Direct access to all Reverb/Effect types and their parameters from the front panel, ensures maximum flexibility in any given situation. High density 24-bit processing and AD/DA conversion gives full justice to the coveted TC Reverbs and Effects.
The auto-sensing Digital In at 24-bit S/PDIF ensures bulletproof Input connection in any setup. - If Digital In fails, the M300 automatically switches to Analog! Furthermore, the M300 comes with an easy-to-read Preset Display, and provides MIDI In/Out, MIDI Clock Tempo Sync, Pedal Control of Tap Tempo, and Global Bypass.
It is compatible with the G-Minor Triple Footswitch and provides 5 Direct Access Parameters for quick and easy handling of parameter changes. The adaptive built in power supply, secures seamless operation at any main voltage.
Each of the Reverb types are created and fine tuned by the highly experienced staff at TC Electronic and utilizes the vast experience in producing high quality Reverbs that we have accumulated over the years. Though the M300 is a very compact effects unit in the affordable price range, there is no compromise when it comes to the Reverb quality.
TC Classic Hall
The TC Classic Hall simulates a rather large Hall and preserves the natural characteristics of the source material. It is excellent for many studio applications requiring medium to long Decay times and especially suitable for vocal material.
Compared to the TC Classic Hall, the Concert Hall is a more diffuse Reverb type. This type of Reverb is often used on drums and other percussive material. This is a simulation of a rather big facility.
Vocal Room - Vocal Studio - Vocal Hall
These three types all simulate typical vocal recording facilities. The Vocal Studio and Vocal Room types are medium sized locations. They give the soft type of reflections usually associated with wooden surfaces. The Vocal Hall is a larger location than the above but with the soft characteristics of wooden surfaces.
Drum Box - Drum Room
Drum Box and Drum Room are especially designed to emulate the typical recording rooms used for drums. The Drum Box is an 80's style ambient room with only very short reflections. The Drum Room emulates the reflections in a medium sized drum room with a high ceiling - giving longer but natural sounding reflections compared to the Drum Box.
Where the TC Classic Hall, and to some extent also the Concert Hall, are Reverbs with smooth diffuse fields, the Large Cathedral has a much more uneven diffused field. Emphasis on the reflections deriving from many hard surfaces and the high amount of Lo Color naturally occurring in these types of rooms, gives an excellent simulation of a Large Cathedral.
Directly opposite the Large Cathedral, the Living Room reverb type simulates a relatively small well-furnished room. In such a room many reflections are absorbed by soft material and source material is reflected and sustained only from walls (with wallpaper), windows and maybe a table etc.
Did you ever discover the great difference of a sound check and the actual concert. The Club Reverb emulates a typical empty medium sized club. Try this on vocals or guitar as an effect that will put emphasis on these instruments.
Plate I and II
Before the digital era either reverberating springs or large metallic plates was used to create Reverb. The characteristics of Plate Reverbs are diffuse and bright and are still successfully used on many percussive instruments.
The Spring algorithm is designed to reproduce the sound of the old spring Reverbs, such as the ones used in vintage guitar amps.
For live purposes a rather grainy and bright Reverb is needed to cut through the typical background noise at live locations. The Live Reverb is optimal when used with medium to long Decay times and will work excellent on both vocals and instruments requiring a clear and obvious Reverb.
With focus on the Early Reflections that defines the perception of a room size, the Ambience Reverb type is typically used on dry recordings or dry drum samples to emulate a feeling of environment. Ambience and Room definition are the keywords here.
The Dynamic Delay initially introduced in the well-recognized TC 2290, is a function that allows the Delay Output level to be actively altered by the dynamics of the Input level. The basic idea is to have a lower level of the Delay repeats while the instruments are played (or vocals are sung) and an increased level of Delay when no Input is present. A function that leaves the source material clear and undisturbed while played and delicately accompanied by the Delay between phrases. With the correct settings you will be amazed how you can use Delay effects on material where you previously never considered this an option.
This algorithm emulates the old style Tape Delays. Before the Digital era, Delays were created using a Tape Recording device with a tape-loop and recording/playback heads. As you probably know, analog tape-recorders have a tendency to deteriorate/change the recorded material. Wow and flutter combined with a significant loss of high-end frequencies, and to some extent also low-end frequencies, are all elements commonly associated with tape recordings. However, these features are at times quite useful and sought-after as they in some situations blend with and compliment the source material in a highly musical manner. Among other things the M300 Tape Delay uses a HiCut with a rather low Crossover frequency to emulate the loss of highs found on conventional Tape delays. Compare this to the clean Studio Delay algorithm, which has a considerably higher HiCut frequency to see what fits your application.
As opposed to the Tape Delay algorithm described above the Studio Delay algorithm will give you a clearer reproduction of the material fed to the M300. To soften the Delay, as it is commonly done in studio productions, the Studio Delay uses a subtle yet significant HiCut at a relatively High crossover frequency.
Standard Delay. The M300's processing power and excellent 24 bit converters will process a precise high quality Delay with no deterioration of the sound.
The PingPong Delay basically pans the Delay repeats from left to right and back while keeping the Input signal at its original position. This gives a very wide spread special effect.
Slapback Delay is a very short Delay with only a single or a few repeats. The effect is commonly used as a "doubling-effect" making the processed material seem more massive. Short Slapback Delays are also often used on funky rhythm guitars, - a bit longer on Rockabilly guitar or vocals.
Phaser and Vintage Phaser
The Vintage Phaser utilizes four all-pass filters. These filters create comb-looking characteristics. When the filtered sound is mixed with the direct sound the "phasing sound" occurs. The Standard Phaser utilizes twelve all-pass filters. Due to the higher number of filters in the Smooth Phaser, compared to the Vintage Phaser, the Standard Phaser simply sounds smoother than the Vintage type. A Tremolo is basically a repeated level change controlled by an LFO. The M300 offers a Hard Tremolo that used a "square" wave-shape and Soft Tremolo that use
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