TC Electronic - MOne Dual Effects Processor
Contents
1. Low Cut Range 19 9Hz 2kHz Low Cut filter reducing the low end frequencies of the Delay Taps When using delay on signals with low frequen cies a full range delay might introduce a less tight feeling in the low frequencies Use the Low Cut filter to avoid this FX Level Range 0 100 The overall level of the Delay 25 ed 4 0 AU hem O94 F 111 Ao 07 1 Classic A Chorus Flanger is basically a delay being pitch modulat ed by an LFO Low Frequency Oscillator The M ONE Classic Chorus is based on 2 voices and produces a smooth natural sounding chorus Speed Range 0 05 19 2Hz The Speed of the Chorus Also known as Rate Depth Range 0 10096 The Depth of the Chorus Also known as Intensity Delay Range 0 100ms A Chorus is basically a delay being pitch modulated 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 26 4 Voice The 4 voice Chorus is based on two Classic Chorus blocks connected in serial phase reversed 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 FLANG2. 28 Parametric Equalizer 29 Compressor amp Limiter 30 Gate Expander 31 De esser 2 es 32 Tremolo Hard amp Soft 33 Phaser Vintage amp Smooth 34 TC Electronic Sindalsvej 34 DK 8240 Risskov tcdk tcelectronic com English version Rev 3 SW V 1 06 Prod No 60500101 3 INTRODUCTION Congratulations on the purchase of your new TC Electronic MeONE unit The M ONE is a Dual Engine Multi effects Processor focusing mainly on high quality Reverbs The M ONE can be used for a number of purposes due to flexible routing of the two Engines and more than 20 TC algorithms Do you want two independent Reverbs controlled from separate Auxiliary sends Select the Dual Input Routing plus two Reverbs and you are up and running Do you want a compressor in front of a delay Select the Serial Routing a Compressor and a Delay You can even tap the Delay time on the TAP key Or maybe you just want stick with that one Routing no matter the preset Simply use the Routing Lock function to avoid routing changes at preset change It is really as easy as that go ahead and tweak some keys and knobs We hope you have as much pleasure using the M ONE as we had making it a Though the M ONE is focusing on high quality Reverb you will discover that the M ONE also covers a wide variety of other algorithms Experience and enjoy Hall Delay One Tap Compres
3. 40 PRESET LIST COOAONOORWN M One halls Vintage Hall amp Room Natural Hall Ambient vocal Choir halls Vocal ambient amp Hall Vocal Delay amp Spring Vocal Hall Ahort SN VOC Large Med plate VOC Amb amp Liveverb Large VOC Hall Room Vocal Amb small Room Drum amp Perc Room Share Tom Live Plate Big Snare Real Room Toms amp a Big Share Toms amp a Short snare Drum Amb Short Snare Perc Plate S Room Short Plate L Room Ambience amp Liveverb Tap Delay Small Hall Small Large Halls Gold Plate Warm Hall Plate amp Spring Bright Hall amp Room Wide Narrow Room Medium Small Room Large Medium Room Large Small Chamber Slap Dly Med Room Detune and Med Room Genericl Hall Spring Generic2 Amb Live Live Hall Slapbak Saxophone Room Horns Hit Me Horns Med Large Room Synth Hall Ambience Repeats amp Slapback The Pack 1SN 2VOX Delay bleed Hall Detune bleed Ambient M one Magic Tape Delay Spring Phaser Plate Delay bleed Room Hall bleed Chorus Hall bleed Hall Room bleed Hall Small Hall Hall De Essed Hall De Essed Plate Chorused Hall Compresed Live verb Compresed Room verb Wet Chorus Phaser Party Next Door Sund Check Aalog Style Delay Detuned Tape Delay Filtered Octaver 70 s Style Room Large Hall Delay Phased Chorused Ambience Predelayed Hall Chorused Warm Hall Compresed Share Verb Chorused Spring Verb Gated Live Reverb Delays and Hall Five seconds Later Wurlitzer Verb De
4. Gain parameter to compensate for unwanted gain reduction caused by heavy compression FX Level Range 0 100 The Output level of the Compressor 30 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 OdBFS 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 408 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 DYNAMICS Gate Expander Gate Release S p Range 20ms 7 sec A Cei i elso wo See o
5. 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 instan taneously 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 t
6. Medium Large This parameter determines the size of the Early Reflection pattern Try experimenting with the different sizes to hear what suits your source material best 18 High Cut Range 501 2Hz 20kHz Rolls off high frequencies with a slope of 6dB octave Use this to remove sibilance in the Reverb vl 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 Reflect Level Range OdB to 100dB This parameter adjusts the level of the Early Reflection SUR 2i Many older Reverbs did not utilize Early Reflection patterns Try lowering the Reflect Level in order to achieve this character Reverb Level Range OdB 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 REVERB Room Mod Type Range Off Smooth Vintage Sets the Type of Modulation used on the Reverb Tail Smooth The Smooth modulation uses
7. 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 o Try to turn down the Reflect Level in order to v achieve the traditional slapback effect on the Reverb Tail Size Range Small Medium Large 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 vis 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 21 REVERB Spring Reflect Level Range OdB to 100dB This parameter adjusts the level of the Early Reflections S D y gt Many older Reverbs did not utilize Early Reflection patterns Try lowering the Reflect Level in order to achieve this character Reverb Level Range O
8. 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 10096 The level of the entire effect 20 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 xc Try to turn down the Reflect Level in order to Xm achieve the traditional slapback effect on the Reverb Tail Size Range Small Medium Large 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 vis Es 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
9. shock inside This apparatus must be earthed Use a three wire grounding type line chord 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 If in doubt please contact your TC distributor 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 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 un switched socket outlets Mount in a well ventilated rack with a little space above and below This equipment should be installed near the socket outlet and disconnection of the device should be easily accessible Do not install near heat source such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not rely solely on the front screws when mounted in touring rack Support the back as well Clean only with a damp cloth Do not defeat the safety purpose of a polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades prongs and a third grounding prong The wide blade or the third prong are provided for your safety When the provided plug does not fit into your outlet consult an electrician for replacement of the obs
10. 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 Reflect Level Range OdB to 100dB This parameter adjusts the level of the Early Reflection S0 7 3 Many older Reverbs did not utilize Early Reflection patterns Try lowering the Reflect Level in order to achieve this character Reverb Level Range OdB 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 Speed Range 25 25 Sets the speed of the modulation The speed has been optimized for each Reverb type The 50 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 50 range is calculated as the variation from this optimal setting FX Level Range 0 10096 The level of the entire effect 23 REVERB Ambience Ambience
11. without getting too much sibilance ROUTINGS Stereo Linked M ONE STEREO L R E BPRETURNS FXBAL 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 Engine s FX Outputs MIX Controls the amount of dry signal passed around the two Engines Dry signal is passed in stereo vis The Stereo Linked routing can be used for a true stereo application Example Select the Compressor and insert the M ONE 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 Dual Mono 1 2 INSERTS FX BAL MIX 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 Engine s FX Outputs MIX Controls the amount of dry signal passed around the two Engines Dry signal is passed independently for the two channels M Dual Mono is a great routing for independent Mono use This enables you to use the two En
12. 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 10096 The Level of the entire effect PARAMETRIC EQUALIZER The M ONE Equalizer is a three band parametric type with an additional high and low shelving band Low Shelving Band Low Freq Range 19 95Hz to 5 01kHz Sets the target frequency for the Low shelving band Low Slope Range 3dB oct 12dB oct The Low Slope parameter sets the steepness of the Low Shelving Band curve Low Gain Range 12dB 12dB The cut or boost of the Low shelving Band Parametric Filters Freq 1 Range 19 95Hz to 20kHz The target frequency for the first of the three EQ bands BndWdth 1 Bandwidth 1 Range 0 1oct 4oct The Bandwidth of the first EQ band Gain 1 Range 12dB 12dB The cut or boost of this band Freq 2 Range 19 95Hz to 20kHz The target frequency for the second of the three EQ bands BndWdth 2 Bandwidth 2 Range 0 1oct 4oct The Bandwidth of the second EQ band Gain 2 Range 12dB 12dB The cut or boost of this band Freq 3 Range 19 95Hz to 20kHz The target frequency for the third of the three EQ bands BndWdth 3 Bandwidth 3 Range 0 10ct 4oct The Bandwidth of the third EQ band Gain 3 Range 12dB 12dB The cut or boost of this band High Shelving Band High Freq Range 501
13. 2Hz 20kHz Sets the target frequency for the High Shelving Band High Slope Range 3dB oct 12dB oct The High Slope parameter sets the steepness of the High Shelving Band curve High Gain Range 12dB 12dB The cut or boost of the High Shelving Band FX Level Range 0 10096 The overall Output level of the Equalizer 29 DYNAMICS Compressor amp Limiter Compressor 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 408 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
14. 521253 C R z gt 4 m 0 C 0 K gt 0 I Z n 0 JUO M ONE DUAL EFFECTS PROCESSOR MULTI SPECTRAL LCD D AY POWER E a PREV 2 J The M NE Hall C Qi ec IC LEVE Ix CT BAL USER S MANUAL TABLE OF CONTENTS Table of contents 3 Important Safety Instructions 35 Introduction 0 0 cee 5 Certificate of Conformity 36 Front Panel lesen 6 MIDI Implementation Chart 37 Rear Panel 0 ccc cee 8 Technical Specifications 38 Soldering Instructions 8 Trobleshooting cece eae 39 Signal flow diagram 9 Preset List 20000000 40 The M ONE Display 10 VO Setup llle 11 Clock Mismatch 11 Utility amp MIDI 12 Routings lille 13 Recall iar he 16 jj DPI 17 Tap bod dpi dew det de 17 Reverb Hall ngu Rx E Ae 18 Room waded a a rh th 19 Plate 1 x sss ken RE 20 Plate 2 teste eee bed bebe ARR wn 21 SPANG s GG EXER Pune 22 LIMON 3 hud amie ota 23 Ambience sls 24 Other Algorithms Delay One Tap amp two Tap 25 Chorus Classic amp 4 Voice 26 Flange Classic amp 4 Voice 27 Pitch Detune amp Pitch Shift
15. 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 11 UTILITY amp MIDI Utility Basic operation Press the UTILITY key to enter the local setup parameters of the M ONE Use the ARROW keys to select parameters and the CONTROL wheel to change parameter values All changes are instantly effective in the Utility menu MIDI Channel Sets the responding MIDI channel of the M ONE Range Off 1 16 Omni MIDI CC Determines whether the M ONE should respond to MIDI Continuous Controllers or not Range On Off MIDI Bulk Dump Press ENTER to perform a Bulk Dump of all presets to an external MIDI device The M ONE is always ready to receive MIDI Bulk Dump information MIDI Sys Ex ID Determines the Sys Ex ID number of the unit All effects parameters algo changes and routings can be changed through MIDI Sys Ex via an external MIDI device In order to define which unit the sent MIDI Sys Ex informa tion should reach t
16. As opposed to the Spring reverb the Ambience algorithm is a very natural sounding reverb 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 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 v achieve the traditional slapback effect on the Reverb Tail Size Range Small Medium Large 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 S 7 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 24 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 decreasi
17. E Classic amp 4 Voice Classic A Chorus Flanger is basically a delay being pitch modulat ed by an LFO Low Frequency Oscillator The M ONE Classic Flanger is based on 2 voices FB FILTER FLANGER 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 4 Voice The 4 voice Flanger is based on two Classic Flanger blocks connected in serial phase reversed 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 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 27 PITCH Detune amp Pitch Shift Pitch Detune Pitch Detune is similar to the Pitch algor
18. 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 M ONE 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 Select Analog Input 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 M ONE automatically defaults to the internal 44 1kHz clock as Sample Rate and analog Input is lit in the display Select Digital Input When Digital is selected the M ONE 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 Clock Analog Input When Input sourc
19. ORE to enter the Store menu Select storing location using the CONTROL wheel Press the STORE key again or the ARROW DOWN key to enter the Naming display Use the ARROW keys to change cursor position Dial the CONTROL wheel to select characters Press ENTER to store the preset Available characters ABCDEFGHIJKLMNOPQRSTUVXYZ abcdefghijklmnopqrstuvxyz 0123456789 amp _ TAP The TAP function allows you to tap a global tempo into the M ONE 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 M ONE 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 amp 2 ER You must select Ignored in Tap Subdivision to hrs switch off the Tap function MIDI Sync When MIDI Sync is enabled the M ONE will lock to any incoming MIDI clock Eg when hooked up to a sequencer Xv When MIDI Sync is enabled the Tap display will default to Subdivision indication 17 REVE
20. RB Hall The Reverbs Most of the Reverbs in the M ONE contains 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 Hall 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 amp 5 Try to turn down the Reflect Level in order to achieve the traditional slapback effect on the Reverb Tail Size Range Small
21. The Overload LED is lit when 1 sample is 1dBFS 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 indica tor 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 M ONE 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 FRONT PANEL SETUP EFFECTS PROGRAM CONTROL e e e e ROUTING ALGO EDIT ALGO EDIT CJ RECALL PN TAP UTILITY BYPASS BYPASS 2 ENTER STORE EXIT C2 ROUTING key Press the ROUTING key to set the Engine Routing The options are Dual Send Ret Parallel Parallel Serial Serial Stereo Dual Mono
22. 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 10096 The level of the entire effect 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 60cB 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 a Try to turn down the Reflect Level in order to achieve the traditional slapback effect on the Reverb Tail Size Range Small Medium Large This parameter determines the size of the Early Reflection pattern Try experimen
23. 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 The user may find the following booklet prepared by the Federal Communications Commission helpful How to identify and Resolve Radio TV interference Problems This booklet is available from the US Government Printing Office Washington DC 20402 Stock No 004 000 0034 4 Caution You are cautioned that any change or modifications not expressly approved in this manual could void your authority to operate this equipment 36 For the customers in Canada This Class B Digital apparatus meets all requirements of the Canadian Interference Causing Equipment Regulations Cet appareil num rique de la classe B respecte toutes les exigences du R glement sur le mat riel brouilleur du Canada Certificate Of Conformity E TC Electronic A S Sindalsvej 34 8240 Risskov Denmark hereby declares on own responsibility that following product M ONE Dual Effects Processor that is covered by this certificate and marked with CE label conforms with following standards EN 60065 IEC 60065 Safety requirements for mains operated elect
24. c Meters Preset Number Input Meters ha gt E Dr SERE Her 4 H A Fn Yi Y 44 1KHz DUALSEND RET E m E EDITED MIDI Activity LED Text Line 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 10 Preset Bank Indicator 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
25. con is lit Routings are stored with presets but it is also possible to keep a locked global routing meaning that preset routings do not take effect This is set in the Utility menu Basic operation Press the ROUTING key to enter the Routing display Use the CONTROL wheel to select routing The ENTER key is now blinking Press ENTER to activate the selected routing Dual S R Dual Send Return M ONE BE 11 I 2 L Ee R FX BAL MIX This is the routing to use if you wish to use the M ONE as two independent effects processors Left Input is sent to Engine 1 and right Input is sent to Engine 2 The four FX Outputs are summed to two channels EFFECT BAL Controls the balance between the two Engine s FX Outputs MIX Controls the amount of dry signal passed around the two Engines Dry signal is passed in mono Set MIX fully clockwise when using the M ONE in a send return setup Example Feed the two M ONE Engines with signal from e g two separate Aux s from your mixer Connect the M ONE L R Output to a stereo L R return on your mixer You are now using the two Engines in the M ONE as separate stereo effects with a common 2 channel Output Parallel M ONE REL STEREO L ED CS FX BAL MIX The Parallel routing sums left right Inputs and both Engines are fed with the exact same signal As illustrated the unprocessed dry signa
26. ctory preset bank by pressing the ARROW DOWN key ML When you are in the Factory bank you can press ims the ARROW UP key to quickly enter the User 16 STORE 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 M ONE holds 100 factory presets Basic operation Press the STORE key to enter the Store page The ENTER key and the preset number will be blinking indicating that the current preset has not yet been stored Preset Locations Presets can be stored in User locations only The Store page automatically suggests the first free User location in the memory as storing space unless the currently recalled preset is a User preset In this case the same User location is suggested Storing an edited preset with the same name at the same location Press STORE to enter the Store menu Press ENTER to store the preset The display reads Stored shortly and returns to the Recall page Storing a preset with the same name at a new location Press STORE to enter the Store menu Use the CONTROL wheel to select storing location Press ENTER once to store the preset the display reads Stored shortly and returns to the Recall page Storing a preset with a new name Press ST
27. d Tremolo mode produces the most aggressive type of tremolo Speed Range 0 05 19 2Hz The Speed of the Tremolo Depth Range 0 100 The Depth of the Tremolo FX Lev Range 0 10096 The level of the Tremolo effect Soft The Soft Tremolo mode is softer sounding than the Hard mode as the signal is only at its peaks for a short while BN Speed Range 0 05 19 2Hz The Speed of the Tremolo Depth Range 0 100 The Depth of the Tremolo FX Lev Range 0 10096 The level of the Tremolo effect 33 PHASER Vintage amp Smooth Vintage The Vintage Phaser utilizes four All pass filters These filters creates a comb looking characteristic When the filtered sound is mixed with the direct sound the phasing Sound occurs Speed Range 0 05 19 2Hz The Speed of the Phaser Depth Range 0 10096 The Depth of the Phaser Range Range Low or Mid The Range parameter determines the frequency area in which the Phaser is operating Feedback Range 100 100 The amount of processed signal that is fed back to the Input of the effect block When the Feedback value is negative the Feedback signal is phase reversed vis E lt Try experimenting with the reversed phase Feedback FX Lev Range 0 10096 The level of the Phaser effect 34 Smooth The Smooth Phaser utilizes twelve All pass filters These filters creates a comb looking characteristic When the filtered sou
28. dB 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 22 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 yiv E Try experimenting with the difference i
29. e is analog the following Sample Rates are available Internal 44 1kHz The M ONE runs at internal 44 1kHz Internal 48kHz The M ONE runs at internal 48kHz Digital The M ONE locks to the incoming Digital clock Digital Input When Input Source is digital the M ONE following Sample Rates are available Internal 44 1kHz The M ONE runs at internal 44 1kHz Internal 48kHz The M ONE runs at internal 48kHz Digital The M ONE locks to the incoming Digital clock E Please note that when using internal clock with A external digital audio the incoming digital audio bis24453 must be in sync with the M ONE internal clock in order to avoid slip samples E Rate Mismatch ZA This Error message will occur in the display if the touts M ONE detects slipsamples Typically this problem only occurs in very special clock setups e g if the M ONE is running via internal clock while processing audio from the Digital Input If the incoming clock and the internal clock do not match the M ONE will display the above written error message Out Range Sets the maximum Gain range of the analog Output stage Range 2dBu 8dBu 14dBu and 20dBu Out level Controlling the overall digital analog Output level 0 to Off 100dB in 1dB increments 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
30. ed to remove sibilant sounds from various instruments especially voices To remove only the unwanted most significant esses a De esser must work dynamically It could therefore be compared to Compressor working on a specific frequency area only A dynamic filter ensures that the De esser only reduces the high frequencies when they are too loud Threshold Range 60dB 0dB When the Input level for the specified frequency area exceeds this level the De esser will be activated Ratio Range Off inf 1 The Ratio of the gain reduction in the specified frequency area Frequenc Range 1kHz 20kHz Sets the center frequency for the area in which the De esser should work Attack Range 0 5 50ms 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 Range 20ms 7 sec Release is the fallback time of the De esser after the signal drops below the Threshold FX Lev Range 100 0dB The Output level of the De esser 32 Tremolo Hard amp Soft Tremolo A tremolo is basically an identical level change in left and right channels This effect is typically heard on guitar tracks or tracks where old Wurlitzer E Pianos are used Hard The Har
31. gines 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 M ONE and the second channel to right In Out select the Tremolo and the EQ and you are up and running 15 RECALL Vv ANALOG Bal W7 sey nM ponit R H v_ Y i LOCK 44 1KHz DUALSEND RET 2 DLY gm lL dH EDITED Y Li m NEM E HH E nu mum mum EN POP Ganni aon Bei P w uma umma mum H H Li nun umma mum an 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 M ONE holds 100 factory presets bank Likewise you can quickly enter the Fa
32. he appropriate ID number must be set Program Bank Determines which bank an external MIDI device will address in the M ONE when sending a program change The options are Factory User or External When External is selected controller 32 can be used to addres either the Factory or the User bank Controller 32 0 Controller 2232 1 Factory bank User bank Routing Lock Locks the current Routing meaning that the current selected routing will act as a global routing and that pre set routings will not take effect when presets are recalled 12 Tap Unit Selects whether the Tapped tempo in the Tap menu should be displayed in ms milliseconds or BPM Beats Per Minute Bypass Mode There are three different Bypass modes 0 Mix The Input signal is passed directly to the Output FX Input Shuts off the Engine Input in order to let the effect ring out but leaves the same amount of dry signal through the unit FX Output Shuts off the Engine Output in order to kill the FX instantaneously but leave the same amount of dry signal coming through Pedal setup Sets the function of the back panel Pedal jack The Pedal Input uses momentary switches only Range Bypass 1 Bypass 2 Bypass 1 amp 2 Tap Viewing Angle Adjusts the LCD display backlight for better viewing comfort ROUTINGS The Routing Menu sets the Routing of the two Engines When the Routing menu is entered the arrow in the Routing display i
33. he 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 BALANCED INPU BALANCED OUTPUTS TS LEFT RIGHT LEFT RIGHT DIGITAL I O IN THRU OUT LO A Balanced Balanced Digital MIDI Pedal Input Power Serial no Jack Jack S PDIF In Out Thru Input Analog Analog Input Inputs Outputs Output Use Left Input for Mono TIP Jack unbalanced XLR MIDI Cable em DIN CONNECTOR DIN CONNECTOR Sleeve Pin 1 Ground Eco mu EE Tip Pin 2 Hot SHIELDED CABLE 3 or 5 wires screen Sleeve Pin 3 Cold Jack balanced XLR Sleeve Pin 1 Ground Tip Pin 2 Hot Ring Pin 3 Cold TIP RING GND PEDAL SWITCH Pedal Cable or similar JACK PLUG Mono male 6 35mm 1 4 biases me kj Switch must be momentary type shield ground Tip ANALOG INPUTS balanced Digital Input S PDIF SIGNAL FLOW INPUT PPM Left Right ligi Bypass Selector ANALOG OUT LEVEL OUT RANGE i Left O ANALOG OUTPUTS balanced idw Dither Digital Output S PDIF ANALOG IN LEVEL Os i ess 44 kHz O 48kHz O O C Ex DIGITAL IN THE M ONE DISPLAY Overload LEDs Analog Digital Routing Algo Indicator Dynami
34. is E The Parallel Serial can be used when you want separate Inputs on the two Engines but still want the two effects to be partially combined Example You have a long Delay running in Engine 1 and a large Hall Reverb on Engine 2 Both effects are used for the lead vocal The level of the two effects are determined by two independent auxiliary sends from your mixing console The repeats from the Delay seams kind of dry when compared the reverberated vocal so now you bleed a bit of the Delay repeats from Engine 1 into the Reverb in Engine 2 by turning up the Eng 2 Feed parameter Now both the Vocal and the Delay repeats are reverberated 14 Serial MIXER 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 4 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
35. ital 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 ET 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 1 4 phone jack 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 96 1 kHz 0 0 1 dB 48 kHz 20 Hz to 20 kHz 95 dB 20 Hz to 20 kHz 1 4 phone jack 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 96 1 kHz 20 dBu Output 0 0 5 dB 48 kHz 20 Hz to 20 kHz 100 dB 20 Hz to 20 kHz yi EMC Complies with Safety Certified to Environment Operating Temperature Storage Temperature Humidity Cont
36. ithm meaning that a fixed voice is added to the signal However the range in a Detune algorithm is considerably lower and is often used to create a wide sound as opposed to a sec ond voice By using approx 5 10 cent of Detune amount you will get a chorus sounding effect without the modulating swirling motion that is so characteristic for the chorus but in some cases disturbs the clarity of the sound Pitch 1 2 Range 50 50 cent The pitch value of the selected voice Level 1 2 Range 100 0dB The level of the selected voice Pan 1 2 Range 50L to 50R Controls the panning of the selected voice Delay 1 2 Range 0 100ms The Delay time of the selected voice FX Level Range 0 10096 The level of the entire effect Pitch Shift The M ONE Pitch algorithm allows you to add 2 separate fixed voices to the source signal In the following parame ter description these are referred to as 1 and 2 Pitcher L L PITCHER Pan R R 28 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
37. l is mixed with the processed signal into two channels via the Mix parameter EFFECT BAL Controls the balance between the two Engine s FX Outputs MIX Controls the amount of dry signal passed around the two Engines Dry signal is passed in stereo 1 ir The Parallel routing is perfect when you want to add two different effects to the same source Example You need a Chorus and a Reverb on the same guitar track Select the Chorus in Engine 1 the Reverb in Engine 2 and the Parallel Routing Now you have your two effects side by side not influencing each other 13 ROUTINGS Parallel Serial M ONE ENG 2 FEED ux E 2 L R R r FX BAL MIX Parallel Serial The Parallel Serial routing is similar to the Dual Input routing except for one thing The Output of Engine 1 can be fed back to Engine 2 s Input This enables you to e g add reverb to the repeats of a delay The amount of signal that is fed to Engine 2 is controlled by the Eng 2 Crossfeed parameter The Eng 2 Crossfeed parameter is found in the Routing menu and is part of the preset EFFECT BAL Controls the balance between the two Engine s FX Outputs MIX Controls the amount of dry signal passed around the two Engines Dry signal is passed in mono Eng2 Feed Controls the amount of signal passed from the Output of Eng 1 to the Input of Eng 2 This parameter is only active in the Parallel Serial routing v
38. lay Spread out Verb Acoustic GTR BG s Spread GTR Spring amp Delay GTR Spring amp Chorus GTR Spread Rhodes Verb amp Chorus Dual Compressor Dual Gate Expander Phaser Termolo Dual EQ Dual Delays Delay and Chorus Flanger amp Chorus Tremolo amp Compressor Slap Dly Spring Verb Phaser amp Spring Verb Stereo Compressor Stereo Limiter Stereo Gate Expander Stereo EQ Loudness Stereo EQ Low Boost Stereo EQ HighBoost Stereo Phaser Stereo Real Hall Stereo Real Room Stereo Hall
39. ls the panning of the selected voice High Cut Range 500Hz 20kHz High Cut filter that allows you to reduce the high frequen cies of the Delay Taps This gives you softer and more analog sounding Delay Taps which in some cases will seem less disturbing in the overall sound than a delay with no High Cut Low Cut Range 19 9Hz 2kHz Low Cut filter reducing the low end frequencies of the Delay Taps When using delay on signals with low frequen cies a full range delay might introduce a less tight feeling in the low frequencies Use the Low Cut filter to avoid this FX Level Range 0 100 The over all level of the Delay Two Tap The Two Tap Delay mode operates with two Taps each with its own set of parameters Delay Time 1 2 Range 0 4000ms The Delay time of the Delay tap Offset Range 0 200ms Offsets the Delay in the right Channel Feedback 1 2 Range 100 to 100 Controls the amount of signal that is routed back to the Input of the algorithm The higher the Feedback value the more repeats you will get Level 1 2 Range 100 0dB The level of the selected Tap Pan 1 2 Range 50L 50R Controls the panning of the selected voice High Cut Range 500Hz 20kHz High Cut filter that allows you to reduce the high frequen cies of the Delay Taps This gives you softer and more analog sounding Delay Taps which in some cases will seem less disturbing in the overall sound than a delay with no High Cut
40. n 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 REVERB Live 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 6008 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 a Try to turn down the Reflect Level in order to v achieve the traditional slapback effect on the Reverb Tail Size Range Small Medium Large 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 SIE v X Try experimenting
41. na epenn Meenine Release is the time that the Gate uses to release the gain that when the signal drops below a set Threshold the gate reduction when the signal exceeds the Threshold will close and thereby mute the signal This is especially useful when trying to remove unwanted background noise FX Lev from source material that is only periodically present Range 0 100 This can be anything from vocal tracks to noisy guitar The Output level of the Gate amps You can even use it on drums to add a more percussive feeling to the track Out Threshold In Threshold Range 60 0dB When the Input signal falls below the Threshold the Gate starts working This means that the higher Threshold the more gating you will get Ratio Range Off Inf 1 This is the Ratio of the gain reduction If the Ratio is set to 4 1 it means that for every 1dB the Input signal decreases the Output will decrease by 4dB When the Ratio is set to Infinite 1 it means that when the Input signal falls below the Threshold the Output is turned all the way down Attack Range 0 5 100ms The Attack time is the fallback time that the Gate uses to reach the gain reduction specified by the Ratio parameter Example If the Input signal suddenly drops 4dB below Threshold in no time with the Ratio set to 4 1 and the Attack set to 20ms the M ONE will use 20ms to reach a total gain reduction of 16dB 31 DYNAMICS De esser De esser A De esser is us
42. nd is mixed with the direct sound the phasing sound occurs Due to the higher number of filters this version of the Phaser sounds smoother than Vintage Speed Range 0 05 19 2Hz The Speed of the Phaser Depth Range 0 100 The Depth of the Phaser Range Range Low or High The Range parameter determines the frequency area in which the Phaser is operating Feedback Range 100 100 The amount of processed signal that is fed back to the Input of the effect block vl a Try experimenting with the reversed phase Feedback FX Lev Range 0 100 The level of the Phaser effect IMPORTANT SAFETY INSTRUCTIONS Please read keep and follow these instructions before connecting this unit Heed all warnings and instructions Retain this notice and the owner s manual for future reference uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of The lightning flash with an arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of A electric shock to persons The exclamation point within an equilateral triangle is intended to alert the user to the presence of important WARNING 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 unit to rain or moisture Do not open the unit risk of electric
43. ng the lower frequency Decay time Reflect Level Range OdB to 100dB This parameter adjusts the level of the Early Reflection vl S Many older Reverbs did not utilize Early Reflection patterns Try lowering the Reflect Level in order to achieve this character Reverb Level Range OdB 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 Switches the Modulation function On Off 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 10096 The level of the entire effect DELAY One Tap amp Two Tap One Tap The One Tap Delay mode operates with one delay line only Delay Time Range 0 4000ms The length of the the Delay time Feedback Range 100 to 100 Controls the amount of signal that is routed back to the Input of the algorithm The higher Feedback value the more repeats you will get Pan Range 50L 50R Contro
44. olete 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 35 IMPORTANT SAFETY INSTRUCTIONS Service There are no user serviceable parts inside All service must be performed by qualified personnel Servicing is required when the unit has been damaged in any way such as when the power supply cord or plug is damaged the unit has been exposed to rain or moisture or liquid has been spilled into the unit objects have fallen into the unit the unit does not work properly the unit has been dropped 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 a residential installations This equipment generates uses and can radiate radio fre quency 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
45. rol Interface MIDI Pedal General Finish Display Dimensions Weight Mains Voltage Power Consumption a Warranty Parts and labor EN 55103 1 and EN 55103 2 FCC part 15 Class B CISPR 22 Class B IEC 65 EN 60065 UL6500 and CSA E65 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 Ib 1 85 kg 100 to 240 VAC 50 to 60 Hz auto select 15W 1 year Technical Specifications are subject to change without notice 38 APPENDIX Troubleshooting Problems sending and receiving MIDI information You will need to reset the System Parameters This is done via a System Parameter reset easily performed if you follow the procedure below E The System Parameter reset restores the factory ZA defaults in the I O and Utility menu s wil 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 M ONE System parameters are now reset and the MIDI port is fully functional 39
46. ronic 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 November 1999 Anders Fauerskov Chief Executive Officer P APPENDIX MIDI Implementation Chart DUAL EFFECTS PROCESSOR M ONE NOVEMBER 1999 Function Transmitted Recognized Remarks e Basic Channel Default 1 1 coop NGO cO Mode Default Messages X X Altered Note Number lhe Voice Velocity Note ON Note OFF Pitch Bend X Control Change rom 16 and up from 16 and up X Eng 1 16 31 Eng 2 48 63 System 70 78 All Controllers are single byte type scaled to parameter range O Prog Change System Excl Common 90ng POS X s Tune X System real time Clock X Commands X msmmnnnnnnnnin Spunnnninnninninnnnnnnnnnn Aux Messages Local ON OFF Active Sense Reset x XxX X O YES Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO XENO Mede3 OMNI OFF POLY 000 Mode4 OMNI OFF MONO lll 37 APPENDIX Technical Specifications Dig
47. sor Limiter Room Delay Two Tap Gate Expander Plates 1 amp 2 Chorus Classic amp 4 voice De esser Spring Flange Classic amp 4 voice Tremolo Live Pitch Detune amp Pitch Shift Phaser Ambience Parametric EQ LEVELS MULTI SPECTRAL LCD DISPLAY Zn AAE Y ouk o iz DUAL SEND RE a T 2 a Dial STEREO LINKED mum DUAL MONO DYN TRM PHA EDITED FACTORY USER MIDI IN ATi e More B M ane wu V iTr a FRONT PANEL LEVELS MULTI SPECTRAL LCD DISPLAY C Om KH Es cra on Me ONE DUAL EFFECTS PROCESSOR C2 CO t c electronic gu BAL POWER button Power on off IN LEVEL knob Adjusts the Input level At center position a relay will Switch the Input circuit between consumer and pro level This will insure optimal Input gain range and superb signal to noise ratio is achieved MIX knob Adjusts the global mix between dry and wet signal Fully clockwise is 100 effect EFFECT BAL knob Adjusts the balance between the two Engines INPUT Meters The Peak meter shows the Input level of left right channels The meter range is 0 3 6 12 18 24 40 OVERLOAD LEDs The OVERLOAD LEDs indicate one of two situations The Input level is too hot and therefore overloading There is an internal DSP overflow
48. the upper frequency Decay time you remove sibilance while preserving the openness of the Reverb REVERB Plate 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 OdB to 100dB This parameter adjusts the level of the Early Reflections vy 1 7 2 Many older Reverbs did not utilize Early Reflection patterns Try lowering the Reflect Level in order to achieve this character Reverb Level Range OdB 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 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 10096 The level of the entire effect Plate 2 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
49. ting 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 S E lt 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 19 REVERB Room amp Plate Reflect Level Range OdB to 100dB This parameter adjusts the level of the Early Reflections S D y gt Many older Reverbs did not utilize Early Reflection patterns Try lowering the Reflect Level in order to achieve this character Reverb Level Range OdB 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
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