Originally posted by Hilmar-at-Bose:

A sufficiently sized generator will work with our system although the tend to be fairly noisy.

Car battery converters (so called "inverters") are a little problematic. Most inverters don't work well with our highly-efficient Switch Mode Power Supplies and need to be 2 to 3 times oversized. That draws really big amounts of current from the car battery and the wiring from the battery to the inverter needs to be able to handle that. This is by no means a trivial job, so we recommend against it.

Hope that helps


See it in context (the original inquiry was about using a DC inverter)
How low does the B1 go?
(or does this work with a five string Bass?)

Originally posted by Hilmar-at-Bose:

before I answer the technical stuff, please let me try to clarify a few things. Many people think that a 5-string bass need a speaker with a frequency response down to 30 Hz or you wouldn’t be able to hear the low B “properly”.

That’s really not the case. The sound of the bass does not only consist of the actual “fundamental” tone (i.e. 31 Hz in case of the low B) but also many multiples of that frequency (i.e. 62 Hz, 93 Hz, 123 Hz, etc.), which are called the “harmonics”. In fact the amount of energy in the fundamental is relatively small as compared to the rest, so you really don’t loose much by keeping the response low at 30 Hz.

Furthermore, very low frequencies (say below 50 Hz) are not perceptually associated with “bass” or “thump” or “punch” but are much more like an indistinct rumble. We actually have analyzed the frequency content of a lot of recorded music and there is little energy below 50Hz and virtually none below 40Hz. The only type of content that uses very low frequencies regularly is movies. But there it’s not used for musical purposes but as a sound effect, e.g. explosions, starting rockets, a T-Rex stomping along, etc.

In live sound situations very low frequencies tend to make the sound very muddy unless it’s carefully designed fixed installation (as it is in theaters), so most live sound amplification gear will not go particularly low. For example an Ampeg SVT cabinet is only specified down to 55 Hz and most people would claim it does a very adequate job on a 5 string bass.

In fact our B1 goes actually deeper than most other bass cabinets. But it does stop at 40 Hz and does so very abruptly. You will not be able to get any usable energy out of the B1 or the Bass Line Out at 30 Hz. The reason for this is mainly protection. Most bass box designs cannot handle anywhere near the fully rated power below their port tuning frequency and there is no point in trying. They can’t radiate any appreciable amount of sound energy and it’s very possible to damage the driver.

Anyway, if you have a chance, why don’t you just plug in your bass into a double B1 system and let your ears decide whether there is anything missing or not?

Hope that helps


See the original discussion.

Q: I just got a new System, does it have the latest presets?
A: Quoting Kyle-at-Bose: "You can easily tell if you have one of the newer power stands- those that come preloaded with Presets 2.0- by looking at the rear I/O panel. If the Amp 3 Output connector area (where the B1s plug in) is a light blue color, then the Presets 2.0 have been preloaded at the factory."
Line6 POD XT patches

You can get the latest version of the software (Note that there are updates as of 2006/01/30) on the
Line6 Software Updates site.

Just follow the instructions when you get there.

It looks like you just need the first download on that page. Here is the description.

Here's GuitarPort 2.5 - the most up to date version of GuitarPort software!
This installer has been updated to provide the latest PODxt and GuitarPort drivers as well as Line 6 Monkey 1.10
This free update is:
- Required for Model Pack support
- Required for GuitarPort RiffTracker operation
- Recommended for all GuitarPort hardware users
- Required for compatibility with PODxt Live
- Support PODxt and PODxt Pro Version 2

Complete release notes will be posted soon. In the meantime, here are the basics:

This version brings GuitarPort software in line with many of the additions made to PODxt and PODxt Pro with their Version 2 firmware, including dramatically enhanced overall sound, a new EQ effect block, and improved compressor - and support for Model Packs. There's also a new metronome, plus GuitarPort hardware users will find they now have 24 Cab Models and a the Line 6 Treadplate Amp Model.

Visit www.guitarport.com for more information about GuitarPort, including system requirements.

NOTE: The GuitarPort installer includes Line 6 Monkey, the intelligent updater for PODxt and GuitarPort that gets all your Line 6 hardware and software up to date and lets you access optional add-ons like Model Packs. There is no need to download Line 6 Monkey separately.

Then go to the Vettaville Bose Patches page

You can download all the Bose Line6 Patches in one file instead of doing them one at a time.
Originally posted by Chris-at-Bose:
Hi EWong,
I really loved your description of your signal processing demonstration--very apt. But I would like to offer some clarifications on the confusing subject of sound falling off with distance.

What makes the subject confusing is that some people are talking about how intensity falls off and some are talking about how pressure falls off and we don't always make clear which one we mean. (I'm just as guilty of this myself.) But the two quantities don't fall off at the same rate, because intensity is generally proportional to pressure squared, as we'll see below. To make things worse, we also talk about sound in decibels (dBSPL), which is what most hand-held meters give readings in. So a lot of different numbers get used and no wonder it's confusing. ST probably already has a table somewhere that shows all this, but here's my version of the math.
In a spherically spreading sound field,
            falls off as "one over r" from the source, ( 1/r )
            drops by half each time you double the distance
            falls off as "one over r squared" from the source, ( 1/r^2 )
            drops by one quarter each time you double the distance
    dBSPL (decibels)
            drops by 6 dB each time you double the distance

In a cylindrically spreading sound field,
            falls off as "one over square root of r" from the source ( 1/sqrt(r) )
            drops by a factor of 0.7 each time you double the distance
            falls off as "one over r" from the source ( 1/r )
            drops by half each time you double the distance
    dBSPL (decibels)
            drops by 3 dB each time you double the distance

From this, you see that the maximum point of confusion is that the phrase "one over r" applies BOTH to the pressure of a spherical source AND to the intensity of a cylindrical source. What this generally boils down to is that you just can't figure out what people are trying to say unless you already know. Smile

The safest thing for all of us to say would be to refer to the dBSPL number, because that quantity is most closely related to the way we judge sound levels with our ears. But I'm afraid we won't be able to retrain ourselves at this late date, so no doubt we'll continue to confuse people when we speak quickly about this phenomenon. Frown But I hope this lengthy explanation allows more people to "already know" what we mean.

ps - I will clarify the source and context of the above in a few days. Just getting the info in place.

Just in from Chris-at-Bose - Live or PreRecorded / Stereo and *-Mono


Listening test report:

On Wednesday June 7 a group of us-at-Bose set up in our performance lab a stereo system of 4 L1s and 8 B1s in the same arrangement shown in the photo by Mike Early at the beginning of this thread. We listened to four variants of this system without moving any speakers, just by turning things off or re-wiring inputs to the PS1s.

  • 1) Mike’s full setup with all 4 L1s and all 8 B1s, called here “4+8”. Left channel is fed to the two left PS1s, right channel to the two right PS1s. All gains equal and preset 00. (It is important to match levels on all 4 L1s. We did this by listening to two at a time, standing equidistant from the pair and tweaking levels in mono until the image was centered. First we did this with the left two, then the inner left and right ones, then the right two. Once they were all matched this way, we turned them all on for the tests.)
  • 2) Turning off the outer two L1s and their double bass packages gave a standard DJ stereo setup of two double-bass line arrays, called here “2+4”.
  • 3) A quad bass DJ stereo setup with the same inner two line arrays, using the outer two PS1s to drive only the extra pairs of B1s, called here “2+8”. You would get the same result if you drove the extra B1s with Packlites instead.
  • 4) One double-bass package alone, called here “1+2”.

With these four arrangements, we did two separate listening experiments, one for stereo pre-recorded material and one for live vocals from a microphone. We were mostly listening for any vocal interference problems that might come from distributing signals to multiple speakers. Here is what we heard.

  • 1.) Compared pre-recorded stereo material on 2+4 vs. 2+8 vs. 4+8

    • 2+4 -- Very good sound quality, as expected. Also very good if we try preset 57 here, as many DJs do. Now that we’re concentrating on vocal interference, we notice that all the vocals are compromised a little by this effect as soon as we move off the centerline. It’s less significant once we get out to the side. This seems to be a normal problem with all stereo loudspeakers that we’ve taken for granted all along. It’s one reason stereo doesn’t sound as good when you’re not in the middle.
    • 2+8 -- Essentially the same results as 2+4, but of course it can reach louder levels than the 2+4 on bass-heavy material.
    • 4+8 -- Mike is right to praise this system. It sounds tonally very good and is capable of producing a truly ferocious amount of clean sound. We do hear some interference in the vocals across the whole front, and it’s spread a little wider than with the 2+4. The level difference between out front and to the side was a little more than the 2+4. None of these differences prevented us from really enjoying the over all sound.

  • 2.) Compared live microphone vocals on 4+8 vs. 2+4 vs. 1+2

    • 4+8 -- sounds like PA
    • 2+4 -- sounds like PA
    • 1+2 -- sounds like it’s alive! A living person with a mighty voice. This reminds us of why we have always encouraged live performers to each have their own single line array.


    In my previous post, I was excited by the anticipation of learning something new, and now we have. Here are our conclusions:

    • The minor degradation of midrange interference off the centerline probably cannot be avoided when recorded stereo material is played on any speakers. This is one of the compromises of the stereo format itself.
    • The interference of 4 L1s playing stereo is not much more significant than two L1s, so it is fine to use four in stereo when needed to produce enough level for recorded music.
    • For live sources, the interference of multiple speakers can be completely avoided by not distributing any source to more than one speaker.
    • Exception: true "distributed systems". To cover a single very wide or irregular area, it may be necessary to space your L1s, using a 20-50 foot spacing between them (6-15m). In the installed sound world, this is known as a distributed system. In this case, you should send the same signals to all the widely spaced L1s. If the source is stereo, it is common practice to combine L&R for distribution in such a system.

    These conclusions clear up the apparent discrepancy between Mike’s good results and our suggestion that sources not be distributed. We stand by our suggestion for live sources, but there is no way to prevent interference with recorded stereo, so four speakers vs. two is not a critical issue in that case. We are happy to have people use this 4+8 arrangement for pre-recorded stereo in cases where you need more sound than 2+4 or 2+8 can provide.

    Thanks very much for discovering and promoting this, Mike. It goes beyond what we thought the system could do. This is a beautiful example of the fact that the forum benefits Bose as well as our customers.

    [8/2/06: added exception for distributed systems]
  • Chris-at-Bose helps us to understand Bass, B1s and what happens in the great outdoors.

    Originally posted by Chris-at-Bose:
    Hi folks,
    L1 drop-off was hardly noticable
    B1 volume however dropped off halfway the distance of the L1.

    As many of you know first-hand, nearby direct sound from the L1 falls off with distance more slowly than most other speakers, including all bass speakers, and including B1s. We rarely notice this difference indoors, because room modes in the bass impose large changes from place to place that dominate over the different rates of fall-off of the direct sound waves from the L1 and B1.

    But outdoors, there is nothing to prevent us from noticing that the bass falls off more rapidly with distance than the L1's sound does. This will happen no matter how many B1s we have, no matter what EQ or presets we use, and it will also happen if we use other subs, no matter how big they are. The only ways to fully prevent it would be to either give up the slow fall-off of the L1 Frown or make a line array of bass speakers at least 15 feet tall (wow!), but, aside from the expense, such a thing would be extremely dangerous. Eek So we have to find a way to optimize the effect because we can't make it go away.

    Before I explain how to do that, I want to describe the effect in a different way that makes the solution more clear. Since the bass and mid-highs are falling at different rates with distance, there can be only one distance where the balance between bass and mid-highs is "perfect". To my ears, the L1 and B1 achieve this balance point outdoors somewhere in the 10-20 foot range, call it 15 feet. But how much closer or farther must I go to hear a small change in the balance? Human hearing is not very sensitive to small changes in bass level, so 3dB counts as a small change in this frequency region. If I go to either half the distance (7.5 feet) or double the distance (30 feet) I hear a small change of 3dB in the bass balance compared to the ideal. That's because the L1 changes by 3 dB per doubling or halving of distance, while the B1 changes 6 dB, so the difference between them changes 3 dB either way. So there is a large region of distance where the bass is very close to the ideal level and that region covers about a 4 to 1 distance range, in this case about 7.5 to 30 feet.

    Now what if I boost the level of the bass by 3dB with a tone control? (A tone control isn't perfect compensation for this effect at all frequencies, but it's not bad.) Now the point of "perfect balance" moves out from about 15 feet to about 30 feet, and the range over which the balance is close to ideal becomes about 15-60 feet, still about a 4 to 1 range. If I boost the bass control even more, the range moves out further, but keeps the 4 to 1 ratio. So now you see how to optimize this effect. Simply apply modest bass boost until the tonal balance is not quite thin at the largest distance you want to cover. Then the balance will be very close to correct from that distance to about 1/4 of that distance. Inside that range, the bass will be modestly stronger than normal, but we all tolerate a little extra bass better than we tolerate too little. Smile

    There is one thing to keep in mind when applying this outdoor optimization. You are asking for more bass from your B1s and they may not have more to give at the level you want to deliver. If you try to eliminate the thinness with a bass control and it doesn't increase the bass you hear, then your B1s are already giving all they've got and you will need more B1s (for this job) to get the bass control to have any effect. (Remember that more B1s will not replace the need to use the bass tone control here, because the PS1 keeps the tonal balance the same as you add more B1s.)

    But before you invest in more B1s, make sure you are getting all the bass you are entitled to from the ones you have. For stereo music playback, you can get a little more bass by stacking your left and right B1s tight together. Outdoors, if there is a hard wall nearby, you can get a good deal more bass by placing all the B1s right at the wall. If you can't get right to the wall, then keep the B1s at least 7 feet away from the wall. If you place B1s outdoors anywhere from 2 to 7 feet from a hard wall, you will get a big hole in the bass response--bass notes will be very weak at some pitches while other pitches will be okay. The reduction in bass in that case will be significant. Try to avoid such placement if you can.

    Overall, outdoor settings demand more from your sound system in the bass than indoor settings, because outdoors there is no bass reinforcement from a room. Also, people are often farther away outdoors. Both factors lead to your often needing more B1s outdoors than indoors. So John L is probably right in his first post--he may need more B1s, but please try these other ideas before getting out your wallet.
    Hope this is helpful.

    see it in context: 1st soundcheck outdoors
    Mackie CFX Mk II series mixer notes:

    Short version: Use the ¼ inch phone jack outputs not the XLR

    Long version:

    From the manual for the Mackie CFX Mark II Series (page 21)...

    The nominal output is too high for the XLR inputs on the L1™ Channels 1 and 2.

    So use the ¼ inch phone jacks (see yellow highlighted area) (this is from page 9 of the manual)

    You can use TRS (Tip Ring Sleeve) balanced cables, but since the ¼ inch phone connections at the Bose Powerstand are unbalanced, you can use unbalanced cables if you prefer.

    Reference: CFXMKIISeries_OM.pdf
    Numark CDMix-2 Mixer notes

    Short version: Use the ¼ inch phone jack outputs (documented as 'to powered monitors') not the XLR-to-XLR (PS1 Powerstand Channels 1 or 2). If you want to use XLR - use a Pad.

    Long version:

    Output connections:
    XLR Master outs are too hot for PS1 Powerstand input. Use pads or
    Use Phone output to PS1 ¼ inch phone jack inputs for Channels 1 and 2

    Reference: Numark CDMix-2
    More info about DI's


    This is an excerpt - follow the link above for the full story.

    What's in a D.I. Box?

    D.I. Boxes are constructed using one of two common techniques.

    * The first type uses electronic circuitry and are known as active D.I. Boxes. They require either Phantom Power or a battery supply.
    * The second type uses an audio transformer and are known as either transformer or passive D.I. Boxes. They require no power supply.

    A D.I. box is required to perform three separate basic tasks:-

    1. Impedance Conversion.
    2. Unbalanced to balanced conversion.
    3. Earth isolation.

    1. Impedance Conversion.
    The medium or high impedance of a signal source is converted to a low impedance suitable for feeding down a long multicore to a mixing desk’s microphone input. A low impedance enables long cable runs, with very little quality loss, and also low susceptibility to external electrical interference which can cause hum and buzzes.

    A D.I. box should provide a high input impedance for connection to a signal source, and a low output impedance for connection to the microphone input of a mixing desk.

    2. Unbalanced To Balanced Conversion.
    The unbalanced (2 conductor) wiring of a signal source is converted to the balanced (3 conductor) wiring of a mixing desk’s microphone input. A balanced cable provides good rejection of electrical interference, while an unbalanced cable does not. Active D.I. Boxes are potentially capable of providing excellent unbalanced to balanced conversion, but due to cost restrictions, most are poor performers in this area. D.I. Boxes that incorporate transformers provide excellent unbalanced to balanced conversion.

    3. Earth Isolation.

    A D.I. Box provides isolation between the earth wiring of a signal source (e.g. musical instrument) and the sound system to which it is being connected. This prevents earth loops from occuring.
    An earth loop occurs when a device, such as a keyboard, is connected to the mains earth via more than one path. The first path is via the instrument’s own power cable to the mains earth. The second path is via the interconnecting audio cable to the sound system, then via the sound system’s power cable to the main’s earth. Any resultant circulating earth current is amplified and is heard as a hum or buzz. These unwanted earth currents are usually induced from nearby power and lighting cables.

    Piezo Pickups

    Q: Why do many Piezo Pickups sound thin and bright?
    A: Because the bass is heavily attenuated.

    The capacitive characteristic of piezo pickups results in their output level decreasing as frequency decreases when connected to a typical instrument amplifier which has an input impedance of about 1 Megohm.
    This is due to excessive loading of the pickup by the amplifier which was never designed to work with piezo pickups.

    An extremely high load impedance, typically greater than 20 Meg ohms, is needed to provide negligible loss of bass frequencies.

    The above situation is further compounded by connecting the piezo pickup to a D.I. box. The total load seen by the pickup is now that of the DI box and the instrument amplifier in parallel.
    The input impedance of a typical D.I. is 100K-200K ohms, which results in a very heavy load on the piezo pickup and consequentially a heavy loss of low frequencies.

    Piezo pickup frequency response Vs various load impedances

    The solution is to use a D.I. box which provides an extremely high input impedance and a buffered output to drive to the instrument amplifier. With this arrangement, the piezo pickup is only loaded by the input impedance of the D.I. box, and everybody is happy.
    The Leon Audio Active DI box is one such solution.

    Attempts to recover the lost bass of an overloaded Piezo pickup using conventional tone controls is usually less than successful.
    The problem is that the bass rolls off at the rate of 6dB per octave, and conventional tone controls can not create an inverse of this roll off.
    Curve #2 in the graph below shows the response of a Piezo pickup rolling off at 6dB per octave.
    Curve #1 is a typical bass tone control set at full boost.
    The centre curve shows the bass boost applied to the signal lacking in bass. The result is still lacking in bass but more importantly, it is far from flat.

    It is much better to cure the disease than to treat the symptoms.
    Using a DI box with a very high input impedance to prevent the loss of bass in the first place, is much better than trying to patch it up later.

    Low frequency roll off showing poor bass response even with +15dB of EQ
    Mackie DFX6 Mixer Notes

    From page 8 of manual

    Mixer Rated Output
    Main, Aux, & EFX +4 dBu
    Maximum Rated Output +20 dBu

    +4 dBu is too high for optimal performance for the XLR inputs on the Powerstand.

    You can use the ¼ inch TRS (Tip Ring Sleeve) phone outputs from the mixer to the ¼ inch TR (Tip Ring) phone inputs on the Bose Powerstand. The inputs on the Bose Powerstand are *not* balanced so you don't need to use a three conductor cable to make the connections. An ordinary instrument cables (likely similar to what you are using for your keyboard) should be fine.


    You can use XLR connections but you will probably want to use a "pad" to attenuate the signal. (see What is a pad ) Or you could go with a couple of DI boxes that had built-in -20 dBu pads.
    Yamaha MG8/2FX Mixer Notes

    Here is where you will probably connect if you get the Yamaha

    from page 18 of the manual

    Specifications for the MG10/2, MG82FX
    Connection 	Actual
    Impedance 	For Use With
    Nominal 	Output Level *1 	Connector
    In Mixer
    Nominal 	Max. before Clip
    ST OUT [L, R] 	150 Ω 	10 kΩ Lines 	+4 dBu (1.23 V) 	+24 dBu (12.3 V) 	Phone Jack (TRS) *6
    AUX SEND 	150 Ω 	10 kΩ Lines 	+4 dBu (1.23 V) 	+20 dBu (7.75 V) 	Phone Jack (TRS) *6
    CH INSERT OUT (1 – 2) 	150 Ω 	10 kΩ Lines 	0 dBu (0.775 V) 	+20 dBu (7.75 V) 	Phone Jack (TRS) *5
    2TR OUT [L, R] 	600 Ω 	10 kΩ Lines 	-10 dBV (245 mV) 	+10 dBV (2.45 V) 	RCA Pin Jack
    Numark PPD9000 Mixer Notes

    Here are some excerpts from the Numark PPD9000 manual (pdf format)


    To make the connection from this mixer to the PS1 Powerstand (XLR) Channels 1 or 2, use the Master Output (XLR) and set the Master Output Attenuator to -20dB.

    If you are running out to two PS1 Powerstands you can use the Master Balance/Mono control to manage volume individually.

    Behringer UBX 1222FX Mixer Notes

    From page 10 of the UBX 1222FX Mixer Manual

    The nominal output level of +4dBu is too high for the XLR inputs for Channels 1 and 2 on the PS1 Powerstand. It is fine for the ¼ inch phone jack inputs for Channels 1 and 2.

    You can use XLR connections but you will probably want to use a "pad" to attenuate the signal. (see What is a pad ) Or you could go with a couple of DI boxes that had built-in -20 dBu pads.

    If you are running one L1™ you can try using the Mon Out. This is ¼ inch Tip-Sleeve that you can run to the Channel 1 or 2 ¼ inch Tip-Sleeve inputs.

    Here is an picture from page 9 in the manual.
    Cliff talks about positioning the B1 Bass Modules.

    Originally posted by Cliff-at-Bose:

    Depends on the wall construction. Most drywall will reinforce midbass (like 100-250 Hz) and let the deeper octave or so pass right on thru giving you little reinforcement from reflection. So if you push your bass boxes up against the wall, you'll tend to get a lot of midbass with a typical drywall-constructed wall. And, yeah, then it will be muddy. Most walls don't reflect sound uniformly with frequency, so you get a change in spectrum you probably don't want no matter what. One possible exception to this is, say, 6" thick concrete with a 1/4" thick lining of steel. Oh, and don't take my word for it either. Do it yourself and see what you hear. Also, aiming the individual bass boxes won't have much effect as they are so much smaller than the wavelengths they are producing that they are virtually omni. For instance, a 125Hz wavelength is on the order of 8 feet. A pair of b1's on each side of your ps1 will give you a hotter midbass down the middle and not so off to the side. Here, you've essentially made a crude bass array. So, my experience with all this tells me that the most consistant way to set the bass up, gig to gig, is to lump the bass boxes together and keep them away from the walls. You won't get the extra bass boost from the walls, but if you did, it wouldn't be wideband. I think you'll always do better not asking the wall to help. You know what they say about free help (you get what you pay for). This works for bass players, dj's and so on.

    in context
    Behringer XENYX1204FX
    Behringer XENYX1204FX Manual

    Here is a picture from page 9 in the manual.

    The Main Outputs (orange shading) are XLR +4 so this is probably too hot to use in the PS1 Channels 1 or 2 XLR inputs without a pad.

    The picture also shows (green shading)
    Alt 3-4 or Control Room Outs Tip-Sleeve +22 dBu should be okay with PS1 Powerstand Channel 1 or 2 into the ¼ inch inputs.
    Keeping Bass and Kick out of the same System
    (just noting for this for later inclusion in the Unoffical Users' Guide )

    Originally posted by Cliff-at-Bose:

    Adjusting to playing bass over our system is not easy, especially after you've played typical bass amps all your life. You'll be hearing your instrument more like it sounds in the studio, and so will everyone else. Here are some observations and recommendations:

    1. Definitely having kick and bass in the same rig will give you problems. Kick will suck the life out of the note you are playing at the same time. I know this from first-hand experience. The best thing to do is amplify the kick separately. It needs a whole lot of bass volume.

    2. Very interesting you have found out about "less bass". I know that all the power in bass tone is in the lower midrange/upper bass and even high end. I learned this from working in the studio, where bass definition is often improved in the mix by emphasizing the upper harmonics of tone. Of course deep bass is there too, but on solo, bass often sounds like a guitar. In the mix, it sounds right. I learned this also from working with Ron Carter and amplifying his (beautiful) upright (David Gage pickups) with our system. He basically turned most of the bass off and turned the mids and highs up. Sounded perfect in the ensemble mix.

    3. You might benefit from taking more time to sort through the presets in your ps1 for bass. Possibly even some of the direct electric guitar presets could work.

    Thanks for your messages. Let us know how you get on with all this.

    Original Thread
    Alesis MultiMix 8USB Mixer
    Alesis MultiMix 8USB Reference Manual.

    This is a look at the outut panel.

    And some specifications.

    So you can connect output of the mixer ¼ inch phone jacks to the PS1 Powerstand ¼ inch phone jacks. You can use standard Tip-Sleeve ¼ inch connector cables.

    Even though the Mixer has a balanced Tip-Ring-Sleeve output, the input at Powerstand is unbalanced. You should be fine with ordinary instrument cables to make the connections.
    Hi Joseph,

    I hope you've been looking at the new version of th e Unofficial Users Guide. The wiki.

    I've been following your latest series of posts and watching the videos. Amazing.

    We're going to have to get some of your journey to tone, and your current setup documented for folks.

    Catch you soon.

    Add Reply

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