T1 ToneMatch® Audio Engine: Difference between revisions

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There is a large variety of effect processors out there with many different types, qualities, and prices and unfortunately there isn't a one-size-fits approach. Not the least factor is that a lot depends on personal taste and preference.

Our intention with the {{T1 ~~icon~~}} was not necessarily to build the "world's best effects" but solid usable tools that the musician can deploy in a live situation as the situation requires. We've evaluated effect processors that are popular for live performance and used that to guide our own development. We've also tried to limit the complexity of the user interface, i.e. we provide only the most useful parameters for a certain effect and have pre-tuned the more esoteric ones.

Our intention with the {{T1}} was not necessarily to build the "world's best effects" but solid usable tools that the musician can deploy in a live situation as the situation requires. We've evaluated effect processors that are popular for live performance and used that to guide our own development. We've also tried to limit the complexity of the user interface, i.e. we provide only the most useful parameters for a certain effect and have pre-tuned the more esoteric ones.

This being said, the {{T1 ~~icon~~}} has a couple of things that are different from most effects processors: The processing power devoted to this is substantial. The processing chip we use operates in 32-bit floating point and has a peak performance of about 2 billion operations per second (2 GFlops). That is a lot more than can be found in typical processors of this type.

This being said, the {{T1}} has a couple of things that are different from most effects processors: The processing power devoted to this is substantial. The processing chip we use operates in 32-bit floating point and has a peak performance of about 2 billion operations per second (2 GFlops). That is a lot more than can be found in typical processors of this type.

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 There is a large variety of effect processors out there with many different types, qualities, and prices and unfortunately there isn't a one-size-fits approach. Not the least factor is that a lot depends on personal taste and preference.
-Our intention with the {{T1 icon}} was not necessarily to build the "world's best effects" but solid usable tools that the musician can deploy in a live situation as the situation requires. We've evaluated effect processors that are popular for live performance and used that to guide our own development. We've also tried to limit the complexity of the user interface, i.e. we provide only the most useful parameters for a certain effect and have pre-tuned the more esoteric ones.
+Our intention with the {{T1}} was not necessarily to build the "world's best effects" but solid usable tools that the musician can deploy in a live situation as the situation requires. We've evaluated effect processors that are popular for live performance and used that to guide our own development. We've also tried to limit the complexity of the user interface, i.e. we provide only the most useful parameters for a certain effect and have pre-tuned the more esoteric ones.
-This being said, the {{T1 icon}} has a couple of things that are different from most effects processors: The processing power devoted to this is substantial. The processing chip we use operates in 32-bit floating point and has a peak performance of about 2 billion operations per second (2 GFlops). That is a lot more than can be found in typical processors of this type.
+This being said, the {{T1}} has a couple of things that are different from most effects processors: The processing power devoted to this is substantial. The processing chip we use operates in 32-bit floating point and has a peak performance of about 2 billion operations per second (2 GFlops). That is a lot more than can be found in typical processors of this type.