ Channel 3 volume: 12 o’clock<br />
<br />
Play program material and adjust Channel 3 volume so you see solid green lights on the channel. If you see red, turn it down.<br />
<br />
This provides a clean starting point with good headroom.<br />
<br />
=== Why Channel 3 Is Preferred ===<br />
=== Avoiding Clipping ===<br />
Channels 1 and 2 have XLR inputs designed for microphone‑level signals.<br />
Most mixers output line‑level signals on XLR.<br />
<br />
This mismatch can easily overload the S1 Pro+ XLR inputs, causing distortion.<br />
<br />
Channel 3’s ¼″ Tip-Ring-Sleeve input is designed for line‑level sources and is much harder to clip.<br />
<br />
=== Preserving Channels 1 and 2 ===<br />
Using Channel 3 for the mixer keeps Channels 1 and 2 available for performers and live inputs.<br />
<br />
Channels 1 and 2 are the full‑function inputs on the L1 Pro. They support:<br />
<br />
* Microphones (XLR)<br />
* Instruments (¼″ (6.3 mm) Tip-Sleeve)(suitable for high impedance instruments like bare piezo pickups)<br />
* Balanced line‑level sources (¼″ (6.3 mm) Tip-Ring-Sleeve)<br />
* ToneMatch Presets<br />
* Reverb<br />
* Bass and treble controls<br />
<br />
<br />
<br />
|Categories =<br />
[[Category:How To]]<br />
[[Category:Product to which this applies]]<br />
[[Category:Other]]<br />
}}<br />
<br />
== Full Version ==<br />
;For best results: Connect the output(s) of a mixer to the line-level inputs of the L1 Pro. These are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
;Note: The XLR jacks on the L1 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. <br />
<!--<br />
[[File:L1 Pro Line Level Inputs small.jpg|300px]]<br />
--><br />
<br />
;Compatibility with Line-Level sources (e.g., many mixer outputs) to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
<br />
;For best results, connect the output(s) of a mixer to the line-level inputs of the S1 Pro+. <br />
Most mixers have line-level outputs. The L1 Pro line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3. <br />
<br />
The S1 Pro+ line-level inputs are the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jacks on channels 1, 2, 3.<br />
<!--<br />
[[File:L1 Pro8-16 Line Level Inputs.jpg|400px]]<br />
--><br />
;Don't connect Line-Level Inputs to the XLR Inputs (Inputs 1 and 2) on the S1 Pro+.<br />
: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.<br />
<br />
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><br />
<br />
=== Mixer Outputs ===<br />
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.<br />
[[File:TrsMtrsM.png|400px]]<br />
<br />
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 L1 Pro line-level inputs.<br />
<br />
[[File:TsMtsM.png|400px]]<br />
<br />
If the mixer has XLR outputs, use XLR Female to 1/4-inch (6.3 mm) Tip-Ring-Sleeve cables to connect to the L1 Pro line-level inputs.<br />
<br />
[[File:XLRFtoTRS.jpg|400px]]<br />
<br />
<br />
<br />
=== Mixer to Single S1 Pro+ ===<br />
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. <br />
<br />
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]]<br />
<br />
== Settings on the S1 Pro+ ==<br />
If you connect to channels 1 and 2<br />
* Set ToneMatch Switch to OFF<br />
* Set Bass and Treble Controls to 12:00 o'clock (this is flat)<br />
* Set Reverb fully counter-clockwise (this is off)<br />
* Set the Volume so you see solid green. If you see solid red, turn down the volume<br />
<br />
If you connect to channel 3<br />
* Set the Volume so you see solid green. If you see red, turn down the volume<br />
<br />
; Important - MUTE any channels you are not using.<br />
<br />
=== Mixer to Two S1 Pro+ ===<br />
Connect the mixer Left Output to one S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
Connect the mixer Right Output to the other S1 Pro+ input 3 using the 1/4-inch (6.3 mm) Tip-Ring-Sleeve jack.<br />
<br />
<br />
== L1 Pro8 and L1 Pro16 ==<br />
<br />
[[File:L1 Pro16 Line Level Inputs.jpg|600px]]<br />
<br />
== L1 Pro32 ==<br />
<br />
[[File:L1 Pro32 Line Level Inputs.jpg|600px]]<br />
<br />
== Specifications for the Mixer Section ==<br />
[[File:L1 Pro Mixer Section Specifications.jpg]]<br />
<br />
Source: See [[{{PAGENAME}}#References|References section below]].<br />
<br />
<!--<br />
== FAQ ==<br />
{{Mixer to L1 Pro FAQ}}<br />
--><br />
<br />
== References ==<br />
{{S1 Pro+ Documentation}}<br />
----<br />
<br />
[[Category:L1 Pro]]<br />
[[Category:Mixer]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=S1_Pro_to_L1_Pro&diff=26111S1 Pro to L1 Pro2026-04-16T02:26:10Z<p>ST: </p>
<hr />
<div>{{L1 Pro icon}}{{S1 Pro icon}}<br />
[[File:S1 Pro to L1 Pro.jpg|400px|right|S1 Pro Line Out to L1 Pro]]<br />
<br />
==== Overview ====<br />
You can use your S1 Pro as your monitor and connect the S1 Pro Line out to an L1 Pro (any model) to amplify your sound and share it with the venue.<br />
<br />
<br />
==== S1 Pro Line Out to L1 Pro Channel 3====<br />
Connect the Line Out from an {{S1}} to L1 Pro Channel 3. Using Channel&nbsp;3 is the simplest and provides the best match for the signal level from the S1 Pro Line Out. This also leaves L1 Pro Channels 1 and 2 for other inputs. <br />
<br />
==== Cable {{14TRS}}====<br />
Use a {{14TRS}} for best results.<br />
<br />
A {{14TS}} cable can work, but will be more susceptible to line noise.<br />
<br />
====Setting Up====<br />
With the volumes on both S1 Pro and L1 Pro turned down and units powered off:<br />
# Connect the cable from the S1 Pro to the L1 Pro<br />
# Connect your microphone and instrument to the S1 Pro<br />
# Adjust the settings on the S1 Pro for your best sound<br />
# Bring up the volumes on the S1 Pro to the desired levels.<br />
# With the volumes on the L1 Pro turned down, turn on the L1 Pro<br />
# Bring up the volume on the L1 Pr channel to which you connected the S1 Pro. Bring the volume up to the desired level. If the signal indicator goes solid red, turn down the volume.<br />
<br />
====Recommendations====<br />
On the L1 Pro<br />
Mute any unused channels <br />
<br />
If you use L1 Pro Channel 3<br />
* Set Treble and Bass settings at 12:00 o'clock<br />
<br />
If you use L1 Pro Channels 1 or 2<br />
* Set the ToneMatch switch to Off <br />
* Set Treble and Bass settings at 12:00 o'clock<br />
* Set Reverb off<br />
<br />
<br />
<br />
----<br />
[[Category:S1 Pro]]<br />
[[Category:Connections]]</div>SThttps://boseperformer.com/index.php?title=Connecting_Gear&diff=26110Connecting Gear2026-04-16T01:13:38Z<p>ST: </p>
<hr />
<div>== Introduction==<br />
; Integrated systems<br />
All the current Bose Portable PA systems are <br />
<details><summary>Complete Integrated systems</summary> <br />
with built-in mixers, digital signal processors, power amplifiers, low-frequency and mid-high frequency drivers. Provide a sound source (microphone, instrument), and you have a complete sound system.</details> <br />
<br />
They can be part of a larger signal flow with components in front of, and following them in the signal chain because they have inputs and outputs. <details><summary>Example</summary><br />
Microphones & instruments &rarr; mixer &rarr; '''L1 Pro''' &rarr; Front of House PA<br />
</details><br />
<br />
=== Core Principles of Signal Flow===<br />
This article will discuss signal flow, cables and device names in this order: <br />
;Source to Destination <br />
:Throughout this site, we talk about connections by following the signal flow from the source to the destination. <br />
<details><summary>Examples</summary><br />
* Microphone &rarr; Mixer &rarr; Loudspeaker <br />
* Guitar &rarr; Guitar Modeler &rarr; Mixer &rarr; Loudspeaker <br />
<br />
'''We will NOT say'''<br />
* '''L1 Pro''' &rarr; Mixer &rarr; Microphone because the sound signal does not travel this way <br />
* '''L1 Pro''' &rarr; Mixer &rarr; Guitar Modeler &rarr; Guitar because the sound signal does not travel this way<br />
<br />
'''It is valid to say'''<br />
* Microphones and Instruments &rarr; Mixer &rarr; S1 Pro+ <br />
<br />
And it's also possible to use an S1 Pro+ as a personal monitor and send its output to a Front of House sound system.<br />
* Microphone and Instrument &rarr; S1 Pro+ &rarr; Front of House<br />
</details><br />
<br />
'''[[The Simplest Thing That Could Possibly Work]]'''<br />
<br />
:Throughout this site, we talk about the simplest thing that could possibly work. <br />
<br />
'''Short version:''' <br />
Choosing the simplest, fastest solution that still has a realistic chance of achieving the desired outcome—without over‑engineering or adding unnecessary steps.<br />
<details><br />
<summary>'''Longer explanation:'''</summary> <br />
This phrase is often used in technical troubleshooting, product support, and knowledge‑building environments to describe a problem‑solving strategy based on:<br />
# '''Speed over perfection''' <br />
# '''A viable solution—not guesswork''' <br />
# '''Iterative troubleshooting''' <br />
# '''Avoiding complexity unless necessary'''<br />
<br />
More details: [[The Simplest Thing That Could Possibly Work]]<br />
</details><br />
<br />
== Principles ==<br />
[[L1 Inputs General Information|Bose Systems General Information]] gives you all the details about <br />
* Combo inputs <br />
* {{14TRS}}<br />
* {{14TS}}<br />
* XLR<br />
* Line level vs mic level<br />
* Inputs vs outputs<br />
<br />
[[Balanced vs Unbalanced]]<br />
<br />
[[Gain Staging]]<br />
<br />
[[Ground Loop]]<br />
<br />
[[Line Noise]]<br />
<br />
== Common Connections A to B ==<br />
==== L1 Pro Connections ====<br />
[[L1 Pro to S1 Pro]]<br />
<br />
[[L1 Pro to S1 Pro+]]<br />
<br />
==== Mixer Connections ====<br />
[[Mixer to L1 Pro]]<br />
<br />
[[Stereo Mixer to Mono L1®|Mixer to L1 Model I or L1 Model II]]<br />
<!-- <br />
[[L1® Model I with Mixer to Analog Input|L1 Model I with Mixer to Analog Input|Mixer to L1 Model I]]<br />
<br />
[[L1® Model II with Mixer to Analog Input|L1® Model II with Mixer to Analog Input|Mixer to L1 Model II]]<br />
--><br />
<br />
[[Mixer to Two L1 Model II]]<br />
<br />
[[S1 Pro Mixer Settings|Mixer to S1 Pro]]<br />
<br />
[[Mixer to Share Presets on S1 Pro]]<br />
<br />
[[Mixer to S1 Pro]]<br />
<br />
[[Mixer to S1 Pro as Monitor]]<br />
<!-- <br />
[[Mixer to S1 Pro as Monitor]]<br />
<br />
[[Mixer to S1 Pro+]]<br />
--><br />
[[Mixer to ToneMatch Mixer|Mixer to ToneMatch Mixer]]<br />
<br />
==== S1 Pro Connections ====<br />
<br />
[[S1 Pro B1 Compatibility]]<br />
<br />
[[S1 Pro to L1 Pro]]<br />
<br />
[[S1 Pro to a Third Party Mixer]]<br />
==== S1 Pro+ Connections ====<br />
[[S1 Pro+ Daisy Chain]]<br />
<br />
[[S1 Pro+ Daisy Chain Wireless]]<br />
<br />
[[S1 Pro+ Line Out to a Third Party Device|S1 Pro+ to a Mixer]]<br />
<br />
[[S1 Pro+ to L1 Pro]]<br />
<br />
[[S1 Pro+ to Mixer|S1 Pro+ to Third Party Device]]<br />
<br />
==== ToneMatch Mixer Connections ====<br />
<br />
[[T1 Compatibility With L1 Pro Systems|T1 to L1 Pro]]<br />
<br />
[[ToneMatch® Mixer to S1 Pro System|ToneMatch Mixer to S1 Pro]]<br />
<!--<br />
[[ToneMatch Mixer to S1 Pro+]]<br />
<br />
[[ToneMatch Mixer to L1 Legacy]]<br />
<br />
[[ToneMatch Mixer to L1 Pro]]<br />
<br />
[[ToneMatch to Third Party Devices]]<br />
--><br />
[[T8S ToneMatch Mixer to T8S ToneMatch Mixer]]<br />
<br />
[[T8S ToneMatch Mixer Aux Output to S1 Pro]]<br />
<br />
== [[Troubleshooting]] ==<br />
There are several different forms of "trouble". At least initially, let's break them down into Acoustics, Gear, Venue, Power.<br />
:In general, troubleshooting is the identification of, or diagnosis of "trouble" in a system caused by a system failure of some sort. The problem is initially described as symptoms of malfunction, and troubleshooting is the process of determining the causes of these symptoms.<br />
&mdash; Source: [http://en.wikipedia.org/wiki/Troubleshooting Troubleshooting] - Wikipedia<br />
<br />
See [[Troubleshooting|Troubleshooting your Bose system]]<br />
<br />
== Related Topics ==<br />
* [[Gain Staging]]<br />
* [[ToneMatch Presets]]<br />
* [[Feedback]]</div>SThttps://boseperformer.com/index.php?title=Template:Microphone_Polar_Pattern&diff=26109Template:Microphone Polar Pattern2026-04-13T15:53:40Z<p>ST: rewritten for clarity</p>
<hr />
<div>For live sound applications with Bose systems, in preferred order, use:<br />
# Hypercardioid or Supercardioid <br />
#* Audix OM 5, OM 3b, OM 6, OM 7, VX 5<br />
#* EV N/D 767A <br />
#* Neumann KMS 105<br />
#* Sennheiser e 845, e 865, e 945, e 965, MD 441, MD 945, <br />
#* Shure Beta 58A, Beta 87A<br />
# Cardioid<br />
#* Sennheiser e 835, e 935, MD 935<br />
#* Shure SM 58, SM 57, Beta 87C<br />
# Omnidirectional <br />
#* Not recommended for live sound applications<br />
<big>Reference Reading</big><br />
<div>There are two basic types of microphone &mdash; omnidirectional and unidirectional<ref>[http://www.shurenotes.com/issue14/article.asp Microphone Techniques - Shure Notes]</ref></div>.<br />
<br />
; Omnidirectional Microphone <br />
[[Image:omni_icon.gif|left]] Omnidirectional mic. It is sensitive to sounds from all directions. <br />
<br />
: It's unlikely you will use an omnidirectional microphone in a live performance setting. You will pick up too much ambient noise from the room, the audience, and the loudspeakers (leading to feedback).<br />
<br />
:: Use omnidirectional microphones when the sound source could be anywhere around the microphone. This picks up a lot of room ambiance, which sometimes is the goal. Direct and ambient sound can be adjusted by moving the microphone closer to or further from the sound source.<br />
<br />
<br />
; Unidirectional Microphone <br />
Unidirectional microphones are sensitive to sound coming from only one direction. Examples:<br />
* a vocalist singing directly on axis, directly into the microphone<br />
* a guitar amplifier with the microphone aimed directly at the speaker cone <br />
<br />
All of the following types are unidirectional<br />
<br />
; Cardioid <br />
[[Image:uni_con.gif|left]] The most common type of unidirectional microphone is called a “cardioid” because its pickup pattern is heart-shaped. It picks up most sound from the front of the microphone and some from the sides.<br />
<br />
Although you will get better gain-before-feedback from a cardioid microphone than an omnidirectional microphone, you will get better gain-before-feedback from a supercardioid or hypercardioid microphone (see next section).<br />
<br />
Examples of common cardioid microphones (good to great microphones, but not necessarily the best for gain-before-feedback with Bose L1 systems)<br />
* Sennheiser e 835, e 935, MD 935<br />
* Shure SM 58, SM 57, Beta 87C<br />
<br />
;Supercardioid / Hypercardioid <br />
<br />
[[Image:superhypercardioid_icons.gif|left]] Supercardioid or hypercardioid microphones offer even greater sound isolation through narrower pickup patterns.<br />
<br><br><br><br />
<br />
Examples of common supercardioid/hypercardioid microphones<br />
* Audix OM 5, OM 3b, OM 6, OM 7, VX 5<br />
* EV N/D 767A <br />
* Neumann KMS 105<br />
* Sennheiser e 845, e 865, e 945, e 965, MD 441, MD 945, <br />
* Shure Beta 58A, Beta 87A<br />
<br />
<br />
<noinclude><br />
<br />
----<br />
<references /><br />
----<br />
[[Category:Terminology]]<br />
[[Category:Feedback]]<br />
[[Category:Microphone]]<br />
<br />
</noinclude></div>SThttps://boseperformer.com/index.php?title=Feedback_/_Microphone&diff=26108Feedback / Microphone2026-04-13T15:44:41Z<p>ST: /* Directional Microphones */</p>
<hr />
<div>{{Bose Reviewed}}<br />
{{Responsive Iframe}}<br />
<!--<br />
<div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><br />
--><br />
==Introduction==<br />
If you have questions about this article, please see this <br />
{{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}<br />
<br />
== What is feedback and how does it occur? ==<br />
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.<br />
<br />
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.<br />
<br />
[[Image:Feedback fig 1.jpg|400px|Microphone Feedback]]<br />
<br />
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. <br />
<!--<br />
</div><br />
</div> <br />
--> <br />
== Techniques For Reducing Feedback ==<br />
=== Gain Staging ===<br />
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]].<br />
<br />
<br />
=== Close Microphone Technique ===<br />
{{Close Microphone Technique}}<br />
<br />
=== Vocal Strength ===<br />
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.<br />
<br />
=== Directional Microphones ===<br />
==== Principles ====<br />
<br />
Choose a '''directional microphone''' to maximize gain‑before‑feedback. A [[Microphone Directionality#Supercardioid_/_Hypercardioid|Hypercardioid/Supercardioid]] pattern provides the strongest focus on the intended source, followed by [[Microphone Directionality#Cardioid|Cardioid]], with [[Microphone Directionality#Omnidirectional Microphone|Omnidirectional]] offering the widest pickup (the least desirable in most live sound applications).<br />
<br />
Directional microphones excel because they emphasize the desired sound—such as a voice or instrument—while naturally reducing sound arriving from other directions. This focused pickup helps maintain clarity and increases the system’s resistance to feedback.<br />
<br />
Most directional microphones also offer a helpful characteristic known as the [[Proximity Effect|proximity effect]]. As the source moves closer to the microphone, low and low‑mid frequencies become fuller and more pronounced. Microphones designed for close‑up vocal use take advantage of this: they deliver a natural tone at close range while reducing low‑to‑mid frequency content from distant sources, including nearby loudspeakers. This selective emphasis further improves feedback performance.<br />
<br />
Omnidirectional microphones, by contrast, maintain a consistent tone regardless of distance. This can be ideal in studio environments where uniformity is the goal. On stage, however, their equal sensitivity in all directions means they capture more ambient sound and offer less natural rejection of low‑to‑mid frequency energy. As a result, they provide less gain‑before‑feedback than directional designs.<br />
<br />
====Omnidirectional and Unidirectional Microphones====<br />
{{:Microphone Polar Pattern}}<br />
<br />
<!--<br />
;There are two basic types of microphone — omnidirectional and unidirectional. <br />
<html><br />
<details><br />
<summary>Introduction to Omnidirectional and Unidirectional Microphones</summary><br />
</html><br />
{{:Microphone Polar Pattern}}<br />
<html><br />
</details><br />
</html><br />
--><br />
<div><br />
&nbsp;<br />
</div><br />
<br><br />
<br><br />
<br />
=== Effects ===<br />
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.<br />
==== TC Helicon Vocal Processors ====<br />
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]].<br />
<br />
=== Monitor Placement ===<br />
{{Monitor Placement}}<br />
<br />
=== Open Microphones ===<br />
Use as few open microphones as possible. <br />
<br />
: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><br />
<br />
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.<br />
<br />
=== EQ and Tone Controls ===<br />
Use the high-frequency tone control for the microphone channel carefully. Feedback could occur when this is set too high.<br />
<br />
=== Instrument Pickups ===<br />
Wherever possible, acoustic instruments should use pickups instead of microphones. Pickup systems provide much higher [[Gain Before Feedback|gain before feedback]] than microphones.<br />
<br />
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.<br />
<br />
=== Distance Between Microphones ===<br />
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]].<br />
<br />
== Techniques specific to the {{L1 family}} ==<br />
<br />
=== The Benefit of ToneMatch Presets ===<br />
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.<br />
<br />
For this reason, whenever possible, use a microphone with a ToneMatch preset.<br />
<br />
=== Gain Staging ===<br />
==== L1 Pro and S1 Pro/Pro+ ====<br />
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.<br />
<br />
==== T4S/T8S Gain Staging ====<br />
{{T4S/T8S Gain Staging}}<br />
<br />
==== {{T1}} ====<br />
{{:T1 ToneMatch® Audio Engine / Gain Staging a Microphone}}<br />
<br />
<br />
* 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}}<br />
<br />
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. <br />
<br />
[[Image:T1TrimPots.png|T1® Trim Pots]] <br />
<br />
Take two minutes to watch this video by clicking on the picture below.<br />
<br />
{{Get Plugged In Microphone}}<br />
* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video. <br />
<br />
===== Set Up Your Source =====<br />
Set your source at the maximum that it will be when performing.<br />
* Microphone<br />
: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.<br />
* Instrument<br />
:Turn your input as high as it is likely to go during performance.<br />
<br />
===== Set Trim Controls =====<br />
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).<br />
<br />
[[Image:TrimlightsOK.gif]]<br />
<br />
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. <br />
<br />
[[Image:TrimlightsNo.gif]]<br />
<br />
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}}. <br />
<br />
: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. <br />
<br />
: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. <br />
<br />
:If the T1 trim is going red, you should back off, you are definitely nearing or in compression.<br />
<br />
: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.<br />
<br />
==== ToneMatch Mixer Trim Controls ====<br />
<br />
{{:T1 ToneMatch® Audio Engine / Trim Pots}}<br />
<br />
=== Tilt the Mic Up ===<br />
{{Classic icon}} {{Model I icon}} {{Model II icon}}<br />
* All players should be playing / singing through the {{L1}} closest to them.<br />
* 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]]<br />
* 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]]<br />
* 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.<br />
* In the feedback diagram at the top, using a directional microphone tilted up and away from the Cylindrical Radiator&reg; means getting less sound from the loudspeaker which translates to more gain without feedback.<br />
** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.<br />
<br />
[[Image:MicGoodBad.gif]]<br />
<br />
=== Noise Gate ===<br />
Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone<br />
{{Noise Gate}}<br />
<!--<br />
{{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}}<br />
--><br />
<br />
=== Notch Out a Problem Frequency ===<br />
Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency<br />
<br />
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.<br />
{{:Feedback / T1 ToneMatch® Audio Engine}}<br />
<br />
== Does Microphone Sensitivity Affect Feedback? ==<br />
{{:Microphone Sensitivity and Feedback}}<br />
<br />
== Picking a Microphone ==<br />
For the best feedback performance, choose <br />
* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]<br />
* A microphone that has a [[ToneMatch]] preset <br />
* For any L1 model or any ToneMatch mixer, you can use a condenser or dynamic microphone. <br />
* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones<br />
* For more insights, please see [[Review / Microphone / Various|Microphone Reviews]].<br />
<br />
== Feedback Destroyers ==<br />
{{:Feedback Destroyer}}<br />
<br />
<br />
== Other References ==<br />
Here's a quick link to other articles about <categorytree mode="pages" hideroot="off" namespaces="Main">Feedback</categorytree> <br />
<br />
<!--<br />
* [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<br />
--><br />
*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format<br />
*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]<br />
* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]<br />
<!-- [http://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf alternate source for above] --><br />
* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]<br />
* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)<br />
<br />
* [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch<br />
----<br />
<references/><br />
<br />
[[category:Feedback]]<br />
[[category:Performance]]<br />
[[category:Reference]]</div>SThttps://boseperformer.com/index.php?title=Template:Microphone_Polar_Pattern&diff=26107Template:Microphone Polar Pattern2026-04-13T15:42:51Z<p>ST: </p>
<hr />
<div>For live sound applications with Bose systems, in preferred order, use:<br />
# Hypercardioid or Supercardioid<br />
# Cardioid<br />
# Omnidirectional <br />
<br />
<big>Reference Reading</big><br />
<div>There are two basic types of microphone &mdash; omnidirectional and unidirectional<ref>[http://www.shurenotes.com/issue14/article.asp Microphone Techniques - Shure Notes]</ref></div>.<br />
<br />
; Omnidirectional Microphone <br />
[[Image:omni_icon.gif|left]] Omnidirectional mic. It is sensitive to sounds from all directions. <br />
<br />
: It's unlikely you will use an omnidirectional microphone in a live performance setting. You will pick up too much ambient noise from the room, the audience, and the loudspeakers (leading to feedback).<br />
<br />
:: Use omnidirectional microphones when the sound source could be anywhere around the microphone. This picks up a lot of room ambiance, which sometimes is the goal. Direct and ambient sound can be adjusted by moving the microphone closer to or further from the sound source.<br />
<br />
<br />
; Unidirectional Microphone <br />
Unidirectional microphones are sensitive to sound coming from only one direction. Examples:<br />
* a vocalist singing directly on axis, directly into the microphone<br />
* a guitar amplifier with the microphone aimed directly at the speaker cone <br />
<br />
All of the following types are unidirectional<br />
<br />
; Cardioid <br />
[[Image:uni_con.gif|left]] The most common type of unidirectional microphone is called a “cardioid” because its pickup pattern is heart-shaped. It picks up most sound from the front of the microphone and some from the sides.<br />
<br />
Although you will get better gain-before-feedback from a cardioid microphone than an omnidirectional microphone, you will get better gain-before-feedback from a supercardioid or hypercardioid microphone (see next section).<br />
<br />
Examples of common cardioid microphones (good to great microphones, but not necessarily the best for gain-before-feedback with Bose L1 systems)<br />
* Sennheiser e 835, e 935, MD 935<br />
* Shure SM 58, SM 57, Beta 87C<br />
<br />
;Supercardioid / Hypercardioid <br />
<br />
[[Image:superhypercardioid_icons.gif|left]] Supercardioid or hypercardioid microphones offer even greater sound isolation through narrower pickup patterns.<br />
<br><br><br><br />
<br />
Examples of common supercardioid/hypercardioid microphones<br />
* Audix OM 5, OM 3b, OM 6, OM 7, VX 5<br />
* EV N/D 767A <br />
* Neumann KMS 105<br />
* Sennheiser e 845, e 865, e 945, e 965, MD 441, MD 945, <br />
* Shure Beta 58A, Beta 87A<br />
<br />
<br />
<noinclude><br />
<br />
----<br />
<references /><br />
----<br />
[[Category:Terminology]]<br />
[[Category:Feedback]]<br />
[[Category:Microphone]]<br />
<br />
</noinclude></div>SThttps://boseperformer.com/index.php?title=Microphone_Polar_Pattern&diff=26106Microphone Polar Pattern2026-04-13T15:31:20Z<p>ST: </p>
<hr />
<div>;Recommendation<br />
Bose has always recommended using microphones with supercardioid or hypercardioid polar patterns for best [[Microphone Feedback|gain-before-feedback]] with the Bose L1 systems.<br />
{{Microphone Polar Pattern}}</div>SThttps://boseperformer.com/index.php?title=Feedback_/_Microphone&diff=26105Feedback / Microphone2026-04-13T15:27:56Z<p>ST: /* Principles */</p>
<hr />
<div>{{Bose Reviewed}}<br />
{{Responsive Iframe}}<br />
<!--<br />
<div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><br />
--><br />
==Introduction==<br />
If you have questions about this article, please see this <br />
{{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}<br />
<br />
== What is feedback and how does it occur? ==<br />
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.<br />
<br />
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.<br />
<br />
[[Image:Feedback fig 1.jpg|400px|Microphone Feedback]]<br />
<br />
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. <br />
<!--<br />
</div><br />
</div> <br />
--> <br />
== Techniques For Reducing Feedback ==<br />
=== Gain Staging ===<br />
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]].<br />
<br />
<br />
=== Close Microphone Technique ===<br />
{{Close Microphone Technique}}<br />
<br />
=== Vocal Strength ===<br />
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.<br />
<br />
=== Directional Microphones ===<br />
==== Principles ====<br />
<br />
Choose a '''directional microphone''' to maximize gain‑before‑feedback. A [[Microphone Directionality#Supercardioid_/_Hypercardioid|Supercardioid/Hypercardioid]] pattern provides the strongest focus on the intended source, followed by [[Microphone Directionality#Cardioid|Cardioid]], with [[Microphone Directionality#Omnidirectional Microphone|Omnidirectional]] offering the widest pickup (the least desirable in most live sound applications).<br />
<br />
Directional microphones excel because they emphasize the desired sound—such as a voice or instrument—while naturally reducing sound arriving from other directions. This focused pickup helps maintain clarity and increases the system’s resistance to feedback.<br />
<br />
Most directional microphones also offer a helpful characteristic known as the [[Proximity Effect|proximity effect]]. As the source moves closer to the microphone, low and low‑mid frequencies become fuller and more pronounced. Microphones designed for close‑up vocal use take advantage of this: they deliver a natural tone at close range while reducing low‑to‑mid frequency content from distant sources, including nearby loudspeakers. This selective emphasis further improves feedback performance.<br />
<br />
Omnidirectional microphones, by contrast, maintain a consistent tone regardless of distance. This can be ideal in studio environments where uniformity is the goal. On stage, however, their equal sensitivity in all directions means they capture more ambient sound and offer less natural rejection of low‑to‑mid frequency energy. As a result, they provide less gain‑before‑feedback than directional designs.<br />
<br />
====Omnidirectional and Unidirectional Microphones====<br />
{{:Microphone Polar Pattern}}<br />
<br />
<!--<br />
;There are two basic types of microphone — omnidirectional and unidirectional. <br />
<html><br />
<details><br />
<summary>Introduction to Omnidirectional and Unidirectional Microphones</summary><br />
</html><br />
{{:Microphone Polar Pattern}}<br />
<html><br />
</details><br />
</html><br />
--><br />
<div><br />
&nbsp;<br />
</div><br />
<br><br />
<br><br />
<br />
=== Effects ===<br />
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.<br />
==== TC Helicon Vocal Processors ====<br />
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]].<br />
<br />
=== Monitor Placement ===<br />
{{Monitor Placement}}<br />
<br />
=== Open Microphones ===<br />
Use as few open microphones as possible. <br />
<br />
: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><br />
<br />
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.<br />
<br />
=== EQ and Tone Controls ===<br />
Use the high-frequency tone control for the microphone channel carefully. Feedback could occur when this is set too high.<br />
<br />
=== Instrument Pickups ===<br />
Wherever possible, acoustic instruments should use pickups instead of microphones. Pickup systems provide much higher [[Gain Before Feedback|gain before feedback]] than microphones.<br />
<br />
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.<br />
<br />
=== Distance Between Microphones ===<br />
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]].<br />
<br />
== Techniques specific to the {{L1 family}} ==<br />
<br />
=== The Benefit of ToneMatch Presets ===<br />
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.<br />
<br />
For this reason, whenever possible, use a microphone with a ToneMatch preset.<br />
<br />
=== Gain Staging ===<br />
==== L1 Pro and S1 Pro/Pro+ ====<br />
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.<br />
<br />
==== T4S/T8S Gain Staging ====<br />
{{T4S/T8S Gain Staging}}<br />
<br />
==== {{T1}} ====<br />
{{:T1 ToneMatch® Audio Engine / Gain Staging a Microphone}}<br />
<br />
<br />
* 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}}<br />
<br />
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. <br />
<br />
[[Image:T1TrimPots.png|T1® Trim Pots]] <br />
<br />
Take two minutes to watch this video by clicking on the picture below.<br />
<br />
{{Get Plugged In Microphone}}<br />
* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video. <br />
<br />
===== Set Up Your Source =====<br />
Set your source at the maximum that it will be when performing.<br />
* Microphone<br />
: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.<br />
* Instrument<br />
:Turn your input as high as it is likely to go during performance.<br />
<br />
===== Set Trim Controls =====<br />
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).<br />
<br />
[[Image:TrimlightsOK.gif]]<br />
<br />
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. <br />
<br />
[[Image:TrimlightsNo.gif]]<br />
<br />
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}}. <br />
<br />
: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. <br />
<br />
: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. <br />
<br />
:If the T1 trim is going red, you should back off, you are definitely nearing or in compression.<br />
<br />
: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.<br />
<br />
==== ToneMatch Mixer Trim Controls ====<br />
<br />
{{:T1 ToneMatch® Audio Engine / Trim Pots}}<br />
<br />
=== Tilt the Mic Up ===<br />
{{Classic icon}} {{Model I icon}} {{Model II icon}}<br />
* All players should be playing / singing through the {{L1}} closest to them.<br />
* 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]]<br />
* 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]]<br />
* 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.<br />
* In the feedback diagram at the top, using a directional microphone tilted up and away from the Cylindrical Radiator&reg; means getting less sound from the loudspeaker which translates to more gain without feedback.<br />
** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.<br />
<br />
[[Image:MicGoodBad.gif]]<br />
<br />
=== Noise Gate ===<br />
Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone<br />
{{Noise Gate}}<br />
<!--<br />
{{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}}<br />
--><br />
<br />
=== Notch Out a Problem Frequency ===<br />
Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency<br />
<br />
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.<br />
{{:Feedback / T1 ToneMatch® Audio Engine}}<br />
<br />
== Does Microphone Sensitivity Affect Feedback? ==<br />
{{:Microphone Sensitivity and Feedback}}<br />
<br />
== Picking a Microphone ==<br />
For the best feedback performance, choose <br />
* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]<br />
* A microphone that has a [[ToneMatch]] preset <br />
* For any L1 model or any ToneMatch mixer, you can use a condenser or dynamic microphone. <br />
* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones<br />
* For more insights, please see [[Review / Microphone / Various|Microphone Reviews]].<br />
<br />
== Feedback Destroyers ==<br />
{{:Feedback Destroyer}}<br />
<br />
<br />
== Other References ==<br />
Here's a quick link to other articles about <categorytree mode="pages" hideroot="off" namespaces="Main">Feedback</categorytree> <br />
<br />
<!--<br />
* [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<br />
--><br />
*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format<br />
*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]<br />
* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]<br />
<!-- [http://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf alternate source for above] --><br />
* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]<br />
* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)<br />
<br />
* [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch<br />
----<br />
<references/><br />
<br />
[[category:Feedback]]<br />
[[category:Performance]]<br />
[[category:Reference]]</div>SThttps://boseperformer.com/index.php?title=Feedback_/_Microphone&diff=26104Feedback / Microphone2026-04-13T15:19:30Z<p>ST: /* Directional Microphones */</p>
<hr />
<div>{{Bose Reviewed}}<br />
{{Responsive Iframe}}<br />
<!--<br />
<div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><br />
--><br />
==Introduction==<br />
If you have questions about this article, please see this <br />
{{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}<br />
<br />
== What is feedback and how does it occur? ==<br />
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.<br />
<br />
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.<br />
<br />
[[Image:Feedback fig 1.jpg|400px|Microphone Feedback]]<br />
<br />
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. <br />
<!--<br />
</div><br />
</div> <br />
--> <br />
== Techniques For Reducing Feedback ==<br />
=== Gain Staging ===<br />
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]].<br />
<br />
<br />
=== Close Microphone Technique ===<br />
{{Close Microphone Technique}}<br />
<br />
=== Vocal Strength ===<br />
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.<br />
<br />
=== Directional Microphones ===<br />
==== Principles ====<br />
Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid|Supercardioid/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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
====Omnidirectional and Unidirectional Microphones====<br />
{{:Microphone Polar Pattern}}<br />
<br />
<!--<br />
;There are two basic types of microphone — omnidirectional and unidirectional. <br />
<html><br />
<details><br />
<summary>Introduction to Omnidirectional and Unidirectional Microphones</summary><br />
</html><br />
{{:Microphone Polar Pattern}}<br />
<html><br />
</details><br />
</html><br />
--><br />
<div><br />
&nbsp;<br />
</div><br />
<br><br />
<br><br />
<br />
=== Effects ===<br />
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.<br />
==== TC Helicon Vocal Processors ====<br />
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]].<br />
<br />
=== Monitor Placement ===<br />
{{Monitor Placement}}<br />
<br />
=== Open Microphones ===<br />
Use as few open microphones as possible. <br />
<br />
: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><br />
<br />
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.<br />
<br />
=== EQ and Tone Controls ===<br />
Use the high-frequency tone control for the microphone channel carefully. Feedback could occur when this is set too high.<br />
<br />
=== Instrument Pickups ===<br />
Wherever possible, acoustic instruments should use pickups instead of microphones. Pickup systems provide much higher [[Gain Before Feedback|gain before feedback]] than microphones.<br />
<br />
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.<br />
<br />
=== Distance Between Microphones ===<br />
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]].<br />
<br />
== Techniques specific to the {{L1 family}} ==<br />
<br />
=== The Benefit of ToneMatch Presets ===<br />
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.<br />
<br />
For this reason, whenever possible, use a microphone with a ToneMatch preset.<br />
<br />
=== Gain Staging ===<br />
==== L1 Pro and S1 Pro/Pro+ ====<br />
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.<br />
<br />
==== T4S/T8S Gain Staging ====<br />
{{T4S/T8S Gain Staging}}<br />
<br />
==== {{T1}} ====<br />
{{:T1 ToneMatch® Audio Engine / Gain Staging a Microphone}}<br />
<br />
<br />
* 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}}<br />
<br />
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. <br />
<br />
[[Image:T1TrimPots.png|T1® Trim Pots]] <br />
<br />
Take two minutes to watch this video by clicking on the picture below.<br />
<br />
{{Get Plugged In Microphone}}<br />
* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video. <br />
<br />
===== Set Up Your Source =====<br />
Set your source at the maximum that it will be when performing.<br />
* Microphone<br />
: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.<br />
* Instrument<br />
:Turn your input as high as it is likely to go during performance.<br />
<br />
===== Set Trim Controls =====<br />
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).<br />
<br />
[[Image:TrimlightsOK.gif]]<br />
<br />
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. <br />
<br />
[[Image:TrimlightsNo.gif]]<br />
<br />
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}}. <br />
<br />
: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. <br />
<br />
: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. <br />
<br />
:If the T1 trim is going red, you should back off, you are definitely nearing or in compression.<br />
<br />
: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.<br />
<br />
==== ToneMatch Mixer Trim Controls ====<br />
<br />
{{:T1 ToneMatch® Audio Engine / Trim Pots}}<br />
<br />
=== Tilt the Mic Up ===<br />
{{Classic icon}} {{Model I icon}} {{Model II icon}}<br />
* All players should be playing / singing through the {{L1}} closest to them.<br />
* 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]]<br />
* 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]]<br />
* 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.<br />
* In the feedback diagram at the top, using a directional microphone tilted up and away from the Cylindrical Radiator&reg; means getting less sound from the loudspeaker which translates to more gain without feedback.<br />
** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.<br />
<br />
[[Image:MicGoodBad.gif]]<br />
<br />
=== Noise Gate ===<br />
Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone<br />
{{Noise Gate}}<br />
<!--<br />
{{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}}<br />
--><br />
<br />
=== Notch Out a Problem Frequency ===<br />
Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency<br />
<br />
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.<br />
{{:Feedback / T1 ToneMatch® Audio Engine}}<br />
<br />
== Does Microphone Sensitivity Affect Feedback? ==<br />
{{:Microphone Sensitivity and Feedback}}<br />
<br />
== Picking a Microphone ==<br />
For the best feedback performance, choose <br />
* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]<br />
* A microphone that has a [[ToneMatch]] preset <br />
* For any L1 model or any ToneMatch mixer, you can use a condenser or dynamic microphone. <br />
* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones<br />
* For more insights, please see [[Review / Microphone / Various|Microphone Reviews]].<br />
<br />
== Feedback Destroyers ==<br />
{{:Feedback Destroyer}}<br />
<br />
<br />
== Other References ==<br />
Here's a quick link to other articles about <categorytree mode="pages" hideroot="off" namespaces="Main">Feedback</categorytree> <br />
<br />
<!--<br />
* [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<br />
--><br />
*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format<br />
*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]<br />
* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]<br />
<!-- [http://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf alternate source for above] --><br />
* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]<br />
* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)<br />
<br />
* [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch<br />
----<br />
<references/><br />
<br />
[[category:Feedback]]<br />
[[category:Performance]]<br />
[[category:Reference]]</div>SThttps://boseperformer.com/index.php?title=Feedback_/_Microphone&diff=26103Feedback / Microphone2026-04-13T15:16:25Z<p>ST: /* Directional Microphones */</p>
<hr />
<div>{{Bose Reviewed}}<br />
{{Responsive Iframe}}<br />
<!--<br />
<div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><br />
--><br />
==Introduction==<br />
If you have questions about this article, please see this <br />
{{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}<br />
<br />
== What is feedback and how does it occur? ==<br />
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.<br />
<br />
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.<br />
<br />
[[Image:Feedback fig 1.jpg|400px|Microphone Feedback]]<br />
<br />
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. <br />
<!--<br />
</div><br />
</div> <br />
--> <br />
== Techniques For Reducing Feedback ==<br />
=== Gain Staging ===<br />
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]].<br />
<br />
<br />
=== Close Microphone Technique ===<br />
{{Close Microphone Technique}}<br />
<br />
=== Vocal Strength ===<br />
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.<br />
<br />
=== Directional Microphones ===<br />
==== Principles ====<br />
Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid|Supercardioid/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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
====Omnidirectional and Unidirectional Microphones====<br />
{{:Microphone Polar Pattern}}<br />
<br />
<!--<br />
;There are two basic types of microphone — omnidirectional and unidirectional. <br />
<html><br />
<details><br />
<summary>Introduction to Omnidirectional and Unidirectional Microphones</summary><br />
</html><br />
{{:Microphone Polar Pattern}}<br />
<html><br />
</details><br />
</html><br />
--><br />
<div><br />
&nbsp;<br />
</div><br />
<br><br />
<br><br />
<br />
=== Effects ===<br />
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.<br />
==== TC Helicon Vocal Processors ====<br />
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]].<br />
<br />
=== Monitor Placement ===<br />
{{Monitor Placement}}<br />
<br />
=== Open Microphones ===<br />
Use as few open microphones as possible. <br />
<br />
: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><br />
<br />
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.<br />
<br />
=== EQ and Tone Controls ===<br />
Use the high-frequency tone control for the microphone channel carefully. Feedback could occur when this is set too high.<br />
<br />
=== Instrument Pickups ===<br />
Wherever possible, acoustic instruments should use pickups instead of microphones. Pickup systems provide much higher [[Gain Before Feedback|gain before feedback]] than microphones.<br />
<br />
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.<br />
<br />
=== Distance Between Microphones ===<br />
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]].<br />
<br />
== Techniques specific to the {{L1 family}} ==<br />
<br />
=== The Benefit of ToneMatch Presets ===<br />
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.<br />
<br />
For this reason, whenever possible, use a microphone with a ToneMatch preset.<br />
<br />
=== Gain Staging ===<br />
==== L1 Pro and S1 Pro/Pro+ ====<br />
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.<br />
<br />
==== T4S/T8S Gain Staging ====<br />
{{T4S/T8S Gain Staging}}<br />
<br />
==== {{T1}} ====<br />
{{:T1 ToneMatch® Audio Engine / Gain Staging a Microphone}}<br />
<br />
<br />
* 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}}<br />
<br />
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. <br />
<br />
[[Image:T1TrimPots.png|T1® Trim Pots]] <br />
<br />
Take two minutes to watch this video by clicking on the picture below.<br />
<br />
{{Get Plugged In Microphone}}<br />
* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video. <br />
<br />
===== Set Up Your Source =====<br />
Set your source at the maximum that it will be when performing.<br />
* Microphone<br />
: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.<br />
* Instrument<br />
:Turn your input as high as it is likely to go during performance.<br />
<br />
===== Set Trim Controls =====<br />
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).<br />
<br />
[[Image:TrimlightsOK.gif]]<br />
<br />
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. <br />
<br />
[[Image:TrimlightsNo.gif]]<br />
<br />
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}}. <br />
<br />
: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. <br />
<br />
: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. <br />
<br />
:If the T1 trim is going red, you should back off, you are definitely nearing or in compression.<br />
<br />
: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.<br />
<br />
==== ToneMatch Mixer Trim Controls ====<br />
<br />
{{:T1 ToneMatch® Audio Engine / Trim Pots}}<br />
<br />
=== Tilt the Mic Up ===<br />
{{Classic icon}} {{Model I icon}} {{Model II icon}}<br />
* All players should be playing / singing through the {{L1}} closest to them.<br />
* 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]]<br />
* 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]]<br />
* 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.<br />
* In the feedback diagram at the top, using a directional microphone tilted up and away from the Cylindrical Radiator&reg; means getting less sound from the loudspeaker which translates to more gain without feedback.<br />
** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.<br />
<br />
[[Image:MicGoodBad.gif]]<br />
<br />
=== Noise Gate ===<br />
Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone<br />
{{Noise Gate}}<br />
<!--<br />
{{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}}<br />
--><br />
<br />
=== Notch Out a Problem Frequency ===<br />
Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency<br />
<br />
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.<br />
{{:Feedback / T1 ToneMatch® Audio Engine}}<br />
<br />
== Does Microphone Sensitivity Affect Feedback? ==<br />
{{:Microphone Sensitivity and Feedback}}<br />
<br />
== Picking a Microphone ==<br />
For the best feedback performance, choose <br />
* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]<br />
* A microphone that has a [[ToneMatch]] preset <br />
* For any L1 model or any ToneMatch mixer, you can use a condenser or dynamic microphone. <br />
* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones<br />
* For more insights, please see [[Review / Microphone / Various|Microphone Reviews]].<br />
<br />
== Feedback Destroyers ==<br />
{{:Feedback Destroyer}}<br />
<br />
<br />
== Other References ==<br />
Here's a quick link to other articles about <categorytree mode="pages" hideroot="off" namespaces="Main">Feedback</categorytree> <br />
<br />
<!--<br />
* [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<br />
--><br />
*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format<br />
*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]<br />
* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]<br />
<!-- [http://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf alternate source for above] --><br />
* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]<br />
* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)<br />
<br />
* [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch<br />
----<br />
<references/><br />
<br />
[[category:Feedback]]<br />
[[category:Performance]]<br />
[[category:Reference]]</div>SThttps://boseperformer.com/index.php?title=S1_Pro_system&diff=26102S1 Pro system2026-04-13T01:49:14Z<p>ST: </p>
<hr />
<div>{{S1 Pro icon}} {{Bose Reviewed}}<br />
<!-- <br />
<div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><br />
--><br />
[[File:S1 Pro Tilt.jpg|link=https://www.bose.com/en_us/products/speakers/portable_pa_speakers/s1_pro_system.html#v=s1_pro_system_with_battery_black|right|150px]] <br />
<br />
Introduced January 23, 2018 - replaced by [[S1 Pro+]] 2023<br />
<br />
[https://support.bose.com/s/product/s1-pro-portable-bluetooth-speaker-system/01t8c00000OydMeAAJ?language=en_US Bose S1 Pro Support site]<br />
<br />
== Documentation ==<br />
{{:S1 Pro Documentation}}<br />
<br />
<!--<br />
*[[{{PAGENAME}}#FAQs|Unofficial FAQs]] <br />
--><br />
== Downloads ==<br />
{{S1 Pro Downloads}} <br />
=== Firmware ===<br />
See: [[S1 Pro System Updates]] Version 7.0.10 June 2018<br />
<br />
== Related Products ==<br />
[[S1 Pro+]]<br />
<br />
[[Bose S1 Pro Compared to Bose L1® Compact]]<br />
<br />
<br />
<br />
<html><br />
<h3>S1 Pro Introduction</h3><br />
<iframe max-width="560" height="auto" src="https://www.youtube.com/embed/rsqgYA8A1tU?rel=0" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe></html> <br />
<html><br />
<h3>Unboxing and Setup</h3><br />
<iframe max-width="560" height="auto" src="https://players.brightcove.net/1239686373001/default_default/index.html?videoId=5784636257001" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe></html> <br />
<br />
<!--<br />
== Different Models ==<br />
<br />
{{Different Models}}<br />
--><br />
<!-- <br />
</div><br />
</div><br />
--><br />
== Input/Output Panel==<br />
=== Overview ===<br />
[[File:S1 Pro Connections and Controls.jpg|800px]]<br />
<br />
=== Gain Staging ===<br />
{{S1 Pro Gain Staging}}<br />
<br />
===Input Gain===<br />
{{S1 Pro Input Gain}}<br />
<br />
=== Tone Controls ===<br />
Channels 1 and 2<br />
* Bass +/-8 dB @ 100 Hz (60 Hz – 900 Hz)<br />
* Treble +/-10 dB @ 10 kHz (1.5 kHz – 17.4 kHz)<br />
<br />
=== Aux Input ===<br />
When you insert a 1/8" (3.5 mm) jack in the Aux input, this disables streaming Bluetooth.<br />
<br />
[[File:S1 Pro Aux Input.jpg|400px]]<br />
<br />
=== Microphone vs Guitar Volume ===<br />
<br />
<br />
See [[S1 Pro Microphone vs Guitar Volume]]<br />
<!--<br />
{{:S1 Pro Microphone vs Guitar Volume}}<br />
--><br />
<br />
== ToneMatch® Presets ==<br />
On Channels 1 and 2 you can select a ToneMatch® Preset.<br />
<br />
[[File:S1 Pro ToneMatch Switch.jpg|x150px]]<br />
<br />
These are the equivalent Presets on the ToneMatch® mixers (T1, T4S, T8S)<br />
<br />
===Off===<br />
:Category: Utility<br />
:Preset: Flat<br />
{{Compact}} equivalent: Channel 2, Line Level (switch position down)<br />
===Guitar===<br />
:Category: Acoustic Guitars<br />
:Preset: Steel String w/piezo<br />
{{Compact}} equivalent: Channel 2, Guitar (switch position up)<br />
<br />
===Microphone===<br />
:Category: Vocal Mics<br />
:Preset: Handheld Mics<br />
{{Compact}} equivalent: Channel 1<br />
<br />
:The Microphone Preset includes a sharp low-cut filter, keeping only that part of the audio spectrum where the microphone is useful. Using the microphone with this preset minimizes bass regeneration. The microphone preset was developed for close microphone use (“eat the mic”), which is the best way to optimize your vocal signal for tone and gain before feedback<ref>[[Presets 1.0|Original description of how the Microphone Presets work]]</ref>.<br />
<br />
:About the presets: No mic that I know of sounds good for close vocal, even for recording for that matter. All our presets compensate for this. A lot of these mics sound a lot more natural when you back off a foot or so from them. Of course, this is true in the studio too. No one does this for a live performance (backs very far off the mic) since you want to maximize gain before feedback by eating the mic. And so then you get funny sound and so then you need our presets to make it natural. <ref>[[Presets/Model_I_and_Classic#Cliff-at-Bose|Cliff Henricksen talks about Microphone Presets]]</ref><br />
<br />
== Reverb ==<br />
<br />
The reverb in the {{S1 Pro}} was engineered to be a useful general-purpose tool for a solo performer in venues suitable for up to 50 people. The Reverb control on the {{S1 Pro}} is roughly analogous to the Mix parameter on the {{T1}} and {{ToneMatch Mixers}}. <br />
<br />
There is no direct mapping of the {{S1 Pro}} Reverb to the {{T1}} or {{ToneMatch Mixers}}.<br />
<br />
You can get roughly similar results<br />
<br />
;{{T1}} <br />
* Type Medium<br />
* Time 4.00 msec <br />
* Balance 100%<br />
* Mix, Bright - set by ear<br />
<br />
;{{ToneMatch Mixers}} <br />
* Type Medium<br />
* Time 100% <br />
* Balance 100% <br />
* Mix, Bright - set by ear<br />
<br />
OR<br />
<br />
* Type Large<br />
* Time 70% <br />
* Balance 70%<br />
* Mix, Bright - set by ear<br />
<br />
== Power Switch==<br />
<section begin=PowerSwitch />[[File:S1 Pro Power Closeup.jpg|400px|right]] <br />
;In Use<br />
:Set the power switch to the top position (on).<br />
<br />
;Standby<br />
:When you are not using the {{S1}} you can leave the power switch in the standby position (middle) or the quick-charge position (bottom). <br>If the {{S1}} is not connected to AC power, it won't matter if you choose the middle or bottom position.<br><br />
<br />
;In Transit<br />
:You can put the {{S1}} power switch in the bottom position (quick charge) position when transporting the unit. This may reduce the likelihood the switch will get bumped to the on position.<br />
<br />
;Charging<br />
:When you are charging the {{S1}} you can put the power switch in the standby position (middle) or the quick-charge position (bottom).<br />
<br />
More detail.<br><br><br />
[[File:S1 Pro Power.jpg|640px]]<br />
<br />
<section end=PowerSwitch /><br />
<br />
== S1 Pro LEDs ==<br />
<!--{{:S1 Pro System LEDs}}<br />
--><br />
<html><br />
<details><summary>S1 Pro LEDs</summary></html><br />
{{S1 Pro LEDs}}<br />
<html></details></html><br />
<!-- {{S1 Pro LEDs}} --><br />
<br />
== Battery ==<br />
<!-- {{S1 Pro Battery}}<br />
--><br />
<html><br />
<details><summary>S1 Pro Battery</summary></html><br />
{{S1 Pro Battery}}<br />
<html></details></html><br />
<br />
== Pole Cup Switch ==<br />
<html><br />
<details><br />
<summary>S1 Pro Pole Cup Switch</summary><br />
</html><br />
{{:S1 Pro Pole Cup Switch}}<br />
<html><br />
</details><br />
</html><br />
<br />
== Channel 3 Volume Control ==<br />
<br />
<html><br />
<details><summary>S1 Pro Channel 3 Volume</summary></html><br />
{{S1 Pro Channel 3 Volume}}<br />
<html></details></html><br />
<br />
== Noisy Volume Controls ==<br />
On {{S1 nl}} channels 1 and 2: When you rotate the volume controls back and forth within 10 seconds of turning on the unit, you may hear a scratchy sound.<br />
<br />
This is not a symptom of a hardware issue with the volume controls that warrants concern.<br />
<br />
The noise is related to a start-up process within the unit, not the volume controls. The noise you hear is not the result of a physical problem with the volume controls.<br />
<br />
When you turn on the unit and rapidly turn one of the volume controls back and forth you may hear a noise. This can happen on either channel, 1 or 2.<br />
<br />
After several seconds, the sound stops. At this point, the volume controls on both channels 1 and 2 should work as expected, quietly.<br />
<br />
If you cycle the power off and back on, you can get the same result on the other channel, 1 or 2.<br />
<br />
If you turn on the unit and let it sit for 20 seconds, the volume controls are quiet. That doesn't mean you have to wait for 20 seconds before you can use the unit. You just have to wait for 20 seconds if you don't want to hear the noise when you rotate the volume controls quickly.<br />
<br />
[https://www.bosepro.community/g/portable/topic/S1-Pro-noise-when-turning-volume-controls-rapidly?reply=35936033503225790#35936033503225790 Related discussion in the {{Community nl}}]<br />
<!--<br />
On {{S1 nl}} channels 1 and 2: When you rotate the volume controls back and forth within 10 seconds of turning on the unit, you may hear a scratchy sound. This does not indicate a fault. The noise should stop happening once the {{S1 nl}} has completed its internal start-up routine (5-10 seconds).<br />
--><br />
<br />
== Orientations and Dispersion ==<br />
<br />
; Dispersion<br />
<br />
In the speaker stand, tabletop, and tilt-back orientations<br />
<br />
*Horizontal 120 degrees <br />
*Vertical 50 degress<br />
<br />
In the Horizontal (monitor) orientation<br />
<br />
*Horizontal 50 degrees <br />
*Vertical 120 Degrees<br />
<br />
== Auto EQ ==<br />
<html><br />
<details><summary>S1 Pro Auto EQ</summary></html><br />
{{S1 Pro Auto EQ}}<br />
<html></details></html><br />
<br />
== Line Out ==<br />
{{:S1 Pro System Line Out}}<br />
<br />
== Bluetooth ==<br />
=== Version ===<br />
The S1 Pro system supports Bluetooth version 4.2<br />
<br />
=== Bluetooth Light ===<br />
* Fast blink - attempting to re-connect with previously paired devices<br />
* Slow blink - in pairing mode<br />
* Solid - connected<br />
* No active connection (must put in pairing mode to create a connection) <br />
** No devices in the {{S1 Pro}} device list<br />
<br />
===Bluetooth Pairing===<br />
# Turn on the Bluetooth feature on your mobile device.<br>Note: The Bluetooth feature is usually found in the Settings menu.<br />
# Press and hold the Bluetooth Pair button for two seconds.<br>Note: When ready to pair, the Bluetooth button will flash white.<br />
# Select your Bose® SI Pro system from the device list.<br />
<br />
Note: When the device pairs successfully, the Bluetooth button will turn solid white.<br />
<br />
Note: If your paired phone receives a call, any music playing will be paused and the ring will come through the phone: no calls or notifications will come through the SI Pro.<br />
<br />
Once you have paired the {{S1 nl}} to a Bluetooth device, the {{S1 nl}} will automatically connect to that device when you turn on the {{S1 nl}} if it is powered on and within range. If you want to terminate that connection, terminate the connection on the Bluetooth device.<br />
<br />
:[https://www.bose.com/en_us/support/article/pairing-a-bluetooth-device-s1.html More detail on Bose.com]<br />
<br />
==== Clear the Bluetooth Pairing List ====<br />
# Press and hold the Bluetooth button. until it goes dark (about 7-10 seconds).<br />
# On your Bluetooth device, remove the Bose S1 Pro from the device list.<br />
<br />
<br />
You are now ready to [[{{PAGENAME}}#Bluetooth Pairing|pair the S1 Pro to a Bluetooth device]].<br />
<br />
=== Turn off Bluetooth ===<br />
You cannot turn off Bluetooth however if you clear the Bluetooth device list, you won't be able to connect to the {{S1 Pro}} until you create a new paired connection.<br />
<br />
:If you press and hold the Bluetooth button until it goes dark (7-10 seconds), this clears the Bluetooth device list on the {{S1 Pro)}. You will not be able to connect to the {{S1 Pro}} unless you put it into pairing mode (press and hold the Bluetooth button until it blinks (approximately 3 seconds) or put the {{S1 Pro}} in Standby mode (power switch middle position) or Fast Charge (power switch in lower position) and then turn the {{S1 Pro}} on again.<br />
<br />
<!--<br />
You cannot turn off Bluetooth however, Bluetooth will turn off after about two minutes after you turn the power on unless the S1 Pro successfully connects to a Bluetooth device.<br />
--><br />
<br />
When you turn on the power on the S1 Pro, it will attempt to connect to a paired device via Bluetooth. If there are no paired device, it will go into pairing mode.<br />
<br />
If the S1 Pro cannot connect to a paired device, the Bluetooth light will blink for about two minutes while it is attempting to connect. If it doesn't make a connection, the Bluetooth light will turn off (time out). At that point, the Bluetooth is off until the next time you turn the power off/on.<br />
<br />
==== Disconnect a Bluetooth connection ====<br />
If you have Bluetooth connection active and you want to disconnect it. If you manually disconnect, the {{S1 nl}} will time out after about 2 minutes, and Bluetooth will remain off until the next time you power off/on.<br />
<br />
; IOS <br />
Starting with iOS 9, Apple has added a new option for Bluetooth devices: <br />
*Open Settings, select Bluetooth<br />
*Tap the "i" circle button to the right of the accessory. <br />
*From there, you can see the new "Disconnect" option, alongside the legacy "Forget This Device" choice.<br />
<br />
;Android<br />
Disconnect or Unpair from a Bluetooth Device<br />
* From home, tap Apps > Settings > Connections tab > Bluetooth.<br />
* Tap the ON/OFF slider to turn Bluetooth on.<br />
* Tap the connected device, and then tap OK to disconnect.<br />
<br />
==== Reconnect a Bluetooth Connection after a time out ====<br />
If the S1 Pro system Bluetooth light is off (because it has timed out), if you press it briefly, it will blink.<br />
<br />
With the Bluetooth light blinking, I've been able to initiate a Bluetooth connection from a previously paired device. This worked with:<br />
<br />
*An IOS 11.4 device<br />
*An Android 7.0 device<br />
*A Windows 10 device<br />
<br />
{{#lst:S1 Pro system|batterylevel}}<br />
<br />
==== Bass Content in Bluetooth ====<br />
{{:S1 Pro Bass Over Bluetooth}}<br />
<br />
== {{S1}} Bass Distortion with Bluetooth through Channel 3 ==<br />
; There have been some discussions in the Bose Portable PA Community about bass distortion with Bluetooth sources through Channel 3. Will Bose issue a firmware update to fix this?<br />
:If you hear bass distortion you're hitting the maximum volume (bass) the S1 Pro system can handle. We tested the S1 Pro system with a wide range of applications including live music, music playback with various styles of music, public speaking, and more. We tuned the bass response for the best overall performance for the widest number of people. We continue to listen to customer comments here and through all channels. We know that most of our customers are extremely happy with the sound of the S1 Pro system. <br>If you need more overall volume for music playback you need a bigger enclosure. The L1 Compact and the larger L1 systems may be a better choice.<br />
<br>Source: [https://www.bosepro.community/g/portable/topic/s1-pro-channel-3-has-too-much-bass?reply=38751944705833509#38751944705833509 S1 Pro Channel 3 has too much bass]. Related discussion [https://www.bosepro.community/g/portable/topic/bass-over-excursion-or-port-noise-turn-down-for-what S1 Pro channel 3 bass over excursion]<br />
<br />
Consider using an app to control the sound at the source. For example [https://www.bosepro.community/g/portable/topic/using-the-spotify-equalizer-with-your-s1-pro-systems Using the Spotify Equalizer with your S1 Pro system] <br />
<br />
We have explored ways to change the response in the low frequencies. We found making the S1 Pro system more tolerant of heavy bass diminishes the overall performance in other ways. We don't have plans to change the sound profile of the S1 Pro system through a firmware update.<br />
<br />
== S1 Pro with Sub1 or Sub2==<br />
{{Sub with S1Pro}}<br />
<br />
== S1 Pro with F1 Subwoofer ==<br />
; Can I use one or two {{S1}}s with an F1 Subwoofer?<br />
:Yes. Please see this discussion in the Bose Portable PA Community [https://www.bosepro.community/g/portable/topic/s1-pros-as-front-of-house-with-f1-subwoofer S1 Pros with F1 Subwoofer]<br />
<br />
== Rotating the Logo ==<br />
Rotate the logo counter-clockwise NOT clockwise. Don't force it. You will break the mechanism.<br />
<br />
== Limiter ==<br />
{{S1 Pro Limiter}}<br />
<br />
== {{S1}} Reset ==<br />
{{S1 System Reset}}<br />
<br />
== FAQs ==<br />
<html><br />
<details><summary>S1 Pro FAQ</summary></html><br />
{{S1 Pro FAQ}}<br />
<html></details></html><br />
<!-- {{S1 Pro FAQ}} --><br />
<br />
== S1 Pro with B1 ==<br />
<br />
Please see: [[S1 Pro B1 Compatibility]]<br />
<br />
----<br />
[[Category:S1 Pro]]</div>SThttps://boseperformer.com/index.php?title=S1_Pro_system&diff=26101S1 Pro system2026-04-13T01:46:37Z<p>ST: </p>
<hr />
<div>{{S1 Pro icon}} {{Bose Reviewed}}<br />
<!-- <br />
<div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><br />
--><br />
[[File:S1 Pro Tilt.jpg|link=https://www.bose.com/en_us/products/speakers/portable_pa_speakers/s1_pro_system.html#v=s1_pro_system_with_battery_black|right|150px]] <br />
<br />
Introduced January 23, 2018 - replaced by [[S1 Pro+]] 2023<br />
<br />
[https://support.bose.com/s/product/s1-pro-portable-bluetooth-speaker-system/01t8c00000OydMeAAJ?language=en_US Bose S1 Pro Support site]<br />
<br />
Discuss it here: {{Community}}<br />
<br />
== Documentation ==<br />
{{:S1 Pro Documentation}}<br />
<br />
<!--<br />
*[[{{PAGENAME}}#FAQs|Unofficial FAQs]] <br />
--><br />
== Downloads ==<br />
{{S1 Pro Downloads}} <br />
=== Firmware ===<br />
See: [[S1 Pro System Updates]] Version 7.0.10 June 2018<br />
<br />
== Related Products ==<br />
[[S1 Pro+]]<br />
<br />
[[Bose S1 Pro Compared to Bose L1® Compact]]<br />
<br />
<br />
<br />
<html><br />
<h3>S1 Pro Introduction</h3><br />
<iframe max-width="560" height="auto" src="https://www.youtube.com/embed/rsqgYA8A1tU?rel=0" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe></html> <br />
<html><br />
<h3>Unboxing and Setup</h3><br />
<iframe max-width="560" height="auto" src="https://players.brightcove.net/1239686373001/default_default/index.html?videoId=5784636257001" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe></html> <br />
<br />
<!--<br />
== Different Models ==<br />
<br />
{{Different Models}}<br />
--><br />
<!-- <br />
</div><br />
</div><br />
--><br />
== Input/Output Panel==<br />
=== Overview ===<br />
[[File:S1 Pro Connections and Controls.jpg|800px]]<br />
<br />
=== Gain Staging ===<br />
{{S1 Pro Gain Staging}}<br />
<br />
===Input Gain===<br />
{{S1 Pro Input Gain}}<br />
<br />
=== Tone Controls ===<br />
Channels 1 and 2<br />
* Bass +/-8 dB @ 100 Hz (60 Hz – 900 Hz)<br />
* Treble +/-10 dB @ 10 kHz (1.5 kHz – 17.4 kHz)<br />
<br />
=== Aux Input ===<br />
When you insert a 1/8" (3.5 mm) jack in the Aux input, this disables streaming Bluetooth.<br />
<br />
[[File:S1 Pro Aux Input.jpg|400px]]<br />
<br />
=== Microphone vs Guitar Volume ===<br />
<br />
<br />
See [[S1 Pro Microphone vs Guitar Volume]]<br />
<!--<br />
{{:S1 Pro Microphone vs Guitar Volume}}<br />
--><br />
<br />
== ToneMatch® Presets ==<br />
On Channels 1 and 2 you can select a ToneMatch® Preset.<br />
<br />
[[File:S1 Pro ToneMatch Switch.jpg|x150px]]<br />
<br />
These are the equivalent Presets on the ToneMatch® mixers (T1, T4S, T8S)<br />
<br />
===Off===<br />
:Category: Utility<br />
:Preset: Flat<br />
{{Compact}} equivalent: Channel 2, Line Level (switch position down)<br />
===Guitar===<br />
:Category: Acoustic Guitars<br />
:Preset: Steel String w/piezo<br />
{{Compact}} equivalent: Channel 2, Guitar (switch position up)<br />
<br />
===Microphone===<br />
:Category: Vocal Mics<br />
:Preset: Handheld Mics<br />
{{Compact}} equivalent: Channel 1<br />
<br />
:The Microphone Preset includes a sharp low-cut filter, keeping only that part of the audio spectrum where the microphone is useful. Using the microphone with this preset minimizes bass regeneration. The microphone preset was developed for close microphone use (“eat the mic”), which is the best way to optimize your vocal signal for tone and gain before feedback<ref>[[Presets 1.0|Original description of how the Microphone Presets work]]</ref>.<br />
<br />
:About the presets: No mic that I know of sounds good for close vocal, even for recording for that matter. All our presets compensate for this. A lot of these mics sound a lot more natural when you back off a foot or so from them. Of course, this is true in the studio too. No one does this for a live performance (backs very far off the mic) since you want to maximize gain before feedback by eating the mic. And so then you get funny sound and so then you need our presets to make it natural. <ref>[[Presets/Model_I_and_Classic#Cliff-at-Bose|Cliff Henricksen talks about Microphone Presets]]</ref><br />
<br />
== Reverb ==<br />
<br />
The reverb in the {{S1 Pro}} was engineered to be a useful general-purpose tool for a solo performer in venues suitable for up to 50 people. The Reverb control on the {{S1 Pro}} is roughly analogous to the Mix parameter on the {{T1}} and {{ToneMatch Mixers}}. <br />
<br />
There is no direct mapping of the {{S1 Pro}} Reverb to the {{T1}} or {{ToneMatch Mixers}}.<br />
<br />
You can get roughly similar results<br />
<br />
;{{T1}} <br />
* Type Medium<br />
* Time 4.00 msec <br />
* Balance 100%<br />
* Mix, Bright - set by ear<br />
<br />
;{{ToneMatch Mixers}} <br />
* Type Medium<br />
* Time 100% <br />
* Balance 100% <br />
* Mix, Bright - set by ear<br />
<br />
OR<br />
<br />
* Type Large<br />
* Time 70% <br />
* Balance 70%<br />
* Mix, Bright - set by ear<br />
<br />
== Power Switch==<br />
<section begin=PowerSwitch />[[File:S1 Pro Power Closeup.jpg|400px|right]] <br />
;In Use<br />
:Set the power switch to the top position (on).<br />
<br />
;Standby<br />
:When you are not using the {{S1}} you can leave the power switch in the standby position (middle) or the quick-charge position (bottom). <br>If the {{S1}} is not connected to AC power, it won't matter if you choose the middle or bottom position.<br><br />
<br />
;In Transit<br />
:You can put the {{S1}} power switch in the bottom position (quick charge) position when transporting the unit. This may reduce the likelihood the switch will get bumped to the on position.<br />
<br />
;Charging<br />
:When you are charging the {{S1}} you can put the power switch in the standby position (middle) or the quick-charge position (bottom).<br />
<br />
More detail.<br><br><br />
[[File:S1 Pro Power.jpg|640px]]<br />
<br />
<section end=PowerSwitch /><br />
<br />
== S1 Pro LEDs ==<br />
<!--{{:S1 Pro System LEDs}}<br />
--><br />
<html><br />
<details><summary>S1 Pro LEDs</summary></html><br />
{{S1 Pro LEDs}}<br />
<html></details></html><br />
<!-- {{S1 Pro LEDs}} --><br />
<br />
== Battery ==<br />
<!-- {{S1 Pro Battery}}<br />
--><br />
<html><br />
<details><summary>S1 Pro Battery</summary></html><br />
{{S1 Pro Battery}}<br />
<html></details></html><br />
<br />
== Pole Cup Switch ==<br />
<html><br />
<details><br />
<summary>S1 Pro Pole Cup Switch</summary><br />
</html><br />
{{:S1 Pro Pole Cup Switch}}<br />
<html><br />
</details><br />
</html><br />
<br />
== Channel 3 Volume Control ==<br />
<br />
<html><br />
<details><summary>S1 Pro Channel 3 Volume</summary></html><br />
{{S1 Pro Channel 3 Volume}}<br />
<html></details></html><br />
<br />
== Noisy Volume Controls ==<br />
On {{S1 nl}} channels 1 and 2: When you rotate the volume controls back and forth within 10 seconds of turning on the unit, you may hear a scratchy sound.<br />
<br />
This is not a symptom of a hardware issue with the volume controls that warrants concern.<br />
<br />
The noise is related to a start-up process within the unit, not the volume controls. The noise you hear is not the result of a physical problem with the volume controls.<br />
<br />
When you turn on the unit and rapidly turn one of the volume controls back and forth you may hear a noise. This can happen on either channel, 1 or 2.<br />
<br />
After several seconds, the sound stops. At this point, the volume controls on both channels 1 and 2 should work as expected, quietly.<br />
<br />
If you cycle the power off and back on, you can get the same result on the other channel, 1 or 2.<br />
<br />
If you turn on the unit and let it sit for 20 seconds, the volume controls are quiet. That doesn't mean you have to wait for 20 seconds before you can use the unit. You just have to wait for 20 seconds if you don't want to hear the noise when you rotate the volume controls quickly.<br />
<br />
[https://www.bosepro.community/g/portable/topic/S1-Pro-noise-when-turning-volume-controls-rapidly?reply=35936033503225790#35936033503225790 Related discussion in the {{Community nl}}]<br />
<!--<br />
On {{S1 nl}} channels 1 and 2: When you rotate the volume controls back and forth within 10 seconds of turning on the unit, you may hear a scratchy sound. This does not indicate a fault. The noise should stop happening once the {{S1 nl}} has completed its internal start-up routine (5-10 seconds).<br />
--><br />
<br />
== Orientations and Dispersion ==<br />
<br />
; Dispersion<br />
<br />
In the speaker stand, tabletop, and tilt-back orientations<br />
<br />
*Horizontal 120 degrees <br />
*Vertical 50 degress<br />
<br />
In the Horizontal (monitor) orientation<br />
<br />
*Horizontal 50 degrees <br />
*Vertical 120 Degrees<br />
<br />
== Auto EQ ==<br />
<html><br />
<details><summary>S1 Pro Auto EQ</summary></html><br />
{{S1 Pro Auto EQ}}<br />
<html></details></html><br />
<br />
== Line Out ==<br />
{{:S1 Pro System Line Out}}<br />
<br />
== Bluetooth ==<br />
=== Version ===<br />
The S1 Pro system supports Bluetooth version 4.2<br />
<br />
=== Bluetooth Light ===<br />
* Fast blink - attempting to re-connect with previously paired devices<br />
* Slow blink - in pairing mode<br />
* Solid - connected<br />
* No active connection (must put in pairing mode to create a connection) <br />
** No devices in the {{S1 Pro}} device list<br />
<br />
===Bluetooth Pairing===<br />
# Turn on the Bluetooth feature on your mobile device.<br>Note: The Bluetooth feature is usually found in the Settings menu.<br />
# Press and hold the Bluetooth Pair button for two seconds.<br>Note: When ready to pair, the Bluetooth button will flash white.<br />
# Select your Bose® SI Pro system from the device list.<br />
<br />
Note: When the device pairs successfully, the Bluetooth button will turn solid white.<br />
<br />
Note: If your paired phone receives a call, any music playing will be paused and the ring will come through the phone: no calls or notifications will come through the SI Pro.<br />
<br />
Once you have paired the {{S1 nl}} to a Bluetooth device, the {{S1 nl}} will automatically connect to that device when you turn on the {{S1 nl}} if it is powered on and within range. If you want to terminate that connection, terminate the connection on the Bluetooth device.<br />
<br />
:[https://www.bose.com/en_us/support/article/pairing-a-bluetooth-device-s1.html More detail on Bose.com]<br />
<br />
==== Clear the Bluetooth Pairing List ====<br />
# Press and hold the Bluetooth button. until it goes dark (about 7-10 seconds).<br />
# On your Bluetooth device, remove the Bose S1 Pro from the device list.<br />
<br />
<br />
You are now ready to [[{{PAGENAME}}#Bluetooth Pairing|pair the S1 Pro to a Bluetooth device]].<br />
<br />
=== Turn off Bluetooth ===<br />
You cannot turn off Bluetooth however if you clear the Bluetooth device list, you won't be able to connect to the {{S1 Pro}} until you create a new paired connection.<br />
<br />
:If you press and hold the Bluetooth button until it goes dark (7-10 seconds), this clears the Bluetooth device list on the {{S1 Pro)}. You will not be able to connect to the {{S1 Pro}} unless you put it into pairing mode (press and hold the Bluetooth button until it blinks (approximately 3 seconds) or put the {{S1 Pro}} in Standby mode (power switch middle position) or Fast Charge (power switch in lower position) and then turn the {{S1 Pro}} on again.<br />
<br />
<!--<br />
You cannot turn off Bluetooth however, Bluetooth will turn off after about two minutes after you turn the power on unless the S1 Pro successfully connects to a Bluetooth device.<br />
--><br />
<br />
When you turn on the power on the S1 Pro, it will attempt to connect to a paired device via Bluetooth. If there are no paired device, it will go into pairing mode.<br />
<br />
If the S1 Pro cannot connect to a paired device, the Bluetooth light will blink for about two minutes while it is attempting to connect. If it doesn't make a connection, the Bluetooth light will turn off (time out). At that point, the Bluetooth is off until the next time you turn the power off/on.<br />
<br />
==== Disconnect a Bluetooth connection ====<br />
If you have Bluetooth connection active and you want to disconnect it. If you manually disconnect, the {{S1 nl}} will time out after about 2 minutes, and Bluetooth will remain off until the next time you power off/on.<br />
<br />
; IOS <br />
Starting with iOS 9, Apple has added a new option for Bluetooth devices: <br />
*Open Settings, select Bluetooth<br />
*Tap the "i" circle button to the right of the accessory. <br />
*From there, you can see the new "Disconnect" option, alongside the legacy "Forget This Device" choice.<br />
<br />
;Android<br />
Disconnect or Unpair from a Bluetooth Device<br />
* From home, tap Apps > Settings > Connections tab > Bluetooth.<br />
* Tap the ON/OFF slider to turn Bluetooth on.<br />
* Tap the connected device, and then tap OK to disconnect.<br />
<br />
==== Reconnect a Bluetooth Connection after a time out ====<br />
If the S1 Pro system Bluetooth light is off (because it has timed out), if you press it briefly, it will blink.<br />
<br />
With the Bluetooth light blinking, I've been able to initiate a Bluetooth connection from a previously paired device. This worked with:<br />
<br />
*An IOS 11.4 device<br />
*An Android 7.0 device<br />
*A Windows 10 device<br />
<br />
{{#lst:S1 Pro system|batterylevel}}<br />
<br />
==== Bass Content in Bluetooth ====<br />
{{:S1 Pro Bass Over Bluetooth}}<br />
<br />
== {{S1}} Bass Distortion with Bluetooth through Channel 3 ==<br />
; There have been some discussions in the Bose Portable PA Community about bass distortion with Bluetooth sources through Channel 3. Will Bose issue a firmware update to fix this?<br />
:If you hear bass distortion you're hitting the maximum volume (bass) the S1 Pro system can handle. We tested the S1 Pro system with a wide range of applications including live music, music playback with various styles of music, public speaking, and more. We tuned the bass response for the best overall performance for the widest number of people. We continue to listen to customer comments here and through all channels. We know that most of our customers are extremely happy with the sound of the S1 Pro system. <br>If you need more overall volume for music playback you need a bigger enclosure. The L1 Compact and the larger L1 systems may be a better choice.<br />
<br>Source: [https://www.bosepro.community/g/portable/topic/s1-pro-channel-3-has-too-much-bass?reply=38751944705833509#38751944705833509 S1 Pro Channel 3 has too much bass]. Related discussion [https://www.bosepro.community/g/portable/topic/bass-over-excursion-or-port-noise-turn-down-for-what S1 Pro channel 3 bass over excursion]<br />
<br />
Consider using an app to control the sound at the source. For example [https://www.bosepro.community/g/portable/topic/using-the-spotify-equalizer-with-your-s1-pro-systems Using the Spotify Equalizer with your S1 Pro system] <br />
<br />
We have explored ways to change the response in the low frequencies. We found making the S1 Pro system more tolerant of heavy bass diminishes the overall performance in other ways. We don't have plans to change the sound profile of the S1 Pro system through a firmware update.<br />
<br />
== S1 Pro with Sub1 or Sub2==<br />
{{Sub with S1Pro}}<br />
<br />
== S1 Pro with F1 Subwoofer ==<br />
; Can I use one or two {{S1}}s with an F1 Subwoofer?<br />
:Yes. Please see this discussion in the Bose Portable PA Community [https://www.bosepro.community/g/portable/topic/s1-pros-as-front-of-house-with-f1-subwoofer S1 Pros with F1 Subwoofer]<br />
<br />
== Rotating the Logo ==<br />
Rotate the logo counter-clockwise NOT clockwise. Don't force it. You will break the mechanism.<br />
<br />
== Limiter ==<br />
{{S1 Pro Limiter}}<br />
<br />
== {{S1}} Reset ==<br />
{{S1 System Reset}}<br />
<br />
== FAQs ==<br />
<html><br />
<details><summary>S1 Pro FAQ</summary></html><br />
{{S1 Pro FAQ}}<br />
<html></details></html><br />
<!-- {{S1 Pro FAQ}} --><br />
<br />
== S1 Pro with B1 ==<br />
<br />
Please see: [[S1 Pro B1 Compatibility]]<br />
<br />
----<br />
[[Category:S1 Pro]]</div>SThttps://boseperformer.com/index.php?title=S1_Pro_system&diff=26100S1 Pro system2026-04-13T01:43:58Z<p>ST: </p>
<hr />
<div>{{S1 Pro icon}} {{Bose Reviewed}}<br />
<!--<br />
<div class="tocdiv"><br />
<div>__TOC__</div><br />
<div><br />
--><br />
[[File:S1 Pro Tilt.jpg|link=https://www.bose.com/en_us/products/speakers/portable_pa_speakers/s1_pro_system.html#v=s1_pro_system_with_battery_black|right|150px]] <br />
<br />
Introduced January 23, 2018 - replaced by [[S1 Pro+]] 2023<br />
<br />
[https://support.bose.com/s/product/s1-pro-portable-bluetooth-speaker-system/01t8c00000OydMeAAJ?language=en_US Bose S1 Pro Support site]<br />
<br />
Discuss it here: {{Community}}<br />
<br />
== Documentation ==<br />
{{:S1 Pro Documentation}}<br />
<br />
<!--<br />
*[[{{PAGENAME}}#FAQs|Unofficial FAQs]] <br />
--><br />
== Downloads ==<br />
{{S1 Pro Downloads}} <br />
=== Firmware ===<br />
See: [[S1 Pro System Updates]] Version 7.0.10 June 2018<br />
<br />
== Related Products ==<br />
[[S1 Pro+]]<br />
<br />
[[Bose S1 Pro Compared to Bose L1® Compact]]<br />
<br />
<br />
<br />
<html><br />
<h3>S1 Pro Introduction</h3><br />
<iframe max-width="560" height="auto" src="https://www.youtube.com/embed/rsqgYA8A1tU?rel=0" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe></html> <br />
<html><br />
<h3>Unboxing and Setup</h3><br />
<iframe max-width="560" height="auto" src="https://players.brightcove.net/1239686373001/default_default/index.html?videoId=5784636257001" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe></html> <br />
<br />
<!--<br />
== Different Models ==<br />
<br />
{{Different Models}}<br />
--><br />
<!--<br />
</div><br />
</div><br />
--><br />
== Input/Output Panel==<br />
=== Overview ===<br />
[[File:S1 Pro Connections and Controls.jpg|800px]]<br />
<br />
=== Gain Staging ===<br />
{{S1 Pro Gain Staging}}<br />
<br />
===Input Gain===<br />
{{S1 Pro Input Gain}}<br />
<br />
=== Tone Controls ===<br />
Channels 1 and 2<br />
* Bass +/-8 dB @ 100 Hz (60 Hz – 900 Hz)<br />
* Treble +/-10 dB @ 10 kHz (1.5 kHz – 17.4 kHz)<br />
<br />
=== Aux Input ===<br />
When you insert a 1/8" (3.5 mm) jack in the Aux input, this disables streaming Bluetooth.<br />
<br />
[[File:S1 Pro Aux Input.jpg|400px]]<br />
<br />
=== Microphone vs Guitar Volume ===<br />
<br />
<br />
See [[S1 Pro Microphone vs Guitar Volume]]<br />
<!--<br />
{{:S1 Pro Microphone vs Guitar Volume}}<br />
--><br />
<br />
== ToneMatch® Presets ==<br />
On Channels 1 and 2 you can select a ToneMatch® Preset.<br />
<br />
[[File:S1 Pro ToneMatch Switch.jpg|x150px]]<br />
<br />
These are the equivalent Presets on the ToneMatch® mixers (T1, T4S, T8S)<br />
<br />
===Off===<br />
:Category: Utility<br />
:Preset: Flat<br />
{{Compact}} equivalent: Channel 2, Line Level (switch position down)<br />
===Guitar===<br />
:Category: Acoustic Guitars<br />
:Preset: Steel String w/piezo<br />
{{Compact}} equivalent: Channel 2, Guitar (switch position up)<br />
<br />
===Microphone===<br />
:Category: Vocal Mics<br />
:Preset: Handheld Mics<br />
{{Compact}} equivalent: Channel 1<br />
<br />
:The Microphone Preset includes a sharp low-cut filter, keeping only that part of the audio spectrum where the microphone is useful. Using the microphone with this preset minimizes bass regeneration. The microphone preset was developed for close microphone use (“eat the mic”), which is the best way to optimize your vocal signal for tone and gain before feedback<ref>[[Presets 1.0|Original description of how the Microphone Presets work]]</ref>.<br />
<br />
:About the presets: No mic that I know of sounds good for close vocal, even for recording for that matter. All our presets compensate for this. A lot of these mics sound a lot more natural when you back off a foot or so from them. Of course, this is true in the studio too. No one does this for a live performance (backs very far off the mic) since you want to maximize gain before feedback by eating the mic. And so then you get funny sound and so then you need our presets to make it natural. <ref>[[Presets/Model_I_and_Classic#Cliff-at-Bose|Cliff Henricksen talks about Microphone Presets]]</ref><br />
<br />
== Reverb ==<br />
<br />
The reverb in the {{S1 Pro}} was engineered to be a useful general-purpose tool for a solo performer in venues suitable for up to 50 people. The Reverb control on the {{S1 Pro}} is roughly analogous to the Mix parameter on the {{T1}} and {{ToneMatch Mixers}}. <br />
<br />
There is no direct mapping of the {{S1 Pro}} Reverb to the {{T1}} or {{ToneMatch Mixers}}.<br />
<br />
You can get roughly similar results<br />
<br />
;{{T1}} <br />
* Type Medium<br />
* Time 4.00 msec <br />
* Balance 100%<br />
* Mix, Bright - set by ear<br />
<br />
;{{ToneMatch Mixers}} <br />
* Type Medium<br />
* Time 100% <br />
* Balance 100% <br />
* Mix, Bright - set by ear<br />
<br />
OR<br />
<br />
* Type Large<br />
* Time 70% <br />
* Balance 70%<br />
* Mix, Bright - set by ear<br />
<br />
== Power Switch==<br />
<section begin=PowerSwitch />[[File:S1 Pro Power Closeup.jpg|400px|right]] <br />
;In Use<br />
:Set the power switch to the top position (on).<br />
<br />
;Standby<br />
:When you are not using the {{S1}} you can leave the power switch in the standby position (middle) or the quick-charge position (bottom). <br>If the {{S1}} is not connected to AC power, it won't matter if you choose the middle or bottom position.<br><br />
<br />
;In Transit<br />
:You can put the {{S1}} power switch in the bottom position (quick charge) position when transporting the unit. This may reduce the likelihood the switch will get bumped to the on position.<br />
<br />
;Charging<br />
:When you are charging the {{S1}} you can put the power switch in the standby position (middle) or the quick-charge position (bottom).<br />
<br />
More detail.<br><br><br />
[[File:S1 Pro Power.jpg|640px]]<br />
<br />
<section end=PowerSwitch /><br />
<br />
== S1 Pro LEDs ==<br />
<!--{{:S1 Pro System LEDs}}<br />
--><br />
<html><br />
<details><summary>S1 Pro LEDs</summary></html><br />
{{S1 Pro LEDs}}<br />
<html></details></html><br />
<!-- {{S1 Pro LEDs}} --><br />
<br />
== Battery ==<br />
<!-- {{S1 Pro Battery}}<br />
--><br />
<html><br />
<details><summary>S1 Pro Battery</summary></html><br />
{{S1 Pro Battery}}<br />
<html></details></html><br />
<br />
== Pole Cup Switch ==<br />
<html><br />
<details><br />
<summary>S1 Pro Pole Cup Switch</summary><br />
</html><br />
{{:S1 Pro Pole Cup Switch}}<br />
<html><br />
</details><br />
</html><br />
<br />
== Channel 3 Volume Control ==<br />
<br />
<html><br />
<details><summary>S1 Pro Channel 3 Volume</summary></html><br />
{{S1 Pro Channel 3 Volume}}<br />
<html></details></html><br />
<br />
== Noisy Volume Controls ==<br />
On {{S1 nl}} channels 1 and 2: When you rotate the volume controls back and forth within 10 seconds of turning on the unit, you may hear a scratchy sound.<br />
<br />
This is not a symptom of a hardware issue with the volume controls that warrants concern.<br />
<br />
The noise is related to a start-up process within the unit, not the volume controls. The noise you hear is not the result of a physical problem with the volume controls.<br />
<br />
When you turn on the unit and rapidly turn one of the volume controls back and forth you may hear a noise. This can happen on either channel, 1 or 2.<br />
<br />
After several seconds, the sound stops. At this point, the volume controls on both channels 1 and 2 should work as expected, quietly.<br />
<br />
If you cycle the power off and back on, you can get the same result on the other channel, 1 or 2.<br />
<br />
If you turn on the unit and let it sit for 20 seconds, the volume controls are quiet. That doesn't mean you have to wait for 20 seconds before you can use the unit. You just have to wait for 20 seconds if you don't want to hear the noise when you rotate the volume controls quickly.<br />
<br />
[https://www.bosepro.community/g/portable/topic/S1-Pro-noise-when-turning-volume-controls-rapidly?reply=35936033503225790#35936033503225790 Related discussion in the {{Community nl}}]<br />
<!--<br />
On {{S1 nl}} channels 1 and 2: When you rotate the volume controls back and forth within 10 seconds of turning on the unit, you may hear a scratchy sound. This does not indicate a fault. The noise should stop happening once the {{S1 nl}} has completed its internal start-up routine (5-10 seconds).<br />
--><br />
<br />
== Orientations and Dispersion ==<br />
<br />
; Dispersion<br />
<br />
In the speaker stand, tabletop, and tilt-back orientations<br />
<br />
*Horizontal 120 degrees <br />
*Vertical 50 degress<br />
<br />
In the Horizontal (monitor) orientation<br />
<br />
*Horizontal 50 degrees <br />
*Vertical 120 Degrees<br />
<br />
== Auto EQ ==<br />
<html><br />
<details><summary>S1 Pro Auto EQ</summary></html><br />
{{S1 Pro Auto EQ}}<br />
<html></details></html><br />
<br />
== Line Out ==<br />
{{:S1 Pro System Line Out}}<br />
<br />
== Bluetooth ==<br />
=== Version ===<br />
The S1 Pro system supports Bluetooth version 4.2<br />
<br />
=== Bluetooth Light ===<br />
* Fast blink - attempting to re-connect with previously paired devices<br />
* Slow blink - in pairing mode<br />
* Solid - connected<br />
* No active connection (must put in pairing mode to create a connection) <br />
** No devices in the {{S1 Pro}} device list<br />
<br />
===Bluetooth Pairing===<br />
# Turn on the Bluetooth feature on your mobile device.<br>Note: The Bluetooth feature is usually found in the Settings menu.<br />
# Press and hold the Bluetooth Pair button for two seconds.<br>Note: When ready to pair, the Bluetooth button will flash white.<br />
# Select your Bose® SI Pro system from the device list.<br />
<br />
Note: When the device pairs successfully, the Bluetooth button will turn solid white.<br />
<br />
Note: If your paired phone receives a call, any music playing will be paused and the ring will come through the phone: no calls or notifications will come through the SI Pro.<br />
<br />
Once you have paired the {{S1 nl}} to a Bluetooth device, the {{S1 nl}} will automatically connect to that device when you turn on the {{S1 nl}} if it is powered on and within range. If you want to terminate that connection, terminate the connection on the Bluetooth device.<br />
<br />
:[https://www.bose.com/en_us/support/article/pairing-a-bluetooth-device-s1.html More detail on Bose.com]<br />
<br />
==== Clear the Bluetooth Pairing List ====<br />
# Press and hold the Bluetooth button. until it goes dark (about 7-10 seconds).<br />
# On your Bluetooth device, remove the Bose S1 Pro from the device list.<br />
<br />
<br />
You are now ready to [[{{PAGENAME}}#Bluetooth Pairing|pair the S1 Pro to a Bluetooth device]].<br />
<br />
=== Turn off Bluetooth ===<br />
You cannot turn off Bluetooth however if you clear the Bluetooth device list, you won't be able to connect to the {{S1 Pro}} until you create a new paired connection.<br />
<br />
:If you press and hold the Bluetooth button until it goes dark (7-10 seconds), this clears the Bluetooth device list on the {{S1 Pro)}. You will not be able to connect to the {{S1 Pro}} unless you put it into pairing mode (press and hold the Bluetooth button until it blinks (approximately 3 seconds) or put the {{S1 Pro}} in Standby mode (power switch middle position) or Fast Charge (power switch in lower position) and then turn the {{S1 Pro}} on again.<br />
<br />
<!--<br />
You cannot turn off Bluetooth however, Bluetooth will turn off after about two minutes after you turn the power on unless the S1 Pro successfully connects to a Bluetooth device.<br />
--><br />
<br />
When you turn on the power on the S1 Pro, it will attempt to connect to a paired device via Bluetooth. If there are no paired device, it will go into pairing mode.<br />
<br />
If the S1 Pro cannot connect to a paired device, the Bluetooth light will blink for about two minutes while it is attempting to connect. If it doesn't make a connection, the Bluetooth light will turn off (time out). At that point, the Bluetooth is off until the next time you turn the power off/on.<br />
<br />
==== Disconnect a Bluetooth connection ====<br />
If you have Bluetooth connection active and you want to disconnect it. If you manually disconnect, the {{S1 nl}} will time out after about 2 minutes, and Bluetooth will remain off until the next time you power off/on.<br />
<br />
; IOS <br />
Starting with iOS 9, Apple has added a new option for Bluetooth devices: <br />
*Open Settings, select Bluetooth<br />
*Tap the "i" circle button to the right of the accessory. <br />
*From there, you can see the new "Disconnect" option, alongside the legacy "Forget This Device" choice.<br />
<br />
;Android<br />
Disconnect or Unpair from a Bluetooth Device<br />
* From home, tap Apps > Settings > Connections tab > Bluetooth.<br />
* Tap the ON/OFF slider to turn Bluetooth on.<br />
* Tap the connected device, and then tap OK to disconnect.<br />
<br />
==== Reconnect a Bluetooth Connection after a time out ====<br />
If the S1 Pro system Bluetooth light is off (because it has timed out), if you press it briefly, it will blink.<br />
<br />
With the Bluetooth light blinking, I've been able to initiate a Bluetooth connection from a previously paired device. This worked with:<br />
<br />
*An IOS 11.4 device<br />
*An Android 7.0 device<br />
*A Windows 10 device<br />
<br />
{{#lst:S1 Pro system|batterylevel}}<br />
<br />
==== Bass Content in Bluetooth ====<br />
{{:S1 Pro Bass Over Bluetooth}}<br />
<br />
== {{S1}} Bass Distortion with Bluetooth through Channel 3 ==<br />
; There have been some discussions in the Bose Portable PA Community about bass distortion with Bluetooth sources through Channel 3. Will Bose issue a firmware update to fix this?<br />
:If you hear bass distortion you're hitting the maximum volume (bass) the S1 Pro system can handle. We tested the S1 Pro system with a wide range of applications including live music, music playback with various styles of music, public speaking, and more. We tuned the bass response for the best overall performance for the widest number of people. We continue to listen to customer comments here and through all channels. We know that most of our customers are extremely happy with the sound of the S1 Pro system. <br>If you need more overall volume for music playback you need a bigger enclosure. The L1 Compact and the larger L1 systems may be a better choice.<br />
<br>Source: [https://www.bosepro.community/g/portable/topic/s1-pro-channel-3-has-too-much-bass?reply=38751944705833509#38751944705833509 S1 Pro Channel 3 has too much bass]. Related discussion [https://www.bosepro.community/g/portable/topic/bass-over-excursion-or-port-noise-turn-down-for-what S1 Pro channel 3 bass over excursion]<br />
<br />
Consider using an app to control the sound at the source. For example [https://www.bosepro.community/g/portable/topic/using-the-spotify-equalizer-with-your-s1-pro-systems Using the Spotify Equalizer with your S1 Pro system] <br />
<br />
We have explored ways to change the response in the low frequencies. We found making the S1 Pro system more tolerant of heavy bass diminishes the overall performance in other ways. We don't have plans to change the sound profile of the S1 Pro system through a firmware update.<br />
<br />
== S1 Pro with Sub1 or Sub2==<br />
{{Sub with S1Pro}}<br />
<br />
== S1 Pro with F1 Subwoofer ==<br />
; Can I use one or two {{S1}}s with an F1 Subwoofer?<br />
:Yes. Please see this discussion in the Bose Portable PA Community [https://www.bosepro.community/g/portable/topic/s1-pros-as-front-of-house-with-f1-subwoofer S1 Pros with F1 Subwoofer]<br />
<br />
== Rotating the Logo ==<br />
Rotate the logo counter-clockwise NOT clockwise. Don't force it. You will break the mechanism.<br />
<br />
== Limiter ==<br />
{{S1 Pro Limiter}}<br />
<br />
== {{S1}} Reset ==<br />
{{S1 System Reset}}<br />
<br />
== FAQs ==<br />
<html><br />
<details><summary>S1 Pro FAQ</summary></html><br />
{{S1 Pro FAQ}}<br />
<html></details></html><br />
<!-- {{S1 Pro FAQ}} --><br />
<br />
== S1 Pro with B1 ==<br />
<br />
Please see: [[S1 Pro B1 Compatibility]]<br />
<br />
----<br />
[[Category:S1 Pro]]</div>SThttps://boseperformer.com/index.php?title=Gain_Staging&diff=26099Gain Staging2026-04-12T03:25:13Z<p>ST: </p>
<hr />
<div>{{Model I icon}}{{Model II icon}}{{Compact icon}}{{L1 Pro icon}}<br />
<big>'''Gain Staging'''</big> <br />
<!--<br />
<table><tr><br />
<td valign="top" width="250">__TOC__</td><br />
<td valign="top">The specific references to Signal/OL LEDs, Trims, and Remote Levels are all specific to the L1™ Model I and Classic. The principles are applicable to the entire {{PAS}}.<br />
<br />
For Vocal Microphones try this short video tutorial.<br />
<br />
{{T1 Gain Microphone}}<br />
<br />
{{Get Plugged In Microphone}}<br />
<br />
<br />
</td><br />
</tr></table><br />
<br />
--><br />
<br />
== L1 Pro /S1 Pro(+) / Model II / Compact / F1 ==<br />
=== All models except the ToneMatch Mixers ===<br />
On the [[L1 Pro]], S1 Pro(+), {{Model II}}, the {{Compact}}, and the {{F1}}, Volume (Compact/F1), these controls are actually trim controls. The L1 Model II/L1 Model 1S have a trim control. <br />
<br />
There is no master volume control later in the signal chain. The amps are running at full output. '''There is no need to "add a little extra" for headroom'''. If you do, you are unnecessarily amplifying noise (e.g. audible hiss/hum) during quiet moments and raising the likelihood of distortion when you get loud.<br />
<br />
=== Setting the levels ===<br />
For the [[L1 Pro]], run the source at the highest output and set the volume so you see solid green and occasional flickers of red.<br />
<br />
For the L1 Model II, run the source at the highest output and set the trim so that you see solid green and occasional flickers of yellow.<br />
<br />
For the L1 Compact, run the source at the highest output and set the volume so that you see solid green, and no red.<br />
<br />
For the F1 Model 812 or F1 Subwoofer, run the source at the highest output and set the volume so that you see solid green, and no red.<br />
<br />
== Gain Staging Notes from the Bose Team ==<br />
=== Ken-at-Bose ===<br />
{{Model I icon}} {{Classic icon}} <br />
[[Image:THELinemenLibrary---004.jpg|200px|right|Tony Sarno of THE Linemen eats the mic]]<br />
Ken-at-Bose <ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/3976055944/m/7291046002/r/8661011102#8661011102 Ken-at-Bose Talks about Gain Staging in the Bose® Musicians Community Message Boards]</ref> talks about setting the gain for your microphone.<br />
<br />
Please review the instructions for setting the trim level on Channel 1 and 2. Sing as loud as you're going to sing with your lips touching the windscreen and adjust the trim so that the LED just flickers RED. (You can do this with the channel and master volumes on the remote turned all the way down.<br />
<br />
Remember that when you want to be your loudest vocally, you're lips should be touching the windscreen. You can always "work" the mic by backing away from it to lower volume but always remember that when you need to be loudest, you're kissing that windscreen.<br />
<br />
This technique is true for ANY live amplification system, not just ours.<br />
<br />
=== Bill-at-Bose ===<br />
{{T1 icon}} {{Model II icon}}<br />
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}}.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If the T1 trim is going red, you should back off, you are definitely nearing or in compression.<br />
<br />
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.<br />
<br />
=== Bose FAQs Classic / Model I ===<br />
This is an excerpt from the Bose FAQs<ref>[http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/support/product_faqs.jsp&ck=0#question32 What is the proper method for setting the gain on the PS1 Power Stand?]</ref><br />
<br />
There are three gain settings for the primary channels (1 and 2) and two gain settings for the secondary channels (3 and 4).<br />
<br />
==== Channels 1 or 2 ====<br />
To set the gain for the primary channels (1 or 2):<br />
<br />
# Adjust the input gain. Set the trim for the individual channel at the back panel of the PS1 Power Stand. Supply a maximum source signal and watch the LED, when you start to see it flash red, back off slowly on the trim potentiometer until it flashes green again.<br />
# Adjust the channel gain. The channel gain is controlled via the R1 Remote Control. With the master at zero, set the respective channel gain at 12 o'clock or 6 on the R1 Remote Control. At this point, the LED on the remote will be at the same intensity as the LED on the back panel of the PS1 Power Stand. This is considered optimum gain. The musician can then add a bit more from the R1 Remote Control if he/she requires.<br />
# Lastly, the R1 Remote Control MASTER knob is the last stage of gain. This knob gives you control over all 4 channels of the PS1 Power Stand.<br />
<br />
==== Channels 3 or 4 ====<br />
To set the gain for the secondary channels (3 or 4):<br />
<br />
# Adjust the input gain of the individual channel. These channels do not have indicator LEDs but are optimized for 0dB line level signals, such as from an effects device, mixer or CD player.<br />
# As above, the R1 Remote Control MASTER knob is the last stage of gain. This knob gives you control over all 4 channels of the PS1 Power Stand.<br />
<br />
=== Chuck-at-Bose ===<br />
{{:Gain Staging/Chuck-at-Bose}}<br />
<br />
== Owners Talk about Gain Staging ==<br />
<br />
=== Owner gittar-jonz <ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/778102955/m/6351081922?r=5011018032#5011018032 gittar-jonz in the Bose® Musicians Community Message Boards]</ref> ===<br />
<br />
Dialing in your sound IS a personal preference, but proper gain staging does have some technical right and wrongs.<br />
<br />
The accepted rule is to set your gain as HIGH as possible, as EARLY in the signal chain as possible - and adjust each consecutive gain stage until you reach the last component. This will give you maximum headroom and the best signal-to-noise ratio. Every signal carries some noise with it, and if you set your gains too low at the front (preamp/mixer/processor), and then try to compensate for it at the end ({{L1}} ), you will be magnifying the "noise" as well as the signal. The "cheaper" the equipment is that you're using in front, the more obvious this will be.<br />
<br />
The easiest way to do this is to just VISUALIZE how your signal runs. Whatever your signal from the guitar or mic hits first - be it internal or external preamp, processor, mixer, whatever - maximize THAT trim control first. Having LED's to visually see the clipping makes this job much easier - just sing or play as loud as you plan to (turn the master down - you don't need to actually make noise to set your trims if you have LED's) and crank the trim/gain until it flashes red into clipping - then back it off a bit to give yourself some room. Then continue down the path of the signal chain - this includes any "inserts" into the chain - adjusting each component until you finally hit the L1&trade; , which is the end of your chain.<br />
<br />
Every piece of equipment that I've used in my L1&trade; has benefited from this rule. I've had some pieces that had intolerable amounts of noise (the Digitech Vocal 300 comes to mind) when the gain at the Digitech was set low, and the {{L1}} set high. When I reversed them back to the "rule" - set the Digitech gain as high as possible, and just adjust the trim at the L1&trade; only as needed, it became a usable piece of equipment.<br />
<br />
(minor edits by [[User:ST|ST]] <strike>PAS</strike> {{L1}} )<br />
<br />
=== ST ===<br />
See [[Gain Staging/General Principles]]<br />
<br />
<br />
<br />
<br />
== Gain Staging with a Mixer ==<br />
{{:Gain Staging / Mixer}}<br />
<br />
<br />
<br />
<br />
----<br />
<references/><br />
<br />
[[category:Gain]]</div>ST