TC Electronic M3000
Dual Engine VSS3 Reverb and Multi Effects Processor The VSS3-reverb technology inherent in the M3000 is an industry standard. The M3000 has some of the best sounding, most versatile and easy-to-use professional reverbs for music and film/post applications. Combining ultimate control of directivity in the early reflections with a transparent and harmonically magnificent diffused field, the art of reverberation is brought to a new and higher level. The M3000 enables you to add the softest and clea... Read more
Brand: TC ELECTRONIC
Part Numbers: 950-500011, 950500011, M3000
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TC Electronic M3000
Gear rundown with John Petrucci and his guitar tech
User reviews and opinions
|Eric_du_31||8:57pm on Monday, August 23rd, 2010|
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|Tom97||1:01pm on Thursday, April 8th, 2010|
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|jdenisgiguere||11:27pm on Tuesday, March 30th, 2010|
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Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.
Main Features :
VSS technology giving you - Real room simulation - giving the ability to simulate the response of actual rooms. - Spaciousness - the ability to create a wide and natural sonic image and avoid the massive wall of reverb. - Piano correctness - the ability to keep the signal in 100% correct pitch, even when engaging extensive effects processing. - Modulation Free - the ability to keep the signal 100% free of sound deteriorating modulation. - Add Modulation - the option to add modulation to the tail of the reverb in order to add life and feel to the sound. - With control of the Early Reflections you have the ability to simulate all relevant parameters of true ambience.
The algorithms in the M3000 are :
Reverbs - VSS3 - VSSGate - VSSFP - VSSSR - C.O.R.E. - Rev 3 Additional Effects - Delay - Pitch - EQ - Expander - Compressor - Chorus/Flanger - Tremolo/Panner - Phaser - De-esser
THE FRONT PANEL
POWER + MEMORY CARD POWER SWITCH Turn on the machine with a single light touch. To turn off the machine you must press and hold down the POWER key approx. 3 seconds, until the display reads M3000. This delay time is to avoid switching off the device by accident. PCMCIA-CARD Copy presets to/from a standard memory card.
PPM + INDICATORS PPM METERS Ranging from -40dB to 0dB. OVERLOAD Indicates if internal overload occurs. SAMPLE RATE INDICATOR 48000Hz 44100Hz 32000Hz MIDI IN MIDI receive indicator. CARD Indicates presence of a valid memory card. TEMPO Beats per minute indicator. MORPHING Indicates on-going morphing between the two Engines.
SETUP SECTION I/O Input/Output. Sample Rate. Select Status bit Output. Dithering. ROUTING Setup the internal routing of the 2 Engines. LEVELS Input/Output Analog levels. Digital/Input level. UTIL/MIDI Adjust the viewing angle of the display for better comfort. Security lock. Glide Time setting. Card handling. Pedal Input. MIDI. SECONDARY FUNCTIONS Help (online help function) MIDI Monitor (Monitors all MIDI ch. at the same time)
S-RAM type 1 PCMCIA cards, with a minimum of 64KB and a maximum of 2MB memory.
ENGINE 1 OR 2 RECALL Recall/activate the program you have selected. STORE Save and name your current preset. The M3000 holds 500 single factory presets and up to 250 Single user presets. EDIT Enter the edit mode. BYPASS Individual bypass key for each Engine. Secondary functions (with SHIFT activated) Recall Wizard
Find a preset that matches your application
COMBINED 1+2 RECALL Recall/activate Combined presets. STORE Save and name Combined presets. The M3000 holds 100 Combined factory presets and up to 50 Combined user presets. EDIT Engine out level. Dynamic Morphing. BYPASS Bypasses the entire device. SNAPSHOTS 1-4 Quick Store/Recall of Combined presets. Secondary functions (with SHIFT activated) Recall Wizard. Delete preset.
500 ROM PRESETS
100 ROM PRESETS
250 RAM PRESETS
50 RAM PRESETS
Your own presets
250 CARD PRESETS
50 CARD PRESETS
Your own card presets
RECALL & SNAPSHOTS
Exercise 1: How to recall a preset Select Engine 1 or 2 or the Combined 1+2 by pressing the corresponding RECALL key. Turn the ADJUST wheel to scroll through the presets. While scrolling you will see both the preset number in the display and the LED of the OK key is blinking. At this point the preset is not yet recalled (active). Select ROM preset #5 and press OK to Confirm. Preset #5 is now recalled. Exercise 2: How to take a Snapshot Press the Engine 1 RECALL key. Select e.g. preset #26 using the ADJUST wheel. Press OK to confirm. Press the Engine 2 RECALL key. Select e.g. preset #28 using the ADJUST wheel. Press OK to confirm. Press SHIFT followed by SNAPSHOT STORE key #1. Your Snapshot is now stored. To see that it works: Recall two different presets in Engine 1 and 2. Now press SNAPSHOT key #1, and once again you have recalled preset #26 into Engine 1 and preset #28 into Engine 2.
The SNAPSHOT keys, located between the Combined 1+2 and the control section, are actually four fast RECALL keys. Switch between your favorite Single presets or Combined presets with the touch of a single key or use the SNAPSHOTS as four compare keys. A Snapshot will always include both presets and their Routing just like a Combined preset. With the Snapshots you are able to switch between completely different configurations with the touch of a single key. Store a Snapshot When you want to store a Snapshot of your M3000 setup, press SHIFT followed by one of the four SNAPSHOT keys. Recalling a Snapshot Recall of a Snapshot is very easy as well: Simply press the relevant SNAPSHOT key and the M3000 has recalled the entire setup.
Index feature in the Recall Mode
Press and hold down the RECALL key on either Engine 1 or 2. A preset index display will pop up. This feature gives you an overview over the Single ROM presets and enables you to quickly access the desired type of presets. If the current recalled preset is in the range of 1 - 250, the overview will cover this range only. If the current recalled preset is in the range of 251 - 500 the overview will cover this range only.
ROUTING & STUDIO SETUP EXAMPLES
Dual Input (Split mode) The Dual Input mode is a Dual Mono In/Stereo Out routing. Left In is always attached to ENGINE 1 and Right In is attached to ENGINE 2. Using this routing enables you to get two different effects with separated Inputs; e.g. connect Aux 1 from your Mixer to Left In and Aux 2 to Right In. You now have access to two separate effects with a common stereo Output. Set the individual preset Output volumes to achieve the correct balance of the effects. Preset Glide When the Preset Glide Routing is selected, the M3000 will perform preset changes by crossfading the current effect and the new preset. This gives you a very smooth change of effects, e.g. allowing a Delay to keep repeating while a Chorus is being faded in. The Glide time is located in the Utility menu (see UTIL/MIDI). Note: Only one Engine is available while the M3000 is in the Preset Glide Mode.
Use two sends on your mixing console
Dual Input mode Recall two different effects. Try recalling a gated reverb for, lets say a snaredrum, in Engine 1 and a nice long hall type reverb for vocals in Engine 2. Using two different sends on your mixing console, you can now use the M3000 as two effect units sharing the same output. And - not to forget - you are saving a set of return channels.
Create your own Vocal Reverb
Serial mode You probably always wanted to have a long bright reverb on your lead vocal without esses hanging for seconds. You can do this with the M3000. You simply connect a De-esser and your favorite reverb in serial. The De-esser will cut away all sharp transients in the signal. If you want your vocal to have a unique live feel, or the reverberated signal to be slightly detuned, simply connect the Pitch Shifter or Chorus in series with the reverb. There are numerous applications in this mode - try them out.
Two individual inserts on your mixing console
Dual Mono mode In the Dual Mono mode you are able to use two completely separate mono effects at the same time. It can be Equalizers, Compressors, a De-esser or whatever you can imagine.
How to move around
In the UTIL/MIDI menu you always move by pressing the CURSOR keys and change values by dialing the ADJUST wheel.
Constructing a Reverb Preset with the VSS algorithms
The following few paragraphs are thoughts about the usage of the VSS algorithm. They should be taken as guidelines rather than fact. The relationship of Early Reflections and the Reverb tail is very important in this algorithm. Adjusting the balance between the Early Lev and the Rev Lev parameters is one of the easier ways to make a HUGE difference in the sound of your reverb! When you start building your preset you should try this: - First turn the Rev Lev all the way down and then turn the MIX level up to between 60% and 70% if you are in mix mode, or push the return faders up on your console if you are in 100% wet mode (see I/O- The Signal Page on page15). - Then begin changing the Early Type and Early Size parameters until you select a room shape that compliments the program material. - Re-adjust the wet/dry balance until it is pleasing, then bring up the Rev Lev until the tail of the reverb becomes audible. - Add just enough tail to make it work together. - Adjust the Decay time accordingly. On some presets you may choose to have very little Early Reflections or none at all. Certain ambience style presets might have little or no tail. That is up to you. The M3000 was designed to have the smoothest Reverb tail ever developed but it is the Early Reflections that define the personality of the room, so try to experiment with this relationship! By using these parameters correctly you can create a BIG sound without having a mix swimming in reverb wash. Note: When using small room sizes and short Decay times on percussive signals, the Reverb level and Early level must have an approx. level difference of 4dB in order to prevent a slap effect. Getting the most out of the Early Reflection Patterns of the M3000 Early Reflections defines the actual feel of the room, where the Reverb tail is the less defined bowl of reflections that follows. The major part of the Early Reflection patterns of the M3000 are simulations of existing rooms and are based on a large number of reflections (40-100), which have been processed through an advanced algorithm. There are a number of different types and sizes covering a lot of different acoustic spaces that you need for music and post production. As the patterns are simulations of real rooms, the delay times of the first reflections are sonic and spatially connected to the direct signal. Using Pre Delay together with Early Reflections should therefore be considered very carefully, as the acoustic space created by the pattern tends to collapse if too much Pre Delay is added. If you want the well known slap back reverb effect, you should use Rev Delay on the Reverb tail instead and reduce the level of the Early Reflections.
Finding the right Early Type & Size for your track : Select Early Type and Early Size in the Expert mode. - Turn the Rev Level to -100dB. - Turn the EarlyLevel to 0dB. - Select an appropriate size. (Note that some sizes of the different types may overlap, e.g. Church Small is bigger than Conc Hall medium etc.) - Switch between the different types until it matches the signal and the illusion that you wish to create. Generally it is advisable to use small room sizes for drums and perc; medium sizes for piano, guitar & horns and large sizes for vocals & strings. Large Church and Venue simulate very big rooms and can therefore be used to create an echo like effect if turned up loud. Many of the patterns can be used as a Doubling effect if the Reverb tail is not added. Using the Hi Color and Lo Cut parameter in the Early Reflection-Expert mode Once you have selected the desired type and size you can use the Hi Color and the Lo Cut controls to filter the Early Reflections. The Hi Color parameter is an advanced Hi Cut function. Please note that in most real rooms the reflections are generally much softer than the direct signal. Often it can be advisable to use the Hi Color parameter in the range between -4 to -9 to make the Early Reflections blend properly with the direct signal rather than competing with it. The Lo Cut filter is very useful if you want to reduce the Early Reflections in the area between 125-400Hz. Try this if the Early Reflections seem to make the sound too full. To use the M3000 as a Stereo Reverb: The VSS algorithm is basically a mono-input/stereo-output algorithm, but by using both Engines it is possible to turn the M3000 into a input/output Stereo Reverb. To justify the entire discussion of stereo reverb the source material must derive from two points. E.g. a grand piano would normally be miked up with two mics. When you hear the actual piano there will be a small delay due to the distance between the mics. To simulate this try the following example: - select the same preset in both Engines. - use approx. 10-20ms. of Pre Delay in Engine 1. - use the same amount of Rev Delay in Engine 2. This action is to ensure the Reverb tail has the same starting point in both Engines/channels. - set the Mix parameter to 100% in the Edit menu of both Engines or select MIX=100% in the I/O section. - use the Dual Input Routing. - pan the Reverb in Engine 1 to the left, and the Reverb in Engine 2 to the right, using the RevBal parameter in the Expert mode. Try out the Combined factory stereo presets no. 47 and 48, and investigate the parameter settings to learn more about using the M3000 as a Stereo Reverb.
Overview of the VSS Reverb Section
On the opposite page you have a graphical overview of how the VSS Reverb algorithm is constructed. To fully utilize the possibilities of Early Reflections and the Reverb tail you should understand the relationship of these sections, and be able to control the most important parameters. As this is just an introduction on how to work the VSS Reverb we will only direct your attention to a few of the sections. For explanations of all the parameters you should refer to the complete algorithm descriptions on the following pages. Please note that the illustration only covers one Engine. So the M3000 has two of the illustrated elements. Hearing the terms Early Reflections and Reverb tail, might lead you to believe that these two sections are placed in a line, with the Early Reflections first followed by the Reverb tail section. This is as you can see not the case. The two sections run parallel. Pre Delay versus Rev Delay The first two points we would like to bring to your attention is the Pre Delay and the Rev Delay. The Rev Delay moves the Reverb tail away from the source material. This is listed in many other reverb units as Pre Delay. In the M3000 the Pre Delay is the parameter that moves the entire Reverb section; Early Reflections as well as tail. We recommend using the Rev Delay as your first choice when moving the Reverb tail from the direct signal. The Early Reflections take place in the first few hundred milliseconds and is what you hear before the more randomly calculated tail. Therefore the idea of delaying the Early reflections with the Pre Delay parameter should be carefully considered, and as the Early Reflection patterns are of a very complex and precisely calculated structure, adding too much Pre Delay can give you a feeling of less precision and might sound out of phase. Mixing the Reverb Out Levels We recommend careful considerations concerning the level parameter on both the Early Reflections (Early Lev) and the Reverb tail (Rev Lev). To emphasize either the Early Reflections or the Reverb tail, try setting the Early level and the Rev level with a difference of 6dB. Modulation of the Reverb Tail The M3000 is capable of producing an optimal precise clean Reverb tail. However in some situations you might experience that the tail is too clean/perfect. This is why weve added the modulation features. With Space Modulation and Reverb Modulation, you can tweak the tail in different directions. As shown in the illustration the Space Modulation is a separate block that works on the very Output of the Reverb, where the Reverb Modulation is an integrated part of the complex reverb calculations that works specifically on the tail.
Type: (Off, Smooth1, Smooth2, Perc, Wow, Vintage, Wild) Adjusts the type of modulation. Try all of them. First turn the Depth all the way up and turn the Early Lev off and the MIX to 100% so you are only listening to the tail of the verb. Then change the Type of Mod and listen to its affect on the tail. Pick the one you like if you are going for that Famous Sound. Sounds cool but beware the tuning of the instruments can get a little strange. Listen on a grand piano to hear the changes, back off if the detuning gets too strange. Rate: (-100, default, +100) Allows you to offset the speed of the LFO from the factory default assigned to each type. Width: (0% - 200%) Sets the width of the modulation.
VSSFP - FILM & POST
The VSSFP (Film & Post-Production) reverb algorithm is a special version of VSS3, incorporating dedicated Early Reflection types for motion picture use, e.g. Car, Bathroom and Conference Rooms. Rev Delay (0 - 200ms) A delay to the tail of the reverb. Adds additional time between the Early Reflections and the onset of the "tail" of the reverb. Pre Delay (0 - 100ms) A delay placed at the Input of the algorithm. This sets how long after the dry sound the Early Reflections will begin. Mix (0% - 100%) Wet/Dry mix. Can be frozen at 100% on the I/O menu. Out Level (-100dB - 0dB) The overall Output level of the Reverb. This is mostly used when the two Engines are used in serial mode, or used in the Combined Mode. Expert mode Press OK to gain access to the following additional parameters. Note: Hi Color, Lo Color and Position are not available in this mode.
Decay (0.01 - 20s) The Decay time of the Reverb. Usually associated with the time it takes the Reverb tail to decay 60dB. This is the overall Master Decay for the four band Decay parameters (found in the REVERB section below) which are multiples of this base Reverb time. Hi Color (available in easy mode only) Adjusts the spectral balance in the high end frequencies. This is actually a simple way of adjusting a complex selection of frequencies. Lo Color (available in easy mode only) Adjusting the spectral balance in the low end frequencies. A simple way of adjusting a complex selection of frequencies. Position (available in easy mode only) Changes the distance from the listener to the source. The characteristics of the room are preserved, only the perceived distance changes. Note: To obtain the intended effect, please do not use a 100% wet mix, but include some dry signal. Early Lev (-100dB - 0dB) The Output level of the Early Reflections. When Early Lev is set to off the Reverb effect will consist entirely of Reverb tail. Rev Lev (-100dB - 0dB) The Output level of the Reverb tail. When Rev Lev is set all the way off, the effect will consist entirely of Early Reflections.
Early Type (Several types) Pick the type that best compliments your material or best represents the effect you are going for. Early Size (Small, Medium, Large) Changes the size of the Early Type parameter. Note: Some of the Early Types are only one size. Early Pos Here you can select between a Close and a Distant setting. This enables you to change the distance between the listening position and the source in the same Early Reflection pattern. Note that some of the Early Types only have one position available.
Early Bal (-100dB R, Center, -100dB L) the left/right balance of the Early Reflections. Allows you to offset the Early Reflections from the normal center position. Hi Color: Adjusts the spectral balance in the high end frequencies. This is actually a simple way of adjusting a complex selection of frequencies. Low Cut (20Hz - 400Hz) This adjustable filter removes low frequencies for the Early Reflections. Hi Soften (+/-50) Hi Soften is a special filter used to "soften" the high frequencies of Reverb tail. This is not a simple Hi Cut filter but a complex set of filters working together to remove those frequencies that make a reverb sound "brittle" or harsh sounding. Hi Soften is scaled/linked to the Hi Cut and Hi Decay parameters. Hi Decay (0.01 - 2.5) Multiplier for the frequencies above the Hi Xover frequency. Example: If the main Decay parameter is set to 2.0sec and the Hi Decay parameter is set to 1.5, frequencies above the Hi-Xover will decay for 3.0 sec. Conversely if this parameter is set to 0.5 the Decay time above the Hi Xover point will be 1 sec. Hi Xover (500Hz - 20KHZ) sets the frequency at which the transition from the mid frequencies to the high frequencies takes place. Mid Decay (0.01 - 2.5) The Ratio control multiplier for the mid frequencies. This parameter is normally set to 1.0 as it is the main parameter adjusted by the main Decay parameter. This mid-range decay control would normally be omitted, however, TC Engineers felt you could use this parameter as a fine adjustment tool to tweak a preset to sound just right without having to adjust the master Decay parameter. Mid Xover (200Hz - 2kHz) Sets the frequency at which the transition from the low-mid to the mid frequencies takes place. Lo mid Decay (0.01 - 2.5) The Ratio control multiplier for the low-mid frequencies Lo Xover (20Hz - 500Hz) Sets the frequency at which the transition from the low to the low-mid frequencies takes place. Lo Decay (0.01 - 2.5) The Ratio control multiplier for the low frequencies.
Rev Type (Smooth, Natural, Metal, Fast, Fast WD) Adjust this parameter with the Early Lev turned all the way off and the Rev Lev all the way up. Change the type to get a feel of what each one sounds like. Rev Depth With this parameter you can change the depth of the reverb tail. Diffuse (50) This parameter gives you more or less diffusion than the algorithm designer intended for the given Decay time. For optimum performance the diffusion is automatically adjusted behind the scenes whenever you change decay times. This parameter gives you the added control to vary the diffusion around this automatic setting. Hi Cut (20 - 20kHz) Rolls off the top end as it enters the Reverb tail. Used in conjunction with Hi Soften and Hi Decay to "darken" a room. Hi Soften (+/-50) Hi Soften is a special filter used to "soften" the high frequencies of Reverb tail. This is not a simple Hi Cut filter but a complex set of filters working together to remove those frequencies that make a reverb sound "brittle" or harsh sounding. Hi Soften is scaled/linked to the Hi Cut and Hi Decay parameters.
The C.O.R.E. algorithm is a well-known TC Reverb from the M5000, and is very good on short to medium decay times. C.O.R.E. has all parameters present at first layer (meaning no Expert mode). Try e.g. presets 69, 89 and 189 to experience the C.O.R.E algorithm. Decay Sets the Decay time. The value indicates the time to where the Reverb tail is damped to -60dB. Early Level Sets the Early Reflection level. Reverb Level Level of the Reverb tail. Mix Mix between direct and effect. Out Level Adjusts Output level. Use this parameter to match levels between presets. Rev Delay Determines how fast the reverberation will build up. Pre Delay The time to arrival of the first reflection. Imposes the characteristics of the Early Reflections on the later reverberation. Rev diff 2 Imposes the characteristics of the Early Reflections on the later reverberation. Rev width This parameter adjusts the stereo width of the Reverb tail. Hi Cut level Damping Ratio in dB of the Hi Cut filter. Hi Damp (0.01 - 2.5) Multiplier for the frequencies above the Hi Crossover frequency. Example: If the main Decay parameter is set to 2.0sec and the Hi Decay parameter is set to 1.5, frequencies above the Hi Xover will decay for 3.0sec. Conversely if this parameter is set to 0.5 the Decay time above the Hi Xover point will be 1sec. Hi Decay Adjusts the high frequency reverberation time. Hi Crossover Crossover frequency between mid and high band reverberation filter. Lo Decay Adjusts the low frequency reverberation time. Lo Crossover Crossover frequency between low and mid band reverberation filter.
The Expander/Gate performs Downward Expansion. Downward Expansion in general means that below a certain Threshold the Input signals gain is reduced on the Output according to a specific ratio. Expanders and gates are often used to reduce or eliminate noise.
ADDITIONAL EFFECTS - COMPRESSOR
A Compressor is meant to reduce the dynamic content of the Input signal, and thereby keep a more constant level. When the Input signal exceeds the Threshold, the Compressor starts to reduce the signal according to the ratio. The Ratio describes how much the signal is reduced, e.g. a Ratio at 2:1 means that for every 2dB the signal exceeds the Threshold, only 1dB comes out. Release Release sets the fallback time from when the Input signal falls below Threshold until the Compressor reaches no gain reduction. Out Gain The Gain parameter makes it possible to compensate for the loss of level in the Compressor. This is also known as Makeup gain. Out Level Controls the Output level of the block.
COMPRESSOR Threshold When the Input level exceeds the Threshold, the Compressor will be activated. This means that the lower the Threshold, the more compression you will get.
COMPRESSOR Ratio The Ratio of the gain reduction. Example: When the Ratio is set to 4:1 it means that for every 4dB the Input level rises, the Output level increases by only 1dB. Attack Attack is the amount of time the Compressor uses to reach the gain reduction specified by the Ratio parameter. Example: The Input signal rises to 4dB above Threshold in no time, with the Ratio set to 4:1 and the Attack set to 20ms. The Compressor will now use 20ms to reach a 3dB gain reduction - giving you 1dB on the output side for every 4dB the signal rises above the Threshold point. 52
ADDITIONAL EFFECTS - DE-ESSER
A De-esser is used for removing the sibilant sounds from instruments and especially voices. This is done dynamically, which means that its not a static EQ filter but a dynamic filter that only cuts into the sound when the high frequencies are loud in the material. Threshold When the Input level exceeds the Threshold, the De-esser will be activated, according to the Mode parameter. Ratio The Ratio of the gain reduction.When the Ratio is set to 4:1 it means that for every 4dB the defined frequency range rises, the Output level increases by only 1dB. Attack The Attack time is the response time that the De-esser uses to reach the gain reduction specified by the Ratio parameter. Example: If the Input signal suddenly increases to 4dB above Threshold with the Ratio set to 4:1 and the Attack set to 20ms, the De-esser will use 20ms to reach the gain reduction of 3dB. Release Release sets the fallback time of the De-esser, after the signal drops below the Threshold. Freq Sets the center frequency of the range the De-esser should work in. Curve Sets the bandwidth or Lo/Hi shelf setting of the range the De-esser should work in. Mode Decides how the Threshold shall react. When set to Relative, the Threshold will be relative to the average level of the signal. This means that also soft signals are processed. For signals where the average level is determined by signals outside the frequency range set, e.g. a vocal with sibilance, the Relative setting is useful and very musical. When Mode is set to Absolute, the Threshold set refers to full scale (0dB) and is therefore well suited for limiting the maximum level in a specified frequency range, e.g. the bass. 53 Monitor Monitor the Sidechain signal, and hear what the De-esser actually removes from the main signal.
APPENDIX - THE RESET PAGE
Store and load your own default settings Enter User Data page Reset system parameters Clear all user presets Test Programs
Type your name here Type your phone number
Place cursor here and press OK to finalize session.
To enter the Reset page: Hold down one of the 3 Bypass keys pressed while powering up the unit. Move the marker using the the CURSOR keys and press OK to select the desired Reset type. Load User Default This will reset all system parameters back to a Default setup defined by you (see Store User Def below). This reset will NOT delete the User presets of the M3000. Store User Def When you have a perfect setup of your M3000, you are able to store this as your own Default setup. This function is very useful, for example when you have finished a special production and wish to return to normal setup. When you have the perfect setup of your M3000, simply select this function and press OK to store your Default settings. 54
Set User Name This function makes it possible to write your Name and Phone number into the M3000. Press OK to access the User data menu. Use the ADJUST wheel and the CURSOR keys to write your Name and Phone number into the M3000. Press OK to accept. Your Name and Phone number will be displayed during power-up. Reset System Parameters This will reset all system parameters back to the Factory Default. This reset will NOT delete the User presets of the M3000. Reset all presets This will clear all RAM presets.
APPENDIX - SELF TEST
PRESS ONE OF THE 3 BYPASS KEYS, WHILE POWERING UP, TO ACCESS THE RESET MENU AND SELECT RUN TEST PROGRAM Turn the ADJUST wheel to scroll through Self tests Key test Select Key test by pressing OK. The keys must be pressed in the order they are requested by the M3000 to pass the test. Press CANCEL (OK with SHIFT activated) to exit Key test. ADJUST wheel test Select ADJUST wheel test by pressing OK. Turn the ADJUST wheel to 30 and back to 0 to pass test. Press CANCEL to exit the ADJUST wheel test. LED test Select LED test by pressing OK Turn ADJUST wheel to test the LED. The test is ok when all LEDs are lit. Press CANCEL to exit LED test. Display test Select Display test by pressing OK. Press OK to check that all pixels are lit. Press any key to leave the pixel test. Analog I/O test Select Analog I/O test by pressing OK. Connect an M3000 Analog Output directly to the M3000 Analog Input, which has to be tested and press OK. Use a balanced cable. Press CANCEL to exit Analog I/O test Digital I/O test Select Digital I/O test by pressing OK. Connect the M3000 AES/EBU Output to the M3000 AES/EBU Input. Connect the M3000 S/PDIF Output to the M3000 S/PDIF Input. Connect the M3000 ADAT Output to the M3000 ADAT Input. PPM must show 0dB to pass test. Press CANCEL to exit Digital I/O test. MIDI I/O test Select MIDI I/O test by pressing OK. Connect the M3000 MIDI Output to the M3000 MIDI Input. Prg. change 1-128 is send out on MIDI Thru. Connect this socket to a MIDI compatible device and confirm the Program changes. Press CANCEL to exit MIDI I/O test. Pedal test Select Pedal test by pressing OK. Connect a momentary pedal to the External Control In. When pressing the pedal, the result should be OK. When released the result should be Not OK. Press CANCEL to exit Pedal test. PCMCIA test Select PCMCIA test by pressing OK. Insert PCMCIA card. Note that all data on PCMCIA card will be destroyed. Press OK to test. Result reads: Low battery - Time to change battery in your PCMCIA card. Not OK - Try the test using another PCMCIA card. Press CANCEL to exit PCMCIA test. Battery test Select Battery test by pressing OK. Confirm that Result is ok. Press CANCEL to exit Battery test. System test Select System test by pressing OK. Confirm that Result is ok. Result reads: EEPROM Not Ok - The unit will most likely work ok, the message is for service matters only. Ex. RAM is bad - , the memory will not work. Contact your local dealer. Press CANCEL (OK with SHIFT activated) to exit System test. Power Off - On to start standard software. Service note In case of the unlikely event that the unit needs to be sent in for service, please pack the unit in the original box AND an outer box before sending it.
Preset #137 to 190. Smaller and generally more tight rooms. The Natural sounding part of the presets are from #137 to #162, and the Super-natural part goes from #163 to 190. Both groups are sorted from short to long decay-times. Vocal Doubler Small Booth Minimum Booth Rhodes Thicken Lively Small Room 12 String Doubler Studio 10x10ft Small Natural Room Small Perc Room Studio 20x20ft Soft Medium Room Small clear room Nice Perc Ambience Live Wooden Room Puk Drum Ambience S Acc Guitar Ambience Wide Ambient Chamber Tight N Clear
Real Room Lucho 2016 Good room Close Small Room Recital Room A Real Room Soft Guitar Ambience Big Soft Room The Studio Drum Stuff Tight vocal 1 Kick Bass Ambience Amb Rock Lead Gtr RMX Ambience Snare Room Long Drum Trash Stuff Drummin Up Business Vocal BG Fat Thick Space Crazy Phasey Filtered Vocal Dbl 1 Freak Modulation 2 Dance Snare Drum Room Xpander 3 Car Garage In A Cylinder RMX Ambience Wide Small Guitar Room Clear Guitar Room Dark Snare Hall Dark snare 2 Slap Back Guitar Tom Tom Reverb Clear Room Slap Back Piano Bossa Nova Perc Room Delayed Hall C.O.R.E. REV 3
Preset #191 to 204. Reverb-simulations of vintage plate-reverbs. These presets are organised from short to long decay times. 199 Drum Booth Drum Plate Stuff Drum Wood Plate Stairway Plate Piano Plate Slap Back Plate Mac Perc Ambient Plate Silky Gold Plate 65
204 Bright Plate Drums Perc Soft1 Drum Perc Soft2 Oil Drum Drum Perc Soft225 Studio Drum Ambience Acoustic Space Snare Booth Bright Hard Drum Space Dance Snare Modulated Perc Dark Snare Chamber Tiny Booth Small Space Clear Space
Gated Reverb Presets
Preset #205 to 211. The VSS-Gate algorithm is a very extensive type of gated reverb. Preset #205 to #211 are some examples on this. Here you find presets for both drums and vocal. 211 Thick Drum Gate Short Perc Gate Microuzi Gate Backing Vocal Gate Snare Gate GittinJiggyWiddit Medium Band Room VSSGATE VSSGATE VSSGATE VSSGATE VSSGATE VSSGATE VSSGATE
Preset #226 to 250. A selection of non-reverb Single presets, to be used alone or in any combination. 234 Slap Back Delay Tap Delay Detune Pitch Up N Down EQ Flat Expander Fast gate Vox Comp Allround Comp Chorus Wide Chorus
Preset #212 to 225. A group of very small and tight presets mainly made for drums and other percussive material. Real Drum Booth Small Wood Chamber Vintage Snare Room 1 Vintage Snare Room 2
SRV Chorus Flanger Wild Flanger Slow Tremolo Wild Tremolo Slow Panner Fast Panner Wide Old Phaser Standard Phaser Weird Phaser Vocal De-esser Dynamic Hi Cut Dynamic Lo Cut Muted Engine Presets 251-500 uses the VSSFP and VSSSR algorithms. The se presets are dedicated to Film and Post production, and they are made by high-end film and post-production professionals from leading facilities in US and Europe. We believe it is the most extensive collection of film and post-production presets yet available. The special thing about reverb for film and post production is that it has to sound natural and realistic. This doesn't necessarily mean nice and smooth - as it often does in music applications - but that it has to be trustworthy and fit into the scenes. We have arranged the 250 presets in several blocks for different applications. Note VSSFP is used for presets 251 to 469 VSSSR is used for presets 470 to 500
Ultra small reverb presets (Indoor Mini) Presets #251 to 259. A selection of very small and tight sounding reverb settings. The characteristics of these presets are they are made almost entirely of Early Reflection patterns, because the reverb tail in such small spaces is almost non-existent. 259 Closet With Clothes Walk In Closet Too Small Mens Room Phonebooth Tight Phonebooth Claustrophobia Under A Blanket Near The Wall Meat Locker
Small rooms and spaces (Indoor Small) Presets #260 to 289. A selection of extremely natural and realistic small rooms. Domestic rooms like kitchens and living rooms, and more public rooms like offices are represented here. E.g. try preset 266 which is a preset simulating a standard small furnished living room. 278 A Small Room The 2nd Bedroom Drapes And Curtains Dense Centered Room Room Conversation Chamber Furnished Room Living Room Real Living Room Dining Room Corridor Small Bathroom Bathroom Blue In The Kitchen Interior Kitchen Kitchen ConfRoom Damped Shrinks Office Reception Area Medium sized rooms and spaces (Indoor Medium) Presets #290 to 319. Domestic rooms and spaces are the dominant part of this preset block, but also public rooms are represented. 298 Furnished Room Unfurnished Room Locker Room Livingroom Blue Wood Floor Natural Wood Room Livingroom Room With A View Hallway 289 Wooden Office Store Room Live VO Booth Recording Booth Studio Small Standard Dialogue Dialog 1 Open Mics Close Breathing Semifurnished Qntec Small Foley Blue
319 Basement 1 Furnished Basement Wine Cellar 320 Toilet Stall 321 In The Shower 322 Bathroom Stall 323 Wide Garage 324 Right Side Garage 325 Conference Room 326 Glass Office 327 Large Office 328 Office 329 Empty Classroom 330 Classroom 331 Back Of The Glass 332 Watch-Tower Inside 333 Dialog Dialog Dialog In The Air Vent 337 Kellars Cell Blue 340 Storage Room Recital Room Hotel Lobby 69 Empty Nightclub Empty Store Public Mens Room What A Toilet Big Toilet Modern Kitchen Home Garage Big Stairway Small Stairway Empty Stairwell Empty Basement Basement Large Basement 2 What A Basement Centered Hallway Plasterwalls Empty Corridor Big Room Large rooms and spaces (Indoor XL) Presets #320 to 369. This section covers a wide range of presets from large domestic rooms to extra large indoor public areas.
70 Band Practice Room Down The Hall Factory Dance Studio Empty Restaurant Tijuana Cantina Store Room Louvre Pyramid Hall Pentagon Corridor Airport PA Grand Ballroom Parking Garage Small Garage Mine Corridor Mine Chamber Tight+Natural Tight+Smooth Scoring Stage 1 Scoring Stage 2 Scoring Stage 3 Dialog 5 Dialog 6 Dialog 7 Party Chit Chat 369 Large+Stage Blue Down The Hatch In The Sewer Scissorhands Parlor In The Room
The largest indoor halls and areas (Indoor XXL) Presets #370 to 399. The largest indoor areas imaginable. This includes only public areas, like e.g. railway-stations and parking garage buildings. Elevator Shaft Big Stairwell Large Lockerroom Empty Auditorium AES Show Lobby Brill Building Lobby Boston Garden Hall Warehouse Blue Soft Warehouse Long Swimming Pool Swim Distant Empty Indoor Pool Frankfurt Hbf Budapest WestRailwSt LaGuardia Terminal Subway Platform 1
Subway Platform 2 Subway Tunnel Parking Distant Parking Garage Talk Parking Garage Ugly Parking Garage Indoor Parking Lot Public Toilet The Abbey Medium Church Concrete Maze Dark Tunnel Back There Really Smooth Hall 409 Van Interior A Van Inside truck Car Interior Blue Cardoor At Midnight
Large outdoor presets (Outdoor XL) Presets #416 to 429. Typical larger outdoor areas, like backyards and reverb between buildings at the street. 420 Courtyard Market Alley HarlemStreetAtNight Stone Garden Boat Trip In Venice Backyard Backyard Qntec Wide On The Street Street Dog In The Alley Alleyway Between Skyscrapers Between Buildings 1 Between Buildings 2 Under The Bridge 71
Cars Presets #400 to 409. Reverb settings simulating one of the most difficult rooms. The car with its extremely small room and mixture of very soft and hard surfaces makes it very difficult to make a trustworthy replacement for the real thing: Everybody knows how it sounds inside a car !!! 404 Beetle Interior Limo Interior BMW Limo Car Frontseat Dialog Car Front 2 Backseat
Dock Long Cave Backyard Qntc Racetrack PA Mother Nature presets (Nature) Presets #440 to 459. A block of dedicated nature area reverbs. 439 Slap Alley 445 City Foot Chase 446 Empty Arena XXL 447 Racquetball Court 448 Wide Jail court 449 Across The Plaza 450 Large Citypark 451 Big City 452 Down The Tunnel 453 Jump Off Thee Bridge Stoneriver In Vitosa Stone-Quarry Cave Corridor Cave-Dwelling Rocks At See Mountains Alpine Atmosphere Jungle Distance In Jungle Back Canyon Deep Valley Valley In Winter In The Valley Forest Forest Reverb 2 Green Forest Forest In Winter Forest In Autumn Forest On The Hill Forest Reverb 1
Dual Engine VSS3 Reverb and Multi Effects Processor The VSS3-reverb technology inherent in the M3000 is an industry standard. The M3000 has some of the best sounding, most versatile and easy-to-use professional reverbs for music and film/post applications. Combining ultimate control of directivity in the early reflections with a transparent and harmonically magnificent diffused field, the art of reverberation is brought to a new and higher level. The M3000 enables you to add the softest and cleanest ambience to your work that you have ever heard. Furthermore the processor boasts a wide range of tools and presets to give you the exact vintage or post production reverb you are looking for. The M3000 is a dual-engine reverb-unit, where both software algorithms and hardware performance is opt
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