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TC Electronic M-ONE

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About

TC Electronic M-ONETC Electronic M-One XL Studio/PA Dual Reverb Multi Effects Processor
Now with 25 incredible effects, this dual-engine processor delivers world-class effects and professional capabilities. Effects include XL Reverbs, Chorus, Tremolo, Pitch, Delay, Dynamics, and more. The XL Reverb Technology benefits from the TC Reverb heritage and takes advantage of both complex Early Reflection patterns and dense Reverb decays in order to bring more natural reverbs to all applications. This technological development combined with XLR I/O connectors make the M-ONE XL especially s... Read more

Details
Brand: TC
Part Numbers: 960-000111, 96000011, 960000111, M-ONE XL, M-ONE-XL, M-One XL, MONEXL
UPC: 5706622004550
EAN: 5706622004550

 

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TC Electronic M One XL Processes Reverb At The Empty Bottle

 

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Comments to date: 11. Page 1 of 1. Average Rating:
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Hi quality paper, but very expensive. Would love to find cheaper alternative. Quality Price

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Documents

doc0

MONE & MONE XL

DUAL EFFECTS PROCESSORS

USERS MANUAL

IMPORTANT SAFETY INSTRUCTIONS
The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer's instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Only use attachments/accessories specified by the manufacturer. Unplug this apparatus during lightning storms or when unused for long periods of time. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
Warning! To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. This apparatus must be earthed. Use a three wire grounding type line cord like the one supplied with the product. Be advised that different operating voltages require the use of different types of line cord and attachment plugs. Check the voltage in your area and use the correct type. See table below: Voltage Line plug according to standard
110-125V UL817 and CSA C22.2 no 42. 220-230V CEE 7 page VII, SR section 107-2-D1/IEC 83 page C4. 240V BS 1363 of 1984. Specification for 13A fused plugs and switched and unswitched socket outlets.
This equipment should be installed near the socket outlet and disconnection of the device should be easily accessible. Do not install in a confined space. Do not open the unit - risk of electric shock inside.
Caution: You are cautioned that any change or modifications not expressly approved in this manual could void your authority to operate this equipment. Service There are no user-serviceable parts inside. All service must be performed by qualified personnel.

EMC / EMI. This equipment has been tested and found to comply with the limits for a Class B Digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in residential installations. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on. The user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help.
Certificate Of Conformity TC Electronic A/S, Sindalsvej 34, 8240 Risskov, Denmark, hereby declares on own responsibility that following products: MONE - Dual Effects Processor & MONE XL - Dual Effects Processor - that is covered by this certificate and marked with CE-label conforms with following standards: EN 60065 Safety requirements for mains (IEC 60065) operated electronic and related apparatus for household and similar general use EN 55103-1 Product family standard for audio,video, audio-visual and entertainment lighting control apparatus for professional use. Part 1: Emission. EN 55103-2 Product family standard for audio, video, audio-visual and entertainment lighting control apparatus for professional use. Part 2: Immunity. With reference to regulations in following directives: 73/23/EEC, 89/336/EEC Issued in Risskov, Anders Fauerskov Chief Executive Officer
For the customers in Canada: This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numrique de la classe B est conforme la norme NMB-003 du Canada.

TABLE OF CONTENTS

INTRODUCTION Important Safety Instructions Table of contents. Introduction. Front Panel. Rear Panel. Signal flow diagram & Soldering Instructions. APPENDIX MIDI Implementation Chart Technical Specifications. Troubleshooting. Preset List.38.39.41.42

.3.5.6.8

BASIC OPERATION The MONE Display.10 I/O Setup.11 Clock Mismatch.11 Utility & MIDI.12 Routings.13 Recall.16 Edit.16 Store.17 Tap.17 ALGORITHMS Reverb Hall. Room. Small Room Plate 1. Plate 2. Spring. Live. Ambience.
.18.19.21.22.23.24.25.26.27.28.29.30.31.32.33.34.35.36.37

INPUT - Analog/Digital Indicates whether the MONE is set to analog or digital Input. When set to digital Input, the Sample Rate automatically switches to DI. In case of no or unacceptable clock the "Digital" and "DI" icon will be blinking. ANALOG/DIGITAL LED ANALOG/DIGITAL indicator states the selected Input. Input type is selected in the "I/O Setup" menu. SAMPLE RATE indicator The SAMPLE RATE indicator shows the clock source and the incoming master clock. The Digital In icon will be blinking if no clock or unacceptable clock is found. ROUTING indicator Indication of what Routing mode the MONE currently is using. ALGO Indicator Shows the currently used algorithms in each of the two Engines.
DYNAMIC meters 1+2 These two meters show the gain reduction when an Engine is running Dynamic algorithms. The Dynamic algorithms are: Compressor, Limiter, Gate, Expander and De-esser. DISPLAY Displays the preset number and the preset type: Factory or User. EDITED icon This icon will be lit as soon as the current recalled preset has been modified. FACTORY/USER icon Shows whether you are operating in the Factory or the User bank. MIDI IN icon Shows any incoming MIDI activity.
ROUTING key Press the ROUTING key to set the Engine Routing. The options are: Dual Send/ Ret, Parallel, Parallel/Serial, Serial, Stereo, Dual Mono. I/O SETUP Basic parameters are set here. Input source - Analog/Digital. Sample Rate 44.1/48kHz/DI Bypass Mode - See Bypass keys 1 and 2. Global Output level. Dither 16, 20 or 24(off). TAP key Tap this key to enter the global Tap tempo and to enter the Tap menu. Subdivision of the tapped tempo is setup in this menu. The tapped tempo can be used for Delay time, Chorus rate etc. UTILITY MIDI, Sys-Ex ID, Routing-lock, Bypass mode, Pedal function and Display View angle.
ALGO/EDIT 1+2 Press this key to enter the Edit display and the Algorithm Change display of the currently selected Engine. BYPASS keys 1 and 2 The Bypass mode is set up in Utility. There are three different Bypass modes: 1 0% Mix: The Input signal is passed directly to the Output. 2 FX Input: Cuts only the Engine Input in order to let the effect "ring out", but will still leave the same amount of dry signal coming through. 3 FX Output: Cuts only the Engine Output in order to kill the FX instantaneously, but leaves the same amount of dry signal coming through. RECALL key Selects the Recall menu. Select a desired preset using the CONTROL wheel and press the ENTER key to enter/load the selected preset.

STORE key Selects the Store menu. Presets can be stored in the User bank only. Location is selected using the CONTROL wheel. Operation is confirmed using ENTER. CURSOR UP/DOWN Use the cursors to move around in the display. ENTER key Confirms operations. The ENTER key LED will indicate when this key can be used. EXIT key Is used to exit a menu or to disapprove an action. CONTROL wheel Is used to change values.

REAR PANEL

MOne Standard
BALANCED INPUTS LEFT RIGHT BALANCED OUTPUTS LEFT RIGHT DIGITAL I/O IN

DI S/PDIF DO

MIDI THRU

PEDAL IN

CAUTION
RISK OF ELECTRIC SHOCK DO NOT OPEN
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE AVIS: RISQUE DE CHOC ELECTRIQUE-NE PAS OUVRIR.

WARNING

TYPE: MAN001

SERIAL NO.

MADE IN THAILAND

TC ELECTRONIC

UL6500 EN/IEC 60065
PROFESSIONAL AUDIO EQUIPMENT
THIS CLASS B DIGITAL DEVICE MEETS ALL REQUIREMENTS OF THE CANADIAN INTERFERENCECAUSING EQUIPMENT REGULATIONS AND COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION SUBJECT TO CONDITIONS STATED IN THE MANUAL.

100-240VAC 50-60Hz, 15W

Balanced Jack Analog Inputs Use Left Input for mono only
Balanced Jack Analog Outputs
Digital S/PDIF Input/ Output
MIDI Pedal Input In, Out, Thru for Bypass

Power Input

Serial no.

MOne XL

Balanced XLR Analog Inputs
Balanced XLR Analog Outputs
Use Left Input for mono only. Input select MUST be set to ANLGLEFT in the I/O menu.
SIGNAL FLOW & SOLDERING INSTRUCTIONS
INPUT PPM Left Input Selector ANALOG IN LEVEL Left Engine 1 ANALOG INPUTS [balanced] A/D Right Bypass Fx In Engine 2 44.1kHz 48kHz Digital Input [S/PDIF] S-Rate Bypass Fx Out Bypass Dither Digital Output [S/PDIF] D/A MIX Right Right OUT LEVEL ANALOG OUT RANGE Left ANALOG OUTPUTS [balanced] Bypass

Digi DIGITAL IN

MIDI Cable
DIN CONNECTOR 5POLE - MALE 45 degrees max. 10m
DIN CONNECTOR 5POLE - MALE 45 degrees
SHIELDED CABLE (3 or 5 wires + screen)
Jack (unbalanced) - XLR Sleeve - Pin 1 (Ground) Tip - Pin 2 (Hot) Sleeve - Pin 3 (Cold)

TIP GND

Jack (balanced) - XLR Sleeve - Pin 1 (Ground) Tip - Pin 2 (Hot) Ring - Pin 3 (Cold)

TIP RING GND

XLR - XLR Pin 1 - Pin 1 (Ground) Pin 2 - Pin 2 (Hot) Pin 3 - Pin 3 (Cold)

THE MONE DISPLAY

Overload LEDs Analog/Digital Routing Algo Indicator Preset Number

ANALOG DIGITAL DUALSEND/RET

7IAH2HAIAJ

Text Line Dynamic Meters

EDITED

FACTORYUSER

MIDIIN

Input Meters

Preset Bank Indicator

MIDI Activity LED
Analog/Digital Analog/Digital indicator states the chosen Input. This choice is done in the "I/O Setup" menu. The Input choice is global Icons: Analog, Digital Sample Rate The Sample Rate indicator shows the clock source and the incoming master clock. These can be: Digi In, 44.1kHz, 48kHz. Example When locked to an external digital signal, the indicator will display: Digi In and 44.1. While using analog Inputs and the internal clock will display: 44.1. In case of no clock or unacceptable clock, the Digital In icon will be blinking indicating the error situation. The Sample Rate choice is global. Routing Fig and text Shows the current Routing. Options are: Dual Send/Return, Parallel/Serial, True Stereo and Dual Mono. Algo Indicator Shows the running algorithm in each of the two Engines. Push any of the EDIT keys to scroll through the available effect algorithms. Select between: Rev, Dly, Cho, Fla, Pit, EQ, Dyn, Trm and Pha.
Dynamic Meters These two meters are used to show the gain reduction when one of the Engines is running a dynamic algorithm. Dynamic algorithms are: Compressor, Limiter, Gate, De-esser and Expander. Preset Number The current preset number. Edited This icon will be lit as soon as the current preset has been modified. Factory/User Shows whether you are operating in the Factory or User bank. MIDI In Indicates the presence of incoming MIDI data. Text Line This 20 character text line is used to display preset names as well as selected functions.

I&O SETUP

I/O Setup
Basic operation Press the I/O SETUP key to enter the global setup parameters of the MONE. Use the ARROW keys to select parameters and the CONTROL wheel to change parameter values. All changes in the I/O Setup menu are instantly effective. Input Source Analog Select the Source parameter using the ARROW keys. The source display arrow is lit. Dial the CONTROL wheel to select between Analog or Digital. When "Analog" is selected MONE automatically defaults to the internal 44.1kHz clock as Sample Rate and analog Input is lit in the display. Digital When "Digital" is selected the MONE attempts to lock to the S/PDIF Input. The incoming clock will be displayed by the 44.1 or 48kHz display icons and the Digital In icon will be lit. During the lock-up period the Digital In icon will be blinking indicating none or unacceptable clock, and the Outputs are muted. When "lock" is achieved the matching Clock Rate icon is lit, and the Outputs are un-muted. ANLGLEFT (MONE XL only) With this selection analog Input type is selected and the Left XLR Input connector must be used. Clock Analog Input When Input source is analog the following Sample Rates are available: Internal 44.1kHz: The MONE runs at internal 44.1kHz. Internal 48kHz: The MONE runs at internal 48kHz. Digital: The MONE locks to the incoming Digital clock. Digital Input When Input Source is digital the MONE following Sample Rates are available: Internal 44.1kHz: The MONE runs at internal 44.1kHz. Internal 48kHz: The MONE runs at internal 48kHz. Digital: The MONE locks to the incoming Digital clock. Please note that when using internal clock with external digital audio, the incoming digital audio must be in sync with the MONE internal clock in order to avoid slip-samples. ***Rate Mismatch**** This Error message will occur in the display if the MONE detects slipsamples. Typically this problem only occurs in very special clock setups e.g. if the MONE is running via internal clock, while processing audio from the Digital Input. If the incoming clock and the internal clock do not match the MONE will display the above written error message. Out Range Range: 2dBu, 8dBu, 14dBu and 20dBu. Sets the maximum Gain range of the analog Output stage. Out level Range: 0 to Off (-100dB) in 1dB increments. Controlling the overall digital/analog Output level. Digital In Gain Sets the digital Input level. This level only affects the digital level. Dither Going from one type of bit resolution to a lower, e.g. from 24 bit to 16 bit, you actually loose 8 bits of information. The process of cutting off bits is called truncation and it introduces digital distortion of low level signals, due to the lack of complete signal information. To compensate for this, dither must be applied. Dither is a small amount of filtered noise that generates randomization at the noise floor, ensuring a less distorted low level signal. Dithering is relevant only on digital Outputs and it is always the receiving device that determines the number of bits you must dither to. A CDR or a DAT recorder should normally be dithered to 16 bit.

Serial In Serial mode the signal always passes Engine 1 before Engine 2. On the front panel the EFFECT BAL knob and the MIX knob works as follows: MIX In Serial routing, the MIX knob work as the Mix control of Engine 1. EFFECT BAL Controls the level of dry signal passed around Engine 2. Please note that the "Dry" signal that passes Eng 2 is picked up after Engine 1. This makes it possible to emulate two stand alone effects in a serial setup. Dry signal is passed in stereo. Use the Serial mode when you want to combine the Engines to one effect. Example: Select the De-esser in Engine 1, and a bright Reverb in Engine 2. The De-esser will now suppress the Sss sounds of a vocal, enabling you to use bright and open Reverbs without getting too much sibilance.

Stereo Linked

Dual Mono

STEREO LINKED L ENG1 L

DUAL MONO L ENG1 L

INSERTS

R FX BAL MIX
In the Stereo Linked Routing the Engines perform the exact same effect with synchronized parameter settings. Left I/O are used for Engine 1, Right I/O are used for Engine 2. When switching to Stereo Linked Routing the Engine 1 settings are forced into Engine 2. EFFECT BAL. Controls the balance between the two Engines FX Outputs. MIX Controls the amount of dry signal passed around the two Engines. Dry signal is passed in stereo. The Stereo Linked routing can be used for a true stereo application. Example: Select the Compressor and insert the MONE on a sub- group on your mixing console. Now you have a true stereo compressor with identical settings, and you only have to edit one Engine to change the settings of both channels.
In the Dual Mono routing, the two Engines are totally independent, meaning mono in/mono out of each Engine. Left I/O are used for Engine 1, Right I/O are used for Engine 2. EFFECT BAL. Controls the balance between the two Engines FX Outputs. MIX Controls the amount of dry signal passed around the two Engines. Dry signal is passed independently for the two channels. Dual Mono is a great routing for independent Mono use. This enables you to use the two Engines for two totally different purposes. Example: You need a Tremolo and an EQ for inserting on two different channels. Connect the first channel to Left In/Out of the MONE, and the second channel to right In/Out, select the Tremolo and the EQ, and you are up and running.

RECALL

Recall
Recalling a Preset Recalling a preset means loading/activating a preset. Press RECALL to enter the RECALL menu. Use the CONTROL wheel to preview presets. Preview mode is indicated by blinking preset number and simultaneously blinking LED in the ENTER key. Press ENTER or RECALL to recall/activate the preset. Press the EXIT key during a preview to return to the current recalled preset. Preset types User presets - RAM User presets that can be edited and stored in any User location. You can store up to 100 user presets in the User bank. Factory presets - ROM Factory presets that can be edited and stored in any User location. You cannot store presets into a Factory location. The MONE holds 100 factory presets. (MONE XL - 200) When you are in the Factory bank you can press the ARROW UP key to quickly enter the User bank. Likewise you can quickly enter the Factory preset bank by pressing the ARROW DOWN key.

The TAP function allows you to tap a global tempo into the MONE. This tempo can be used for Delay time, Chorus Rate etc. Basic operation Press the TAP key once to enter the Tap menu. Use the ARROW keys to select parameters. Use the CONTROL wheel to select values. Changes are instantly effective. Tap Shows the currently entered Tap tempo. The tempo is shown in either ms (milliseconds) or BPM (Beats Per Minute). Tap Subdivision The subdivision determines how the MONE should respond to the tapped tempo. Options are: Ignored, 1, 1/2D, 1/2, 1/2T, 1/4D, 1/4, 1/4T, 1/8D, 1/8, 1/8T, 1/16D, 1/16, 1/16T, 1/32D, 1/32, 1/32T, Tap Func Sets what Engine the Tap control is working on. Range: Eng 1, Eng 2 or Eng 1&2. You must select Ignored in Tap Subdivision to switch off the Tap function. MIDI Sync When MIDI Sync is enabled the MONE will lock to any incoming MIDI clock. Eg. when hooked up to a sequencer. When MIDI Sync is enabled the Tap display will default to Subdivision indication.

REVERB The Reverbs

Most of the Reverbs in the MONE contain two different parts; the Reflections and the Tail. The Reflections, or Early Reflections, simulate the first reflections that are heard. In real life, this is the part of a Reverb that defines the size and character of the room. The other part of the Reverb is known as the Reverb Tail or the diffused field. These reflections are so complex and disordered that you can no longer determine the actual direction of the original source. In conjunction the two parts create the natural sound of an environment, however in real life the balance between these two parts of a Reverb may vary quite a bit. Therefore we provided controls that allow you to change the level, color and duration or size of the two. Please try to experiment with the two parts of the Reverbs, and we guarantee that you will hear some astonishing effects.
Decay Range: 0.02s - 20sec The Decay parameter determines the length of the Reverb Tail. The length is defined as the time it takes for the Reverb Tail to decay approximately 60dB. Predelay Range: 0 - 100ms A short delay placed between the Early Reflections and the Tail of the reverb. By using predelay the source material is kept clear and undisturbed by the more diffuse reverb tail. Try to turn down the Reflect Level in order to achieve the traditional slapback effect on the Reverb Tail. Size Range: Small - Medium - Large - XL (XL-Only) This parameter determines the size of the Early Reflection pattern. Try experimenting with the different sizes to hear what suits your source material best. High Cut Range: 501.2Hz - 20kHz Rolls off high frequencies with a slope of 6dB/octave. Use this to remove sibilance in the Reverb. Try experimenting with the difference in removing high frequencies using the High Cut and the High Color parameters. High Color Range: -50 - +50 This parameter adjusts the Decay time in the upper frequency spectra. By decreasing the upper frequency Decay time you remove sibilance while preserving the openness of the Reverb.

REVERB Low Color Range: -50 - +50 This parameter adjusts the Decay time in the lower frequency spectra. Remove rumble while preserving the warmth of the Reverb Tail by decreasing the lower frequency Decay time. Reflect Level Range: 0dB to -100dB This parameter adjusts the level of the Early Reflection. Many older Reverbs did not utilize Early Reflection patterns. Try lowering the Reflect Level in order to achieve this character. Reverb Level Range: 0dB to -100dB This parameter adjusts the Reverb Tail level. Lowering the Reverb Level will give you a more ambient sound, since the Early Reflection patterns will become more obvious. Mod Type Range: Off - Smooth - Vintage Sets the Type of Modulation used on the Reverb Tail. Smooth: The Smooth modulation uses a complicated modulation pattern, that allows the Reverb Tail to be modulated without detuning the original source signal. Vintage: Many older reverbs used a very simple modulation pattern that tended to detune the original source slightly. The Vintage modulation is an emulation of this old modulation style, giving you the traditional detuning effect in the ringout of the reverb. Mod Speed Range: -25 - +25 Sets the speed of the modulation. The speed has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting.
Mod Depth Range: -25 - +25 Sets the depth of the Modulation. The Depth has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting. FX Level Range: 0 - 100% The level of the entire effect.

REVERB - ROOM

Decay Range: 0.02s - 2,5s The Decay parameter determines the length of the Reverb Tail. The length is defined as the time it takes for the Reverb Tail to decay approx 60dB. Predelay Range: 0 - 100ms A short delay placed between the Early Reflections and the Tail of the reverb. By using predelay the source material is kept clear and undisturbed by the more diffuse reverb tail. Try to turn down the Reflect Level in order to achieve the traditional slapback effect on the Reverb Tail. Size Range: Small - Medium - Large - XL (XL-Only) This parameter determines the size of the Early Reflection pattern. Try experimenting with the different sizes to hear what suits your source material best. High Cut Range: 501.2Hz - 20kHz Rolls off high frequencies with a slope of 6dB/octave. Use this to remove sibilance in the Reverb. Try experimenting with the difference in removing high frequencies using the High Cut and the High Color parameters. High Color Range: -50 - +50 This parameter adjusts the Decay time in the upper frequency spectra. By decreasing the upper frequency Decay time you remove sibilance while preserving the openness of the Reverb. Low Color Range: -50 - +50 This parameter adjusts the Decay time in the lower frequency spectra. Remove rumble while preserving the warmth of the Reverb Tail by decreasing the lower frequency Decay time. 20 Reflect Level Range: 0dB to -100dB This parameter adjusts the level of the Early Reflections. Many older Reverbs did not utilize Early Reflection patterns. Try lowering the Reflect Level in order to achieve this character. Reverb Level Range: 0dB to -100dB This parameter adjusts the Reverb Tail level. Lowering the Reverb Level will give you a more ambient sound, since the Early Reflection patterns will become more obvious. Mod Range: Off - On Modulating the Reverb tail will create a more chaotic Reverb Tail, very similar to a natural room. Mod Speed Range: -25 - +25 Sets the speed of the modulation. The speed has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting. Mod Depth Range: -25 - +25 Sets the depth of the Modulation. The Depth has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting. FX Level Range: 0 - 100% The level of the entire effect.

REVERB Small Room

SMALL ROOM (MONE XL ONLY)
Reflect Level Range: 0dB to -100dB This parameter adjusts the level of the Early Reflections. Many older Reverbs did not utilize Early Reflection patterns. Try lowering the Reflect Level in order to achieve this character. Reverb Level Range: 0dB to -100dB This parameter adjusts the Reverb Tail level. Lowering the Reverb Level will give you a more ambient sound, since the Early Reflection patterns will become more obvious. Mod Range: Off - On Modulating the Reverb tail will create a more chaotic Reverb Tail, very similar to a natural room. Mod Speed Range: -25 - +25 Sets the speed of the modulation. The speed has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting. Mod Depth Range: -25 - +25 Sets the depth of the Modulation. The Depth has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting. FX Level Range: 0 - 100% The level of the entire effect.
Decay Range: 0.02s - 2.5s The Decay parameter determines the length of the Reverb Tail. The length is defined as the time it takes for the Reverb Tail to decay approx 60dB. Predelay Range: 0 - 100ms A short delay placed between the Early Reflections and the Tail of the reverb. By using predelay the source material is kept clear and undisturbed by the more diffuse reverb tail. Try to turn down the Reflect Level in order to achieve the traditional slapback effect on the Reverb Tail. Size Range: Small - Medium - Large - XL This parameter determines the size of the Early Reflection pattern. Try experimenting with the different sizes to hear what suits your source material best. High Cut Range: 501.2Hz - 20kHz Rolls off high frequencies with a slope of 6dB/octave. Use this to remove sibilance in the Reverb. Try experimenting with the difference in removing high frequencies using the High Cut and the High Color parameters. High Color Range: -50 - +50 This parameter adjusts the Decay time in the upper frequency spectra. By decreasing the upper frequency Decay time you remove sibilance while preserving the openness of the Reverb. Low Color Range: -50 - +50 This parameter adjusts the Decay time in the lower frequency spectra. Remove rumble while preserving the warmth of the Reverb Tail by decreasing the lower frequency Decay time.

REVERB Plate 1

Decay Range: 0.02s - 20s The Decay parameter determines the length of the Reverb Tail. The length is defined as the time it takes for the Reverb Tail to decay approx 60dB. Predelay Range: 0 - 100ms A short delay placed between the Early Reflections and the Tail of the reverb. By using predelay the source material is kept clear and undisturbed by the more diffuse reverb tail. Try to turn down the Reflect Level in order to achieve the traditional slapback effect on the Reverb Tail. Size Range: Small - Medium - Large - XL (XL-Only) This parameter determines the size of the Early Reflection pattern. Try experimenting with the different sizes to hear what suits your source material best. High Cut Range: 501.2Hz - 20kHz Rolls off high frequencies with a slope of 6dB/octave. Use this to remove sibilance in the Reverb. Try experimenting with the difference in removing high frequencies using the High Cut and the High Color parameters. High Color Range: -50 - +50 This parameter adjusts the Decay time in the upper frequency spectra. By decreasing the upper frequency Decay time you remove sibilance while preserving the openness of the Reverb.

Reflect Level Range: 0dB to -100dB This parameter adjusts the level of the Early Reflections. Many older Reverbs did not utilize Early Reflection patterns. Try lowering the Reflect Level in order to achieve this character. Reverb Level Range: 0dB to -100dB This parameter adjusts the Reverb Tail level. Lowering the Reverb Level will give you a more ambient sound, since the Early Reflection patterns will become more obvious Mod Range: Off - On Modulating the Reverb tail will create a more chaotic Reverb Tail, very similar to a natural room. Mod Speed Range: -25 - +25 Sets the speed of the modulation. The Speed has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting. Mod Depth Range: -25 - +25 Sets the depth of the Modulation. The Depth has been optimized for each Reverb type. The +/-25 range is calculated as the variation from this optimal setting. FX Level Range: 0 - 100% The level of the entire effect.

REVERB Spring

A reverb algorithm designed to reproduce the sound of the old spring reverbs, such as the ones used in vintage guitar amps. Decay Range: 0.02s - 20s The Decay parameter determines the length of the Reverb Tail. The length is defined as the time it takes for the Reverb Tail to decay approximately 60dB. Predelay Range: 0 - 100ms A short delay placed between the direct signal and the Tail of the reverb. By using predelay the source material is kept clear and undisturbed by the more diffuse reverb tail. High Cut Range: 501.2Hz - 20kHz Rolls off high frequencies with a slope of 6dB/octave. Use this to remove sibilance in the Reverb. Try experimenting with the difference in removing high frequencies using the High Cut and the High Color parameters. High Color Range: -50 - +50 This parameter adjusts the Decay time in the upper frequency spectra. By decreasing the upper frequency Decay time you remove sibilance while preserving the openness of the Reverb. Low Color Range: -50 - +50 This parameter adjusts the Decay time in the lower frequency spectra. Remove rumble while preserving the warmth of the Reverb Tail by decreasing the lower frequency Decay time. FX Level Range: 0 - 100% The level of the entire effect.

SPRING

REVERB Live
Decay Range: 0.02s - 20s The Decay parameter determines the length of the Reverb Tail. The length is defined as the time it takes for the Reverb Tail to decay approximately 60dB. Predelay Range: 0 - 100ms A short delay placed between the Early Reflections and the Tail of the reverb. By using predelay the source material is kept clear and undisturbed by the more diffuse reverb tail. Try to turn down the Reflect Level in order to achieve the traditional slapback effect on the Reverb Tail. Size Range: Small - Medium - Large - XL (XL-Only) This parameter determines the size of the Early Reflection pattern. Try experimenting with the different sizes to hear what suits your source material best. High Cut Range: 501.2Hz - 20kHz Rolls off high frequencies with a slope of 6dB/octave. Use this to remove sibilance in the Reverb. Try experimenting with the difference in removing high frequencies using the High Cut and the High Color parameters. High Color Range: -50 - +50 This parameter adjusts the Decay time in the upper frequency spectra. By decreasing the upper frequency Decay time you remove sibilance while preserving the openness of the Reverb.

CHORUS Classic

A Chorus/Flanger is basically a delay being pitch-modulated by an LFO (Low Frequency Oscillator). The MONE Classic Chorus is based on 2 voices and produces a smooth natural sounding chorus.

CLASSIC & 4 VOICE

4-Voice
The 4-voice Chorus is based on two Classic Chorus blocks connected in serial, phasereversed and with a fixed Delay time. This gives you twice the amount on voices and produces a much thicker sounding Chorus effect compared to the Classic algorithm. Speed Range: 0.05 - 19.2Hz The speed of the Chorus. Also known as Rate. Depth Range: 0 - 100% The depth of the Chorus. also known as Intensity. FX Lev Range: 0 -100% The level of the Chorus effect.

L CHORUS R LFO

Speed Range: 0.05 - 19.2Hz The Speed of the Chorus. Also known as Rate. Depth Range: 0 - 100% The Depth of the Chorus. Also known as Intensity. Delay Range: 0 - 100ms A Chorus is basically a delay being pitchmodulated by an LFO (Low Frequency Oscillator). The typical Delay time used in a Chorus is around 10ms. FX Lev Range: 0 -100% The level of the Chorus effect.

FLANGE Classic

A Chorus/Flanger is basically a delay being pitch-modulated by an LFO (Low Frequency Oscillator). The MONE Classic Flanger is based on 2 voices.
The 4-voice Flanger is based on two Classic Flanger blocks connected in serial, phasereversed and with a fixed Delay time. This gives you twice the amount on voices and produces a much thicker sounding Flange effect compared to the Classic algorithm. Speed Range: 0.05 - 19.2Hz The speed of the Flanger. Also known as Rate. Depth Range: 0 - 100% The depth of the Flanger. also known as Intensity.
Speed Range: 0.05 - 19.2Hz The speed of the Flanger. Also known as Rate. Depth Range: 0 - 100% The depth of the Flanger. also known as Intensity. Feedback Range: -100 to +100 The amount of processed signal that is fed back to the Input of the algorithm. When the feedback value is negative, the Feedback signal is phase reversed. Delay Range: 0 - 100ms The typical delay used in a Flanger is around 5ms. FX Lev Range: 0 -100% The level of the Flanger effect.
Feedback Range: -100 - 100 The amount of processed signal that is fed back to the Input of the algorithm. When the feedback value is negative, the Feedback signal is phase reversed. FX Lev Range: 0 -100% The level of the Flanger effect.

PITCH Pitch Detune

DETUNE & PITCH SHIFT
Pitch 1 Range: -1200 - 1200 cent Determines the pitch value of the first fixed voice. As 100 cent is one semitone you are able to add a second voice withing the range of +/one whole octave. Level 1 Range: -100 - 0dB The level of the added voice. Pan 1 Range: 50L to 50R Controls the panning of the first voice. Delay 1 Range: 0 - 100ms The Delay time of the added voice. Pitch 2 Range: -1200 - 1200 cent Determines the pitch value of the second fixed voice. Level 2 Range: -100 - 0dB The level of the second added voice. Pan 2 Range: 50L to 50R Controls the panning of the second voice. Delay 2 Range: 0 - 100ms The Delay time of the added voice. FX Lev Range: 0 - 100% The Level of the entire effect.

Limiter

A Limiter can be conceived as a compressor with a high Ratio setting. It is primarily used to prevent fullscale overloads. A fullscale overload means hitting 0dBFS, which is the absolute max in the digital domain, and it causes a clipped and distorted signal. Threshold Range: -60dB - 0dB When the Input signal exceeds the Threshold the Limiter will be activated. So, the lower the Threshold the more limiting you will get. Ratio Range: Off - inf: 1 The Ratio of the gain reduction. On the illustration it is the angle of the line above the Threshold point. Example. If the Ratio is set to 4:1 it means that for every 4dB the Input level rises above the set Threshold only 1dB is output. Attack Range: 0.3ms - 100ms The time it takes for the Limiter to reach the gain reduction specified by the Ratio parameter when the signal is above the set Threshold. Release Range: 20ms - 7.0 sec Release is the time that the Limiter uses to release the gain reduction when the signal exceeds the Threshold. Gain Range: -100dB - 30dB Use the Gain parameter to compensate for unwanted gain reduction caused by heavy limiting. FX Level Range: 0 - 100% The Output level of the Limiter.
A compressor is meant to reduce the dynamic content of the Input signal and thereby keep the signal at a more constant level. Threshold Range: -60 - 0dB When the Input signal exceeds the Threshold the Compressor will be activated. So, the lower the Threshold the more compression you will get. Ratio Range: Off - inf: 1 The Ratio of the gain reduction. On the illustration this is the angle of the line above the Threshold point. Example. If the Ratio is set to 4:1 it means that for every 4dB the Input level rises above the set Threshold only one dB is Output. Knee Mode Range: Soft or Hard The Knee mode sets the bending point of the Compressor. When Soft knee mode is selected, the Compressor will gradually reach the Ratio, while Hard knee mode will cause the Compressor to go directly from no compression to the specified Ratio. Release Range: 10 - 100dB/sec. Determines the time the Compressor uses to reach a gain reduction of 1:1 (no reduction) once the Input signal has dropped below the Threshold. Gain Range: -100 - +30dB Use the Gain parameter to compensate for unwanted gain reduction caused by heavy compression. FX Level Range: 0 - 100% The Output level of the Compressor

DYNAMICS Gate

A Gate is also known as a downward expander. Meaning that when the signal drops below a set Threshold the gate will close and thereby mute the signal. This is especially useful when trying to remove unwanted background noise from source material that is only periodically present. This can be anything from vocal tracks to noisy guitar-amps. You can even use it on drums to add a more percussive feeling to the track.

Technical specifications are subject to change without notice

MONE - XL

Digital Inputs and Outputs Connectors: Formats: Output Dither: Sample Rates: Processing Delay: Frequency Response DIO: Analog Inputs Connectors: Impedance, Bal / Unbal: Max. Input Level: Min. Input Level for 0 dBFS: Sensitivity: A to D Conversion: A to D Delay: Dynamic Range: THD: Frequency Response: Crosstalk: Analog Outputs Connectors: Impedance Balanced / Unbalanced: Max. Output Level: Output Ranges: D to A Conversion: D to A Delay: Dynamic Range: THD: Frequency Response: Crosstalk: EMC Complies with: Safety Certified to:
RCA Phono (S/PDIF) S/PDIF (24 bit), EIAJ CP-340, IEC 958 HPF/TPDF dither 24/20/16/8 bit 44.1 kHz, 48 kHz 0.1 ms @ 48 kHz DC to 23.9 kHz 0.01 dB @ 48 kHz XLR, balanced 21 kOhm / 13 kOhm +24 dBu 0 dBu @ 12 dB headroom: -12 dBu to +12 dBu 24 bit, 128 x oversampling bitstream 0.65 ms / 0.70 ms @ 48 kHz / 44.1 kHz 100 dB typ, 20 Hz - 20 kHz typ < 92 dB (0,0025 %) @ 1 kHz +0/-0.1 dB @ 48 kHz, 20 Hz to 20 kHz <-95 dB, 20 Hz to 20 kHz XLR, balanced 40 Ohm +20 dBu (balanced) Balanced: 20/14/8/2 dBu Unbalanced: 14/8/2 dBu 24 bit, 128 x oversampling bitstream 0.63 ms / 0.68 ms @ 48 kHz / 44.1 kHz 104 dB typ, 20 Hz to 20 kHz typ <-94 dB (0.002 %) @ 1 kHz, +20 dBu Output +0/-0.5 dB @ 48 kHz, 20 Hz to 20 kHz <-100 dB, 20 Hz to 20 kHz EN 55103-1 and EN 55103-2 FCC part 15, Class B, CISPR 22, Class B IEC 65, EN 60065, UL6500 and CSA E60065 CSA FILE #LR108093
Environment Operating Temperature: Storage Temperature: Humidity: Control Interface MIDI: Pedal: General Finish: Display: Dimensions: Weight: Mains Voltage: Power Consumption: Warranty Parts and labor:
32 F to 122 F (0 C to 50 C) -22 F to 167 F (-30 C to 70 C) Max. 90 % non-condensing In/Out/Thru: 5 Pin DIN 1/4" phone jack Anodized aluminum front Plated and painted steel chassis 23 character / 280 icon STN-LCD display 19" x 1.75" x 8.2" (483 x 44 x 195 mm) 4.1 lb. (1.85 kg) 100 to 240 VAC, 50 to 60 Hz (auto-select) <15 W 1 year
APPENDIX Problems sending and receiving MIDI information You will need to reset the System Parameters! This is easily done by performing a System Parameter reset as described below. The "System Parameter reset", restores the factory defaults in the I/O and Utility menus. The "System Parameter reset" does NOT erase any presets. Press and hold the ENTER key during power up. Dial the CONTROL wheel until the display reads "Reset Sys Param". Press the ENTER key to confirm. After 2 seconds, the display reads "Clear/Reset done" Power Off - On. The display reads "Kernel cleared" during the first power up. The MONE System parameters are now reset and the MIDI port is fully functional.

TROUBLESHOOTING

doc1

TC Electronic M-One MIDI specification
Document revision history: V1.00 1999-11-01 V1.01 1999-12-28 V1.02 2001-10-10 V2.00 2002-07-19 General message format: 0xF0 0x00 0x20 0x1F <Device ID> 0x44 <Message type> <Data>. 0xF7 Preset numbers Preset numbers are represented in the SysEx messages as 2 bytes (14-bit value). The first byte is the 7 most significant bits and the second byte is the 7 least significant bits. Preset numbers are mapped accordingly: 0x01 (1) to 0x64 (100) Factory bank 0x65 (101) to 0xC8 (200) User bank Preset number 0 is used to access the edit buffer. When recalling presets with program changes, sending a controller 0 or controller 32 change first can be used to indicate bank number (when sending other than zero selects user-bank as opposed to factory-bank). Binary data Messages containing binary data dumps consists of a set of 14-bit values as 2-byte pairs The most significant byte is sent in the first byte and the least significant in the second. The dump is terminated with a 14-bit checksum value which is the negative sum of all bytes in the dump truncated to 14 bits. ie. (-sum(all data bytes)) & 0x3FFF. Communication precautions When linking together two M-One devices for transfer of data, make sure that the receiving device is set to receive only SysEx. During MIDI operation the M-One may present the following messages: "> Preset Received <" "> Preset Dumped <" "> Checksum Error <" ">MIDI Error Occured<" "> Event Unknown <" "> Preset Stored <" ">Kernel Par Changed<" "> Bulk In Progress <" M-One message types: SYXTYPE_PRESETREQUEST SYXTYPE_PRESETDATA SYXTYPE_PARAMREQUEST 0x45 0x20 0xFirst release Related to M-One ver. 1.10 Related to M-One ver. 1.40 Related to M-One ver. 1.43 MIDI System Exclusive message start 3 byte manufacturer ID for TC Electronic. System Exclusive device ID (User parameter) M-One model ID M-One message type Data depends on message type. MIDI System Exclusive message terminator
SYXTYPE_PARAMDATA Preset Request 0xF0 0x00 0x20 0x1F <Device ID> 0x44 0x45 <Preset MSB> <Preset LSB> 0xF7 Preset Data 0xF0 0x00 0x20 0x1F <Device ID> 0x44 0x20 0x00 <Preset MSB> <Preset LSB> <Data>
0x22 SysEx TC Electronic. Device ID M-One SYXTYPE_PRESETREQUEST Preset number. EOX SysEx TC Electronic. Device ID M-One SYXTYPE_PRESETDATA. Preset number. 32 x 14-bit data 14-bit Preset number 20 x 14-bit Presetname (characters in LSB) 2 x 14-bit Algorithm-numbers (in LSBs) 14-bit Routing (in LSB) 1 x 14-bit Crossfeed 7 x 14-bit Reserved 2 x 16 x 14-bit data 16 x 14-bit data Effect One 16 x 14-bit data Effect Two 14-bit checksum EOX SysEx TC Electronic. Device ID M-One SYXTYPE_PARAMREQUEST Engine identifier (0/1 for Fx-param or 2 for systemparameter) Base parameter identifier EOX SysEx TC Electronic. Device ID M-One SYXTYPE_SYSDATA Engine identifier (0/1 for Fx-param or 2 for systemparameter) Parameter identifier Byte pair yielding signed 14-bit parameter values (MSB first) EOX
0xF7 Param Data Request 0xF0 0x00 0x20 0x1F <Device ID> 0x44 0x47 <Engine> <Param ID> 0xF7 System Data 0xF0 0x00 0x20 0x1F <Device ID> 0x44 0x22 <Engine> <Param ID> <Data> 0xF7
See below for a list of parameter identifiers. If a Parameter Data Request message requests a parameter range extending across any undefined parameter identifiers, the corresponding parameter values in the Parameter Data message should be ignored. Parameters Parameters can be changed by the System Data SysEx message or hard-wired controller change messages (for the algorithm-paramters and a collection of system parameters). Parameters are always set as scaled 7-bit values. The system-parameters controllable via Midi-CC are given below. The controllers used for algorithm-parameters are as follows (ID's are given below): Effect one : Effect two: System: Ctrl 16 + <ID> Ctrl 48 + <ID> Ctrl 70 + <ID> Min value 0 -100 -0 -0 Max value 23 100
Midi-SysEx controlable systemparameters: System parameter name ID MIDI_INPUT 0 MIDI_DIGINLEVEL 1 MIDI_OUTLEVEL 2 MIDI_MIXLEVEL 3 MIDI_FXBALANCE 4 MIDI_OUTRANGE MIDI_CLOCK MIDI_INRANGE MIDI_DITHER MIDI_INLEVEL MIDI_MIDISYNC MIDI_BYPASS1 MIDI_BYPASS2 MIDI_MIDIPRGBANK MIDI_MIDICHNL MIDI_MIDICC MIDI_MIDISYSEX MIDI_TAPTIME MIDI_TAPFUNC MIDI_TAPSUB MIDI_SYSTEMLOCK MIDI_BYPASSMODE MIDI_PEDALMODE MIDI_TAPUNIT MIDI_CURPRESET MIDI_ROUTING MIDI_ROUTINGLOCK MIDI_ALGO1 MIDI_ALGO2 MIDI_ENG2FEED 30

Midi-CC controlable systemparameters: System parameter name ID MIDI_OUTLEVEL 0 MIDI_DIGINLEVEL 1 MIDI_INLEVEL 2 MIDI_MIXLEVEL 3 MIDI_FXBALANCE 4 MIDI_BYPASSMIDI_BYPASSMIDI_TAPSUB 7 MIDI_ENG2FEED 8 Algorithm types: Hall Reverb Room Reverb Plate 1 Reverb Plate 2 Reverb Spring Reverb Live Reverb Ambient Reverb One-tap Delay Two-tap Delay Classic Chorus 4 voice Chorus Classic Flanger 4 voice Flanger Detune Pitcher Pitch-shifter Parametric EQ Compressor Limiter Gate Deesser Triangle Tremolo Square Tremolo Vintage Phaser Smooth Phaser 22 23

Min value -100 -100 -0

Max value 100
The available effect parameter identifiers depends on the selected algorithm. Engine parameter name Hall Reverb: MIDI_DECAY MIDI_PREDELAY MIDI_SIZE MIDI_HIGHCUT MIDI_HICOLOR MIDI_LOCOLOR MIDI_REFLECTLEV MIDI_REVERBLEV MIDI_MODTYPE MIDI_MODSPEED MIDI_MODDEPTH MIDI_FXLEVEL Room Reverb: MIDI_DECAY MIDI_PREDELAY MIDI_SIZE ID 2 Min value -50 -50 -100 -25 -0 Max value 2 4
MIDI_HIGHCUT MIDI_HICOLOR MIDI_LOCOLOR MIDI_REFLECTLEV MIDI_REVERBLEV MIDI_MODTYPE MIDI_MODSPEED MIDI_MODDEPTH MIDI_FXLEVEL
112 -50 -50 -100 --25 -25 0
Plate 1 Reverb: MIDI_DECAY MIDI_PREDELAY MIDI_SIZE MIDI_HIGHCUT MIDI_HICOLOR MIDI_LOCOLOR MIDI_REFLECTLEV MIDI_REVERBLEV MIDI_MODSPEED MIDI_MODDEPTH MIDI_FXLEVEL Plate 2 Reverb: MIDI_DECAY MIDI_PREDELAY MIDI_SIZE MIDI_HIGHCUT MIDI_HICOLOR MIDI_LOCOLOR MIDI_REFLECTLEV MIDI_REVERBLEV MIDI_MODTYPE MIDI_MODSPEED MIDI_MODDEPTH MIDI_FXLEVEL Spring Reverb: MIDI_DECAY MIDI_PREDELAY MIDI_HIGHCUT MIDI_HICOLOR MIDI_LOCOLOR MIDI_FXLEVEL Live Reverb: MIDI_DECAY MIDI_PREDELAY MIDI_SIZE MIDI_HIGHCUT MIDI_HICOLOR MIDI_LOCOLOR MIDI_REFLECTLEV MIDI_REVERBLEV MIDI_MODSPEED MIDI_MODDEPTH MIDI_FXLEVEL Ambient Reverb: MIDI_DECAY MIDI_PREDELAY
-50 -50 -100 ---50 -50 -100 -25 -112 -50 --50 -50 -100 --1 0
MIDI_SIZE MIDI_HIGHCUT MIDI_HICOLOR MIDI_LOCOLOR MIDI_REFLECTLEV MIDI_REVERBLEV MIDI_MODSPEED MIDI_MODDEPTH MIDI_FXLEVEL

-50 -50 -100 --25 0

One-tap Delay: MIDI_DELAYTIME MIDI_OFFSET MIDI_FEEDBACK MIDI_PAN MIDI_HIGHCUT MIDI_LOWCUT MIDI_FXLEVEL Two-tap Delay: MIDI_DELAYTIME1 MIDI_DELAYTIME2 MIDI_OFFSET MIDI_FEEDBACK1 MIDI_FEEDBACK2 MIDI_LEVEL1 MIDI_LEVEL2 MIDI_PAN1 MIDI_PAN2 MIDI_HIGHCUT MIDI_LOWCUT MIDI_FXLEVEL Classic Chorus: MIDI_SPEED MIDI_DEPTH MIDI_DELAY MIDI_FXLEVEL 4 voice Chorus: MIDI_SPEED MIDI_DEPTH MIDI_FXLEVEL Classic Flanger: MIDI_SPEED MIDI_DEPTH MIDI_FEEDBACK MIDI_DELAY MIDI_FXLEVEL 4 voice Flanger: MIDI_SPEED MIDI_DEPTH MIDI_FEEDBACK MIDI_FXLEVEL Detune Pitcher: MIDI_PITCH1 MIDI_PITCH2 MIDI_LEVEL1

 

Technical specifications

Full description

Now with 25 incredible effects, this dual-engine processor delivers world-class effects and professional capabilities. Effects include XL Reverbs, Chorus, Tremolo, Pitch, Delay, Dynamics, and more. The XL Reverb Technology benefits from the TC Reverb heritage and takes advantage of both complex Early Reflection patterns and dense Reverb decays in order to bring more natural reverbs to all applications. This technological development combined with XLR I/O connectors make the M-ONE XL especially suited for LIVE applications! Coaxial digital I/Os, ideal for studio use, are also provided. Other features include 24-bit AD-DA converters, 24-bit internal processing, and 200 Factory/100 User presets.

 

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