Here's the place to ask questions about the new T1™ audio engine.

This message has been edited. Last edited by: Ken-at-Bose,

Is this the new little mixer-looking piece of equipment, or is it new software (or some such intangible)?

Hey, I just realized the main site might have that answer, or at least a clearer picture than what we've seen in the Acoustic Guitar magazine ad we've seen here for several days now. I'll check...(EDIT AFTER CHEKING MAIN SITE):

So, is any existing ToneMatch technology just for ES equipped Taylor guitars?

A little confused on existing ToneMatch (if any) and what the T1 will offer. Sorry about the similar questioning across the new forum, here. I've tried to keep them unique to the thread topic, but they kinda weave together.

Thank you, Ken. Thank you, Bose!

Nathan

THe new T1 has effects built in? If so, what effects?

quote:

Is this the new little mixer-looking piece of equipment, or is it new software (or some such intangible)?

It's very tangible - it is that little mixer looking device (it is MUCH more than a mixer) in the Acoustic Guitar ad.

quote:

So, is any existing ToneMatch technology just for ES equipped Taylor guitars?

No! along with the anouncement of the T1(tm), is the anouncement formally of several more ToneMatch(tm) partners. For example, Audix Microphones, LR Baggs pickups, Lakland Basses, Rickenbacker Guitars and Basses, NS Design, Duncan-Turner Acoustic Research, David Gage, and of course Taylor Guitars..

That's a real testament to what the industry thinks about this concept. Pretty cool.

quote:

Originally posted by Sludgefactory:
THe new T1 has effects built in? If so, what effects?

I'm going to let Mike Z come back with a full answer to that one, but the dial on the T1 has the following sections:
Tone Match engine
zEQ (I'll touch this one so Mike doesn't have to be all humble in a second)
Para EQ
Comp Gate
Mod (ulation)
Delay
Reverb

then
Reverb type
Prefs
Scenes
Aux
Tuner
and we're back to Tone Match Engine.

zEQ may be the coolest move of the whole thing. Mike Z at Bose came up with the idea that when you ran an instrument (such as a bass) into a traditional ANY system (even our original), the EQs for bass/mid/treble were set for full range audio.

zEQ allows you to tell the T1 Tone Match Module what instrument is plugged into a particular channel and suddenly your EQ parameters for bass/mid/treble, should you chose to use the zEQ, are aligned to the frequency range of the instrument. So you would be have 3 ranges of tone control only within the range of notes that instrument produces. Helps you fine tune the sound of your bass differently than your mandolin, for instance.

That Mike Z is a little genius. So, that's the "Z" in "zEQ".

Regarding the Tone Match partners, I can't say more other than we have nabbed some KILLER other partners for down the line. And, with the T1 USB port, updating your T1 will be easier than ever when those come.

BigKyle,
Does this mean that we could use the Tone Match Module on its own and not in conjunction with either L1 model?

For instance, I am doing a short set this weekend on a big stage with a huge sound system. I can't set up my L1, even as monitor. If I had the Tone Match Module, could I use that, almost like a really fancy DI, run through the huge system and take advantage of the Bose Tone Match technology, EQ, effects, etc?

That would be sweet!

Matt

Is the T1 unit wireless?

Sludgefactory,

Here is an overview that may be helpful:

Effects
Modulation
Chorus 1: Brite - Shimmering chorus that works well with acoustic instruments. Includes adjustable mix, depth and
speed parameters.

Chorus 2: Warm - Similar to Chorus 1 but with a little less high frequencies. Includes adjustable mix, depth and speed
parameters and works well with electric guitars and basses.

Chorus 3: Dark - Similar to Chorus 2 but with less high frequencies for a darker tone. Includes adjustable mix, depth
and speed parameters, and works well with electric guitars and basses.

Flanger 1: Tape - Tape-style flanger with no feedback. Includes adjustable mix, depth and speed parameters, and
works well with electric guitars and basses.

Flanger 2: Feedback - Same as Flanger 1 but with preset Feedback effect.

Phaser 1: Stomp - Classic “stomp box”-style phaser. Features a preset wide speed with variable speed and feedback
parameters, and works well with electric guitars/basses and keyboards.

Phaser 2: Rack - Classic “rack”-style phaser. Features a positive mix type with variable speed and feedback
parameters, and works well on electric guitars/basses and keyboards.

Phaser 3: Warm - Vintage-style phaser. Features a positive mix type with variable speed and feedback parameters, and
works well as an effect on electric guitars/basses and keyboards.

Phaser 4: Bright - Phaser with no bass. Features a positive mix type with variable speed and feedback parameters that
works well on electric guitars and keyboards.

Tremolo - Vintage-style tremolo effect with variable speed and depth parameters that works well as an effect on guitars
and keyboards.

Delay
Choose from analog, digital or tape delay. Independently assign/adjust the delay settings for desired channels with
discrete control over the mix and feedback time parameters for each channel. For example, the user may select a tape
delay for the vocal on Channel 1 while selecting an analog delay for the guitar on Channel 2.

Digital Delay - Digital delay effect where the repeats remain uncolored. Features adjustable mix, time, and feedback
parameters, and may be used on guitars, drums or vocals.

Analog Delay - Classic analog delay effect, where the repeats continuously deteriorate. Features adjustable mix, time
and feedback parameters, and may be used with guitars, drums or vocals.

Tape Delay - Vintage-style tape delay effect, where the repeats deteriorate even more than analog delay, and may be
used with guitars, horns, harmonica or vocals.

Reverb
The T1 allows access to a global reverb type that may be applied to all channels. The reverb types are plate, small,
medium, large and cavern. Control decay time and level of reverb signal sent through master output. Please keep in
mind that once you select a global reverb type to be used among any or all channels, you may control the mix and
brightness of each channel. However, the type of reverb may only be altered for all channels. This is achieved through
adjusting the Reverb Type audio engine mode.

Plate - Creates the ambience of a medium-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters and may be used with guitar, horns, percussion instruments and vocals.

Small - Creates the ambience of a small-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters and may be used with guitar, horns, percussion instruments and vocals.

Medium - Creates the ambience of a medium-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters and may be used with guitar, horns, percussion instruments and vocals.

Large - Creates the ambience of a large-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters, and may be used with guitar, horns, percussion instruments and vocals.

Cavern - Creates the ambience of an extremely large space. Features adjustable time and balance (ratio of early/later
reflections) parameters, and may be used with guitar, horns, percussion instruments and vocals.

Dynamics Processing

Compressor 1: Light - Compressor featuring a preset low compression ratio with variable threshold and gain
parameters. May be used as a general-purpose compression for most instruments and microphones that require minimal
level control.

Compressor 2: Medium - Compressor featuring a preset moderate compression ratio with variable threshold and gain
parameters and may be used with basses, guitars, keyboards, vocals or other instruments requiring subtle level control.

Compressor 3: Heavy - Compressor featuring a preset high compression ratio with variable threshold and gain
parameters and may be used with loud instruments such as horns and drums, vocals or other instruments that require
more aggressive level control.

Noise gate - adjustable threshold and speed independently assignable for each channel. Controls extraneous noise from
open microphones or hot instrument pickups from being introduced into the system.

Limiter – User-adjustable threshold and gain settings are independently assignable for each channel.
Prevents input signals from overloading, helping to maintain consistent gain staging.

De-Esser – User-adjustable threshold and gain settings are independently assignable for each channel.
Compression useful in reducing high-end frequencies associated with vocal sibilant sounds.

Kick Gate The Kick Gate is a Bose proprietary technology that allows you to drive your kick
drum to loud levels while avoiding microphone feedback.

And how will we control all these effects while playing? Is there a foot controller in the works? I'd hate to run back to the T1 between every song to change or stop effects.

Right now I'm using a VoiceLive for vocals. If playing bass, I plug in direct. If guitar, I use a PodXT. I know I'm going to love the new system and will probably be selling my old systems (3 of 'em) very soon.

[rant on]
One of the things that scares me is that with the additional capabilities will give more people the chance to really screw up their sound. There are several bands here in Houston that absolutely destroy the elegance and clean sound of their Bose systems by hooking up all sorts of processing devices and mixers. I'm probably a purist, but my band gets great results by using the one-Bose-per-player approach with as few effects as possible. Just whatever the song requires.
[rant off]

Whit regard to zEQ, have they included individual vocal ranges in that? SATB for instance?

The pressrelease and photo's are available at Vettaville.nl if you want..

THanks, Neil...that was very helpful and detailed

quote:

[rant on]
One of the things that scares me is that with the additional capabilities will give more people the chance to really screw up their sound. There are several bands here in Houston that absolutely destroy the elegance and clean sound of their Bose systems by hooking up all sorts of processing devices and mixers. I'm probably a purist, but my band gets great results by using the one-Bose-per-player approach with as few effects as possible. Just whatever the song requires.
[rant off]

This is a great point and is absolutely true. The power for good or evil is in your hands. A *lot* of power in a very small pacakge.

Ive thought about this a lot and I see it this way - with the model I and model II you are hearing *exactly* what you are doing. In a triple system setup, an effect that sounded great on stage a lot of times did not transfer to audience. With everyone hearing the same thing, it gives the artist the power to really make it sound great. Maybe not right at first - but with some effort, some evaluation and 'woodshedding' an artist can really hone in their unqiue and personal sound. And then they can take that precisely dialed in tone, SAVE it on their T1(tm) in what we call a 'Scene' and then take it to every gig and deliver that tone to everyone with either a model I or model II.

It's a lot more power, but I think it's easier to deploy that power in an artistic way than it's ever been.

MikeZ

quote:

And how will we control all these effects while playing? Is there a foot controller in the works? I'd hate to run back to the T1 between every song to change or stop effects.

Great question. On the T1(tm) itself you have 'FX Mute' buttons to quickly enable and disable the effects on each channel induvidually. It is also fairly quick to change from say a Chorus to a Phaser - a task you could do in between songs. OR you could save the effects profile in a 'Scene' and recall it before the next tune. You can save up to 15 of these scenes on the unit.

You dont have to run back to change the settings. There is an accessory for the T1tm) that allows you to have the unit mounted securely to a mic stand, right at your fingertips. It's very fast tointereact with the unit when it's right there.

There are no plans for a foot controller at this time. Ive found by and large that musicians who need constant mid song effects on/off capabilities are already set up for it anyway, and you can easily integrate this typ of rig into the T1(tm).

MikeZ

Thank you for some great answers! True about the power for good or evil. Ultimately, the musician can choose, but now there are more choices. (Choose well!)

I've mounted my L1 remote on my mic stand and that works wonderfully. Since the T1 can be mounted, that will answer the question about quick control. Sounds like you Bose-folks have once again come up with a winner. I like the new footprint too.

As an owner of three L1 systems I've come to depend on quality sound at live performances. Now I may be forced to upgrade. I don't know if I should say thank you or send hate mail!! Oh...., uh..... THANK YOU!

quote:

Does this mean that we could use the Tone Match Module on its own and not in conjunction with either L1 model?

Matt,

I always understood that the "presets" (i.e. Tone Match) EQs were to couple the instrument to the Bose L1 in particular, making mics and instruments compatible with a 2-1/2" speaker as opposed to traditional PA gear that was used as benchmarks when developing those instruments.

I could be totally wrong.

quote:

I've mounted my L1 remote on my mic stand and that works wonderfully.

What a step up in convience this was for all of us...

Just wait and see how spoiled you'll get when it's all right there at your fingertips...I/O, volumes, FX, tuner etc.

Hey Drumr!
Thanks for the reply. I guess it would make sense if the Tone Match Engine only worked with the L1's. I hadn't thought about the presets being designed specifically for the system. But I'll bet you're right.

I was just hoping for those time when I can't use my L1 that I might be able to take a little bit of Bose technology with me on stage. It seemed like a good idea to me. Thanks again for the response.

Take good care,

This message has been edited. Last edited by: open-road-matt,