Boss Km 60 Manual
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Boss Km 60 Manual
Instructions Manual, presented here, contains 8 pages and can be viewed online or downloaded to your device in PDF format without registration or providing of any personal data. We remind you, that it is highly advisable to carefully read the instructions before starting of using Boss KM-60, in case of unforeseen situations - you need immediately contact the nearest service center.The right choice of power source directly affects on the life-cycle of the equipment, and the amount of energy consumed will help optimize costs when using it. In such cases, we recommend our users to see related documentation or simply ask a question to other owners of Boss KM-60 in the form below. The send jack can be used for monitoring if there’s nothing in the return jack. There is also a master effect loop with separate volume controls for left and right on effect return. The KM-60 also has a built in low cut filter. Learn more I'll begin the discussion with some audio examples: Note: I've normalized all the examples, but I'm turning knobs on some of them, which affect the perceived volume, so don't be fooled by things just being louder or quieter, try to listen objectively. Note 2: The output of the Boss is recorded directly to a Zoom H4n handheld recorder. It shouldn't affect the fidelity that much, or at least I can't hear the difference. Examples of the basic sound quality of the Boss: Example 1: A techno loop from an Elektron Analog Four, recorded directly with the Zoom, ie.Example 2: A techno loop from an Elektron Analog Four, recorded with the Zoom, through the Boss with no overdrive or EQ.More to come, I apparently have too big files, and need to sort it out!My tinny work speakers won't do it justice but tonight I'll have a close listen. Thanks for putting these demos together!A bassline from an Analog Four, which starts at the EQ at zero, then I'm slowly boosting the bass EQ.
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Sorry about the hiss, it was a recording error, the Boss doesn't actually hiss that much, I just recorded it very quietly by accident, then normalized the file. A synth riff from an Analog Four, which starts at the EQ at zero, then I'm slowly playing around with both the bass and the treble EQ.Examples of distortion: Note: There is no real gain on the Boss, just a switchable gain selector, which is meant for synths, guitars or mics. Using the latter two can result in some extreme distortion, which is demonstrated in the following examples. A kick drum from an Analog Four, which starts at no distortion, then I'm slowly starting to raise the volume on the Analog Four, which results in distortion. After that, I'm switching the Boss's input gain selector to the -35dB position, and again, slowly starting to raise the volume of the Analog Four.This one didn't sound particularly good to my ears.Note: There's relatively little volume with the hihats, so I'm using the -50dB gain setting on the Boss to get as much distortion as I can. Not particularly interesting imo.Note: There's relatively little volume with the synth riff, so I'm using the -50dB gain setting on the Boss to get as much distortion as I can. Sorry for the 16-bit file, I didn't want to cut it short and there's a 10MB file size limit here.Despite them telling us that we should never boost with EQ, the latter still sounds obviously better to my ears. In the full track with moving EQ example, listen closely at the latter half how nicely the treble EQ brings out the hihats. Kick with overdrive. The Boss distorts it very nicely, without turning it into a gabber kick, at least not until the overdrive hits it's peak. Synth riff with overdrive. The distortion suits that sound nicely imo, makes it very aggressive yet doesn't pierce the ears.The hats on this one don't improve as much as some other hats, and the bassline doesn't respond to the EQ boost or the overdrive very well.
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My favourite drum sound is a 606 overdriving through a km-60Someone posted a shot of it in a mobile rig for techno performances. Turns out quite a few people were using it for its generally dirty character, particularly when driven a bit hard. The specs look appalling, but sound can work well. I looked at a couple of these before, but they weren't cheap.It was time to pass it on. If you ask me, we should have topics for other mixers with audio demos as well. People ALWAYS talk about his good (or bad) this or that mixer sounds, but nobody ever backs it up with data. So, I'm encouraging other people to start these topics as well, for the mixers they own. It's a bit strange really. I'll also post some more KM-60 demos later. The hats and the bassline on that particular loop don't necessarily benefit from the Boss treatment as well as some other sounds do, it was more of a realistic demo for a random loop, not a showcase for the absolute best it can do.The manul says that you should use headphones with impedance of 4-16 ohms. My headphones are 250 ohms, so the sound is really and lacks bass weak with them. As a temporary workaround, I'm using an old hifi amp as headphone amp, until I can think of something better (mostly better as in not being bloody huge).I open and check and seems all ok, so the only thing may be that.Good to hear it got some proper use! Thank you for the examples, i will listen to them soon. I never thought the Elektron would be actually smaller than the KM !However I'm missing the rack ears, anyone here got some spares, or know where to get them. Are they possible to make?How does it sound? Sorry if repost. On mobile.Memorials, RIPs and Obituaries Grove Park, Maidenhead, Berkshire SL6 3LW.Hosted by Nimbus Hosting. USE Very succinct. SONORITS A low-end mini mixer by BOSS, which must date from the 80s. I'll make it short, I dterr this old my father console esprant vintage grain.
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I was marr well as my voice dtruite not a device that is supposed to be neutral. NOTICE GLOBAL Utility No1: dco in on a shelf. Ads AF totally scotsch me.He never had to try it. Seriously, I have an old Phonic (chinoiserie of the 80s), which sounds terrible a cot (a typical medium grain old school a little breath) with 8 runs, 3 to, XLR master, talkback, inserts, light meter, EQ on AUX, parametric EQ on medium, etcetcetcetcetc. I score less than those ads for mini bosses. BOSS. 15 just to spend a aprem laughing a grind his voice, and to deco after.By using our services, you agree to our use of cookies. Find out more. Ich verkaufe das Gerat mit dem Hinweis, dass ich es nicht abschlie?end testen konnte. Es scheint mit allerdings funktionstuchtig zu sein (Pegel schlagen beim Einschalten aus). Da Privat, keine Rucknahme oder Garantie.Am 16.01.19 hat der Verkaufer die folgenden Angaben hinzugefugt: Inklusive Instructions Manual You are the light of the world. Boss (Roland) 6 Channel audio mixer Model: KM-60 Part number: 052-311A SPARE PART: Main electronics board with attached pots and one switch COSMETIC CONDITION: I have left the old interconnecting wiring in place to assist in fitting this board to an existing KM-60 No damage to the board or the associated supplied components One obvious thing missing is the Power ON OFF paddle switch, it disintergrated. Not difficult to find these or substitute, it is only switching the Low Voltage AC to the main board (NOT the 240V line supply) and is DPST. TESTING: Before cannabilising the KM-60 I undertook complete sound checks through the mixer, everything is fine and working - the VU meters were also checked via this board. The on-board power supply (linear) provides plus 14.9V and minus 14.9V to the input modules. These mixers do not have provision for phantom power for condenser microphones. Pots have been cleaned and worked smoothly without noise.
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For the techies, the semi's of interest on this board are: HA1457W Preamp monolithic block JRC 4558D Op amps 2SB596 TO220 2SD526 TO220 Two small audio transformers marked as MT32 with a centre tapped secondary This item is not returnable, UNLESS dead on arrival. Tired of downloading the same vague schematics from yet another website, the copy that is copied ad infinitum on the web. Or did you buy a CD on eBay, full of the same rubbish. Time is money, and especially so for technicians. Time that should be dedicated to repair and not wasted with the frustrations of searching for a decent service manual. So here is a site with only high quality, high resolution service manuals, most of them carefully cleaned, restored and sometimes partially re-drawn. Here you will find no unreadable drawings or manuals with crucial pages missing. Here you get what you need for the job and get on with it. Free downloads instead of paying silly money for an email with attachment. Of course hi-res means large files. They can be up to 8 times the size of a lo-res scan. That means they need much more server space, space that has to be rented at costs that will come back every year. And many of the manuals you will find here had to be bought as hard copy originals from the manufacturers before they could be scanned at all. Most of this is funded privately, but there is a limit to this budget. Yes, you got it. donations. When this service is useful to you, and you not only want it to continue but to expand as well, that's the way. Contributions received will immediately result in more server space, giving room for more service docs. Donations will also open the way for later additions, such as synth chip data- sheets, synthesizer spec sheets, etc. Your donation will help to make this site a database for synth technicians as never before available on the world wide web. ENJOY! Needs replacing). Detailed description, from the owner or the reseller, prices and supported shipment are displayed.
Question and answers as well as reserving or bidding for the item are also available on dedicated pages by using the links on the menu. Click on the photo to enlarge it and see more photos if available. It also has a retro case, too, which keeps the dust off but would be useless for shipping without further protection. One rack ear bent at front.Nice retro mixer if you can deal with whatever issues it has. 17GBP first bid to tempt you. No warranty of electrical safety is given or implied. Many items are vintage and would not pass current electrical safety standards. It is the responsibility of the buyer to ensure that items are safe to use in their future environment - if necessary by using the services of a professional. Payment is always requested in GBP. Converted price is shown for information and converted with Sphere standard currency rate. Shipment and Payment links gives you access to an extended description of our rating: They are there to give you a rough guide to the bid price in your currency. Please check for a more up-to-date conversion at. The bid price will be the actual price in pounds (GBP) at the moment the auction closes. This will be roughly converted to your currency for your information. For technical reasons, we are unable to update the conversion from GBP to Euro during the auction, although it has changed by well over 10. If you are in the euro zone please check the current rate at Payments from UK and non-Euro currency regions must always be in GBP. Payments to and from Euro currency regions can be in Euros via our French bank. The applicable Euro amount will be the exact amount specified on your invoice or credit note. For more info please see the FAQ about exchange rates. Something went wrong. View cart for details. All Rights Reserved. User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. Something went wrong.Get the item you ordered or your money back. Ato-Mixer cadillac Of Years 60.
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Collector 1 - Vintage. Ato-Mixer cadillac Of Years 60.User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. Nevertheless a must have for the diehard Boss collector. Boss Pocket Dictionary Vol. 1-2 (1984-1985) The KM-2 is a compact two-channel mixer which operates on battery power. The convenient portable design allows the KM-2 to be used for a wide variety of applications and is especially effective for producing sounds from two guitars from a single amplifier. Maintains a high level of sound quality. Very hard to find !!. And nowadays completely useless for the contemporary guitar player. Maintains a high level of sound quality.Please check the fields highlighted in red.Currency. Subscribe Contact Us Albans, Hertfordshire, AL2 3TZ Who holds this title? Did you buy the vehicle new. Has the vehicle ever been in any accidents. Cost of repairs? Where? Has the vehicle ever had paint work performed. Is the title designated 'Salvage' or 'Reconstructed'. Any other. Site functionality is therefore limited. Please enable Javascript for full functionality. Pepper', and initially started as a powerful and unpredictable rock band. Froese's exposure to modern contemporary and electronic music made him determined to go beyond conventional modern music of the time. Despite a strong Underground following, TD was not exactly a commercial success, reforming twice for short periods. Then in 1969 Klaus Schulze (drums) and Conny Schnitzler (cello, violin and flute) joined Froese to make the group's first LP, Electronic Meditation in 1970, that consisted of tape sounds and experimental effects. Soon after, Christoph Franke (known for his jazz drumming) and then Steve Shroyder joined Froese to make 'Alpha Centauri' in 1971. Peter Baumann then replaced Shroyder to reform TD with Froese and Franke for the next six years. Tangerine Dream at the Hammersmith Odeon. London.
A whole series of albums followed: Zeit representing their furthest departure from rock, yet coinciding with Ultima Thule Parts 1 and 2 that certainly was rock; Atem marked the group's move from Ohr Records to the British 'Virgin' Record Company; Phaedra which reached the Top Ten in the UK without much airplay, press interviews or British tour — this soon followed with performances in almost total darkness. An Australian tour in '75 put Michael Hoenig standing in for Baumann and brought many equipment problems in transit. From 1977 some preconceived structure in live performances was used and TD gave a notorious performance at Rheims Cathedral and other unusual venues such as Coventry Cathedral, Liverpool Cathedral, York Minster and the Royal Albert Hall. Two further albums Rubycon and Ricochet emerged, the latter recorded live with the group's sound output often reaching 130dB. Then Stratosfear employed recognisable instruments and melodies, and a North American tour introduced laser effects. Next came Sorcerer film music and shortly after Baumann left the band to pursue a solo career. Froese and Franke still remained the nucleus of TD, and added Steve Jollife (vocals, keyboards and wind instruments) and Klaus Krieger (drums) to record Cyclone. 1979 highlighted solo projects and experimentation, despite the more traditional Force Majeur. In February 1980, TD became the first Western rock group ever to play live in East Germany, joined by Johannes Schmoelling who remains current third member of the trio. Tangram, Thief and Exit have since been recorded and the latter shows yet another side to the music of Tangerine Dream, who continue to pursue their innovative production of electronic music. Instruments Edgar: We get hardware mainly from America and Japan and the instruments are adapted by our engineers to our specifications. I also play guitar and I use various instruments including Fender and Gibson.
I don't really need to use guitar synthesisers as we have the keyboards. I like to work with the Roland MC-8 Micro Composer and TR808 drum machine. These are some of the instruments I use regularly, although we do have links with most of the synthesiser producing companies who supply us with new equipment from time to time. For this present tour, I play one large keyboard rack containing the PPG2, PPG1, Korg Polyphonic Ensemble (which I use only for strings), and the Arp Pro-Soloist. There is also a Conn Strobe Tuner for matching pitches. To my right I operate the Soundcraft Series 1S 20 into 4 mixer which takes both keyboard and guitar signals. For the guitar, which is a Gibson on this tour, I have an Ibanex UE400 Multi-Effects unit and an MXR Digital Delay. The new sequencer unit on a large stand behind me was built by Helmut Grothe, and has 1068 steps for programming control voltages and triggers. We have a system that enables any one of us to send control triggers to the others. So from one piece to the next we would alternate 'control' responsibility. Some of the PPG software is also here, and there's a Grundig Stereo Cassette which we use for setting up, but not in performance. In front of the sequencer unit is a PPG 61 note keyboard which is used to program the note sequences. Edgar Froese Incidentally, we don't work with voices at all. Any sounds you hear resembling voices are usually from the PPGs. Each of us has a mixer to balance individual sounds and we have a monitor mix (which we hear through the foldback speakers on stage) and the main PA 'out-front' mix for the audience. Sometimes we do put everything together on a two track mix-down and like to be totally open about the way we balance the sounds. For instance, at one concert we started improvising totally without any sort of agreement. On the next night we might be tired from a long journey and use our 'corners which we walk along' to bring the music together.
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Besides the new presentation and equipment used by Tangerine Dream, what is new about the music. Edgar: It's now much more structured. That doesn't mean we have forgotten how to improvise. We can still do both — we can sit and structure the music as we want to play and yet we can still maintain our individual identity gained throughout the years. The whole idea of TD was to just sit down and try to perform a creative piece of electronic music. But one thing we have all had to agree to is the jump from analogue to digital to computer equipment. Of course, one has to be much more aware of the controlling abilities as well as the sounds. You can't just say 'let's drift away and let the hardware work'. Therefore we now have to structure much more carefully. Chris: I use the rack mounted modular system behind me for most of the short repeating sequences and electronic drum sounds. A lot of it is Moog and contains various synthesiser modules (some of which we don't use in performance any more). In addition, there's a brand new digital sequencer and trigger selector which I designed with a 16 step, 64 program capability. The great thing about it is that it runs like an analogue sequencer, even though it has digital storage and can be continuously modified in performance. Linked to it is its own programmer and synth sound bank. There are more synthesiser modules from Projekt Elektronik (plus one EMU Audity voice card, PPG filters and Sequential Circuits sequencer) as well as drum voicing boards with VCO, noise, ring mod and EGs. Projekt Elektronik is a company that produces scientific instruments generally and makes music equipment only for us. The analogue sequencers from Moog have 64 steps and switches for semitones, step (1-12) division, two control voltages of switchable 12 semitones, five octaves, two time controllers and eight select triggers. Six rows of separate pots derive control voltages for VCF, VCAs etc.
We use one volt per octave CVs and have various interface units to match up to this and use 15 volt triggers throughout the systems. Gate lengths of each note can be altered and notes can have a delayed trigger which can take away some of the 'machine-like' feel that the sequencers produce. I have two random generators for slightly modifying time delays as well as pitch. At home in my 24 track studio, I use the MC-8 and I'm building my own editing system with a large computer, capable of writing a three hour program with 10 million byte storage. Edgar also has a 24 track studio in his home, giving us 48 tracks in all. Edgar's main keyboard console. Some people think that we are technicians as well as musicians, but we concentrate on the music and only learn the technical operating requirements for us to fully exploit our instruments. Edgar: Johannes uses another sequencer similar to mine behind him and has the OB-X and MiniMoog synthesisers in front. Mixing is done through a Boss KM-60 6 into 2 mixer, with an MXR Digital Delay and Korg WT-12 Chromatic Tuner completing his line-up. Chris: There is this gap between 'synthesist' and 'keyboard player'. We find some people have the ability to create new sounds whilst others have the ability to play them. We discussed how the non-musician is often able to come up with some extraordinary sounds by a different thought process to the musician — many young people in schools are now getting the opportunity in their music classes to do this. Edgar: Through the centuries, we have been told what good music is and how we should play it. People never had the personal experience to be creative in making sounds to find out what music, besides all the traditions, could be. The last 10 years have shown us the possibility to create things, not just to overtake it from the past. My belief is that the young teenagers could be the first to step into this new approach to music making. Christoph's keyboards.
We have seen something that links with this happening on our tours. On one such tour recently, we were getting the 'Superstar' kind of image as we were escorted from one place to the next. But we wanted the contact with our audience and so we fired our managers and did the tour on our own with the help of a few friends. After the gig, we wrote autographs and met people as we wanted — but what astonished us was that the people were so young, around age 15 and hardly any older than about 22. Certainly, there is no awe attached to these machines we play for the youngster, in the way we felt when we began — and that means that young people will approach the electro-music of the future with an open mind. TD have a reputation for playing loud. Edgar: That's right, but we don't have distortion and the signal is clear. We never listen to very loud signals on stage through the foldback speakers. Certainly the TD sound covers a very wide gamut of dynamics, from the quietest whisper to (if you're sitting a few rows from the front!) the loudest piercing penetrating soundwaves. Edgar: We don't use as much classical material as we have done from time to time in the past. But we do want to keep the classical 'dynamics', because this is one of the most important aspects of any music making. The presence of strong rhythm in our pieces has in some countries, such as Spain and America, brought the audiences to their feet to dance to the music. Johannes has been part of the new TD for nearly two years. Christoph Franke. Edgar: Yes — we are very pleased with his contribution and also our efforts working as a group. You know, what split the band three or four years ago was purely the social aspect. For example, Peter Baumann had a totally different attitude about spending his money, and since we invest about 90-95 of our profits back into getting new equipment, it was an important factor.
One of the most complicated tasks for TD has always been the fading out of one part of the music whilst fading in the next one. It's easy to stop and start sequences but the skill lies in fading in and out, learning how to put a cluster underneath, how to fade in a new sequence, how to build bridges, how to keep the dynamics, how to explain to each other the structure of a piece and then to be able to carry out these procedures without any mistakes in half a minute. It was very difficult when Johannes first came with us. Remember, it took Chris and me about six years to work out things with Peter Baumann. We realise how fortunate we've been to be able to work together as equals who contribute to the music composing, structure, interfacing and manipulation of the instruments in performance. When we split with Peter, we could have contacted many respected musicians across the world, but no-one would have fitted into the band. There were a lot of big names wanting to join us, but we ended up taking an absolute unknown musician who worked as a sound engineer in a Berlin theatre. Setting up and presentation The new TD layout on stage is impressive, yet economically well planned. Each player sits at the keyboards and can easily manipulate sequences and other control functions from one position. There is, of course, the danger of becoming too static so that visual interest is not maintained, but somehow this is never the case and although the laser lighting has been dropped and a more or less standard light show remains, a feeling of space is created by the perspective of the overhead scaffolding and see-through net curtains. On the recent U.K. tour, at Hammersmith Odeon, London, one of these curtains spanned the entire front of stage so that you always 'looked through', and the back-projected lighting cast effective images across it.
Having seen the Revox tape machine in operation during the Coventry Cathedral Concert televised some years ago, I was interested to find out that it was merely used for echo effects and did not contain effects or music tracks at all. Edgar: We never suspected that anyone would think we were using a backing tape. Of course, digital delays now replace the tape machines. Johannes' keyboards. Chris: The effects we use comprise the usual delays, flangers and equalisers. I still have five Electro-Harmonix 'Big Muff' distortion boxes on each of the mono outputs from the Prophet 5. It gives it an amazing 'digital' flavour. The 'Big Muff' is the only fuzz box that I like with synthesisers, because it works well on the overtones without producing too much distortion. In the past TD used curtains with laser lighting projection on them, but it was too expensive to keep on bringing new ideas out with this equipment. So we are trying the gauze now to produce more three-dimensional depth. If you use lasers, you are restricted to the creativity of the controller, the lack of sufficient rehearsal time, and also the high cost of the equipment. The mixing desk for the audience sound (a Soundcraft 32 into 8 Series 800) is placed at the back of the auditorium along with the lighting desk. We used to use electronic links to control the light directly, but now we rely on the operator to synchronise with the music. Composing Edgar: The composition of our electronic music is a long process that first involves setting up the equipment in the way we want it to interface — that takes 60-70 of our time and includes the tuning, etc. We've got quite a good system to find out our good days for composing the music. A few days from time to time are totally forgettable to work with, so we look at the biorhythmic aspects of each of us and find that some days, although we feel we can do something, our subconscious has closed down and whatever we do the results are no good at all.
Chris: What we are suggesting is that to write our music, over the years we have found ways of putting ourselves in a state of mind that enables us to compose. Some people use meditation, and others will receive triggers almost subconsciously. Edgar: I never think that 'I am doing something'. I always think 'I do it with myself', which is a completely different aspect. One of the new sequencer systems used by Edgar and Johannes. We don't meet every day. The compositional ideas sometimes come from doodling at a session, other times we have the idea which can be a musical theme or structural framework and we need to develop this. There are always times when something happens by chance, especially when interfacing instruments together. We already have plans for linking our studios by telephone datalink through a modem. But, of course, it is very important that we mentally interact together on a piece and don't just pass a tape over for the next person to work on. So there are three main factors playing their part in our compositions. First, our way of composing is very personal. Secondly, we need to interact emotionally to the piece, and finally we need to transfer ideas and program data. Johannes is still learning our ways and at this time is in the process of getting closer to becoming a third part of the band in terms of involvement. There is a much wider dimension in our music than simply making use of sequences. One LP can never embrace our range of musical experience and experimentation. There are a lot of times when we'll make a sequencer orientated piece, then others will start with drum and bass lines. Our varied backgrounds also help to make different pieces and often we'll simply try to paint a picture in sound. For example, at the beginning of December we've got a concert for TV going out all over Europe and we gained a lot of our inspiration by going to the Picasso art exhibition in London.
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