Presets 1.0: Difference between revisions

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<td valign="top">If you have a {{Classic}} then you probably want to read [[Presets#Model_I_.2F_Classic|Presets for the Model I and Classic]]

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</tr></table>This is from a post on the {{Forum}} by Cliff-at-Bose December 3, 2003.

00 flat - This is the standard non-processed “reference” preset. As of this writing, there are other flat presets, shown on the preset list that comes with all systems. Use the flat settings for most electronic and digital keyboards and synths as well as for “standard” or commercial audio recordings, like CD/MP3 etc. Also, this preset is a useful comparison for listening to how your instrument sounds on its own v/s with a Bose preset. Since this preset basically makes things sound normal (or “truly great”, if the recording is “truly great”), it is a good preset to use in a recording, mixing or editing/mastering studio. (Keep in mind that channels 3 and 4 are flat also).

01 Shure SM 58 – We did pretty much the same thing for the all of the popular mics listed here: We tried to maintain each microphone’s basic sonic signature but we optimized individual behavior to produce a more natural voice presentation for each microphone. For instance, the SM58 is somewhat hot in the low midrange. We de-emphasized this, brightened it up a bit and made it sound better over the Bose system for close vocal work. We also added a sharp low-cut filter, keeping only that part of the audio spectrum where the mic is useful, so that using the microphone with this preset minimizes bass regeneration. Turn the knobs on the remote if you want to change the tone or use preset 00 to see where we started from. All these mic presets were developed for close microphone use (“eat the mic”), which is the best way to improve your vocal signal.

09 Future microphone, 105 Hz highpass

10 80 Hz Highpass – This rolls off the deep bass. This is a very useful preset, especially for electronic keyboards and “flat” condenser microphones. For instance, many digital pianos will have a giant gob of bass in the lower left-hand. This never happens in a real piano, unless you listen right next to the soundboard. Many keyboards have a lot of deep bass and this part of the audio spectrum really tends to muddy the mix of a live band. If you insist on mega-bass levels from, say, your big fancy synth, go ahead with your bad self. But at least try cutting the deep bass with preset 10 and try to be objective with how this improves the sound of the whole band. This is a whole theme for live playing, by the way: Play your instrument, or play the tune? Play with the band, or play with yourself? With this new system, you can now hear your instrument and the whole band. How you sound and how the whole ensemble sounds is no longer a mystery.

19 flat

20 Taylor 810 with expression pickup system – We de-emphasized the low midrange and boosted the midbass and upper mids, making this modern 3-pickup acoustic guitar sound really pleasant and useful thru our system at most volume levels. It’s a modified smiley. Compare to 00.

24 Acoustic guitar with Shure SM57 mic, ~4” from sound hole – Same as for the 451, but using this popular and ubiquitous microphone.

30 Fender Telecaster clean/direct – The Tele is a bright instrument and pretty much sounds fine on its own. It’s one of the various electric guitars that sound balanced when recorded “direct”. Others like this include the Gibson Les Paul and Yamaha AE800. We tamed the deep bass and upper mids a bit for the Tele, but it’s pretty much untouched otherwise. Because it’s mostly flat, this is a very useful preset for many things. You might like it a lot if you intend to use a Line-6 Pod, other modeling device or one of a universe of distortion pedals. Always compare to 00.

38 Gibson ES335/345 split neck pickup clean/direct - This option thins out the 335 by using only half of the neck pickup. With this preset, it sounds very Strat-like, not as much of a midrange de-emphasis as the stock 335.

40 Wurlitzer 200 - This is an “ensemble mix” preset. Most Wurlitzers buzz hellishly on both the high end and low end and don’t sound good with much low end content anyway. This preset emphasizes the midrange and will sound totally authentic (“like the record”) if you just plug it in and play. Use the headphone output of the instrument so that you cut off the internal speakers. You want all the sound to come out of the Bose system. This preset will not prevent you from breaking reeds.

42 Hohner Clavinet D6 de-quack – This original clav sounds great direct, just fabulous. Here’s another “mix” preset that de-emphasizes the mid midrange a bit and it won’t “quack” quite as much in the mix. You’ll love flat also, so compare. This preset de-emphasizes the 1 KHz octave and so it might be useful for reducing a “nasal” quality in anything. Try both this and 00. Some players will like the latter better.

50 Upright 3/4 Bass with Fishman pickup - The instrument we tried seemed to have a broad emphasis around the “honky” octave, 500 Hz. So we tamed this a bit and added some upper bass and upper midrange, de-emphasized the high end to reduce string squeak but still maintain that “stringy” quality an upright bassist loves. It sounded really nice with all the “brown” tone you could want.

52 Smiley Bass - Most bass amps, even big (SVT-sized) ones have limited deep low end, and for good reason (another possibility is that’s just what they are and have evolved this way): In an amplified ensemble with drums, a lot of deep bass gets in the way of a lot of instruments, “swamping” them. This is especially true of kick drum re: its low-end attack definition. So, we de-amphasized deep low end, gave low midbass and mid-midrange a boost (thus “smiley”) and rolled off the very high end, reducing string and fret noise. Most bassists playing a “passive bass” will like this preset a lot. It’s a nice big sound with good definition, and it’s pretty much a plug and play. We tried this with some true collector basses (old Fender P and Jazz, Danelectro, etc) and with some more modern basses and got good results with most. Compare to 00, but compare at rehearsal or on the gig for best results, not in your living room.

60 Kick drum, Sennheiser 601 - Use this preset with a “prepared” kick drum, and watch your levels (trim way back, lots of signal here). Prepare the kick drum with a good bottom pillow, pad or other kick head dampening and fill the shell with sound absorbing material. The Bose Dacron® kit has enough for any kick drum. If you use a second head (not necessary) dampen it too and give it minimum tension. This will be for appearance only. Set the mic head right on the beater target area. This will sound great for kick in the mix, a little “sharp” on its own. It works really nice for the whole ensemble. Make sure you use enough bass speakers for the application.

63 Kick drum, Shure Beta 52a - Same as for the Senn 601 but making it work well for this mic.

71- Crucionelli Accordion with LIMEX “Micro Professional” pickup/preamp system - We think this is a popular configuration on a “better” accordion. It is a 1:1 mix of the bass and treble (left and right hand) systems, which can be accomplished with a “Y jack” or by putting both LIMEX outputs into channels 1 and 2 using preset 71. The former is useful if you want to use a vocal microphone in one channel and need that channel’s preset for the mic. As a dedicated accordion amp, however, use channels 1 and 2 for the two LIMEX outputs (grey and black jacks). This system was very midrangy through our system and needed brightening. If you have this system, you will love the sound, just like the real thing only now you can play for 500 people if you want. This works really good without the bass box, by the way. Is this the ultimate accordion amp?