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EQUIPMENT

TEST

TC ElectronicM•One&D•TwoTC Electronic effects for the masses? Scott Christie feeds the mass hysteria.

The M•One and D•Two are the latest effectsprocessor offerings from the Danish company TCElectronics. Around since the mid-seventies TC have

established an impressive reputation in both digital andanalogue effects processing and are perhaps best knownfor their high-end products popular in broadcast and pro

studio land. I had the pleasure of reviewing the TC M3000Studio Reverb Processor [AudioTechnology Volume 1,Issue 5] which proved to be a serious contender for the‘Ultimate Reverb’ award – combining pristine audio qualityalong with an intuitive and powerful approach in creating‘designer’ acoustic environments. The M3000 howevercame at a price, which put it all but out of the reach of thehome or project studio market.

Enter the M•One and D•Two. These units representTC Electronic’s first foray into the ‘affordable’ $1000-isheffects processor market. The general gist is that TC areaiming to deliver effects processors that exploit the heavyR&D resources that they’ve built up for their high-endproducts – albeit with a scaled down set of features thatallow it to slot into this highly competitive price point.Let’s look at the common feature set of the M•One andD•Two first before covering the units individually.

Both units are of a 1U high rackmountable designfeaturing balanced left and right 6.5mm (TRS) I/O jacksalong with RCA S/PDIF 24-bit digital I/O. The S/PDIFdigital output also provides a handy 24-, 20-,16- and 8-bitoutput dithering option for matching bit resolutions ofdifferent digital devices, such as 16-bit CDRs or DATs. Allinternal signal processing is 24-bit and A/D conversion is24-bit, employing 128x oversampling with a quoteddynamic range of 100dB and the D/A conversion issimilarly 24-bit 128x oversampling with a quoted dynamicrange of 104dB. Other connections include a 6.5mm pedalcontrol which provides specific parameter control via an

external footswitch and Midi in/out/thru which enablesthe recall of presets and real-time control of effect para-meters. The M•One and D•Two also feature an auto-sensing power supply which automatically adjusts itself to110V to 240V, 50/60Hz – perfect for those internationalstudio session calls without the embarrassing brown

smoke.

M•OneThe M•One is a dual enginemulti-effects processor focussingprimarily on high quality reverbs.Over 20 algorithms are available,including reverb, delay,chorus/flanging/phaser, pitchshift/detune and tremolo, as well

as dynamic processing, including compression/limiting,gate/expander, and a very handy de-esser function.

The M•One function which first caught my attentionwas the genuine dual-engine processor design. Having twoeffects engines at your disposal provides a great deal offlexibility and power. For example, it allows you to run twocompletely independent mono in/stereo out processorsfrom a single M•One unit. This is known as the DualSend/Return routing mode. In this set-up auxiliaries oneand two from your mixer feed the left and right inputs ofthe M•One and the resulting four effects outputs aresummed to the M•One’s left and right output jacks –providing separate stereo effects with a common two-channel output. This two-in-one design effectively halvesyour space and wiring requirements, making the M•Onehighly suitable for compact PA systems, mobile recordingstudios and, of course, the ubiquitous project/homestudio.

Other input routings include: Parallel for running twostereo effects of a summed left/right input; Parallel/Serialwhich is identical to the Dual Send/Return routing withthe exception that you can feed an adjustable amount ofthe Engine 1 output to the Engine 2 input; Serial whichfeeds the outputs of Engine 1 directly into Engine 2; DualMono which provides two independent mono in/mono-out processors and, finally; Stereo Linked which provides atrue stereo effects processor where, in the case of thereverb algorithm, the reverb is localised in the stereo fieldto match the same position as the direct signal.

Distributed in Australia by: Australis Music Group, PO Box 601, Alexandria, NSW 2015 Telephone: 1800 - 624460 Email: sales@australis music.com.au

Available from: Turramurra (02) 9449 8487, Mannys Prahran (03) 9529 7241, Mannys Fitzroy (03) 9416 0188, Derringers (08) 8371 1884

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In fact, it was in stereo mode that I first tested theM•One. I used a two-track recording of a drum kit as mysource material. The result was enough to convince me,whenever possible, never to run drums through a mono-inreverb unit again! The sense of space and separation intrue stereo reverbs is quite startling after years of exclu-sively using mono-in effects. Not so long ago it was onlythe expensive effects units that offered this sought of dualengine power and the thought of tying up a $5000 effectsunit on just one stereo reverb effect was often just tooindulgent. For that sort of money I could now buy fourM•One’s and be in stereophonic reverb heaven!

As with my previous experience of TC gear, the userinterface is clear and intuitive, with lots of dedicatedbuttons and knobs – what TC call ‘analogue-style’ design.Worthy of note are: the Effects Balance control whichallows you to manually adjust the relative balance betweenthe two processing engines – useful for live engineers whocould, for example, easily crossfade between differenteffects for the verse and chorus – and the Tap key whichallows you to manually enter tempos for delay times andchorus rates.

The M•One comes with 100 factory programs whichprovide a comprehensive selection of algorithms androuting configurations – true stereo effects, dual mono,series, dual send/return etc. In fact, you have to keep akeen eye on the routing mode to make sure your physicalwiring set-up actually matches the I/O routing of thefactory program you’ve selected. It’s fairly useless dialingup a true stereo reverb if you’re only feeding it off a monoauxiliary send, for example. Fortunately there is a simplerouting schematic permanently on the display that keepsyou abreast with your current routing mode. A RoutingLock mode is also available which maintains your selectedrouting configuration, eg. stereo, regardless of the factorypreset’s routing mode

If you wish to build your own program it’s as simple ashitting one of the Algorithm/Edit buttons (one for eachprocessor engine) and selecting one of the basic algo-rithms, and editing the effect parameters from there. Onequestion you may be asking is just how much has TCstripped back on editing functions to fit the M•One intothis price range? Well the M•One doesn’t feature theadvanced reverb algorithms and all the comprehensiveediting functions of a M3000, for example. In fact, TCpromote the M•One as a ‘forget the programming andlet’s just make some music’ kinda effects unit. However,the M•One still holds its head high in terms of fully func-tional parameter editing. The reverb algorithms, forexample, allow a dozen editable parameters, includingdecay, pre-delay, size (early reflection pattern), Hi Cut,Hi/Lo Colour (Hi/Lo decay time), ReflectLev (earlyreflections), ReverbLev (reverb tail level), Mod Type(detuning/non detuning reverb tail), Mod Speed/Depthand FX Level. All-in-all a highly respectable set of editingfunctions showing a clear lineage from the high-end TCreverb units.

Of particular interest is the M•One’s ability to modulatethe reverb tail, allowing you to create swirling, chorusingreverb effects that sound great on long-note pianomelodies or ringing guitar chords. Alternatively, the ability

to turn the modulation parameter off completely results inamazingly clean ‘ring-free’ reverb tails that TC claim are anexclusive feature to their latest algorithm development. Allup, the effects are highly impressive. The only rather oddexception is a complete lack of a gated reverb algorithm –oh well, so much for the eighties!

D•TwoTC refer to their D•Two as a Multitap Rhythm Delay. Thename gives some indication of the rather unique set offeatures that make the D•Two quite unlike any delay unityou’ve come across at this price. Firstly, the term Multitaprefers to the fact that the D•Two can employ a differentstrategy in generating its basic feedback signals – knownas Straight mode. Most units use a delay line and afeedback circuit that feeds a portion of the output signalback into the input to provide a series of repeats known asfeedback. The constant processing of the signal throughthe delay circuit often results in the repeated signalbecoming degraded in quality – particularly in terms offrequency response. However in the D•Two’s Straightmode the repeats generated are created by a number ofdiscrete taps that are not fed back into the delay line. Thisresults in a pristine quality to the actual repeats and, fur-thermore, allows you to input an exact number of repeatsup to a maximum of ten. However, the last delay tap doeshave the ability to feedback like a normal delay unit – thisis known as Traditional mode – and the repeats are set viathe usual feedback percentage control.

Secondly, the term Rhythm Delay refers to the D•Two’sability to allow you to physically tap actual rhythmpatterns of up to 10 taps onto the front panel’s‘Feedback/Rhythm’ button – otherwise known as Rhythmmode. This function stems directly from the Multitapfeature described in the last paragraph. The upshot is youcan tap in rhythms as cunningly syncopated as you dare,which then become a rhythm pattern created by thediscrete delay taps. Jam along on an instrument or applythem to any audio signal you like – particularly groovy forthose trancey electro synth parts or U2-style guitar parts.As features go, this rates fairly high on the Fun-O-Richterscale. Furthermore, delays in this mode can also bequantised and also have the groovy ability to allow you todial in a shuffle feel, similar to the shuffle quantisationavailable in Midi sequencers, like Cubase and Logic, etc.

Another great feature that sets the D•Two apart fromyour garden-variety delay unit is the Dynamic Delayfunction. This allows the delay output level to be activelyaltered by the dynamics of the input signal – otherwiseknown as ‘ducking’. This feature allows the sourcematerial, a voice for example, to be clear and relatively‘effect-free’ while there is input signal, but, as soon as theinput signal stops, the effect level rises to fill out the spacebetween the phrases. The result is an engineer’s dream interms of sitting big effects in a mix without automatingeffects sends/returns to maintain clarity. This trick can beemployed in a mix using delays, standard gates and side-chain inputs, but is significantly more fiddly to set up.

As with the M•One, the layout of the D•Two’s displayand accompanying buttons are highly user-friendly. Actualdelay time values can be shown in either milliseconds or

BPM, and the tempo of the selected delay time is visuallyindicated by two alternately flashing boxes at the top ofthe display. Maximum delay time for the D•Two is givenin mono as a rather wonderfully ludicrous 10 seconds anda corresponding five seconds in stereo. However, thismaximum figure is dependent on the mode in whichyou’re using The D•Two. A Subdivision control allows youto subdivide the selected delay time into various musicalnote values, such as dotted minums, minums, tripletminums, quavers, etc. A 500ms delay time at quarter noteresolution, for example, can quickly be altered to a 250msdelay time by simply setting the Subdivision parameter to1/8th notes. This function goes along way in saving theendless churning of the data wheel – especially with10,000 milliseconds to play with!

Apart from the D•Two’s three basic delay modes, eachmode also has access to a highly useful set of effect algo-rithms, including: Spatial (phase reverse/stereospreading/left and right delay offset), Filter (EQ), Reverse(reverses playback of all delayed signals), Dynamic(ducking, as already discussed), Ping Pong (synchronisespanning with the tempo of the delay repeats) and Chorus.The Chorus algorithm, to my amazement, contains what’sknown as a Golden Ratio setting which maintains a ratioof 1:1.618, between the chorus speed and depth values.(Wow! I wasn’t entirely asleep for those three years Istudied Music History!) This ratio was employed through-out history, from the architecture of the Ancient Greeks toLeonardo da Vinci and numerous 20th century artists, asa fundamental design parameter in order to achieve anunderlying sense of order, harmony and balance. It mightsound a tad pretentious to some, but hey, if it worked forthe Great Pyramids then maybe it’s the difference betweenyour song going platinum in the America and going‘copper’ on Mars. My only disappointment is that thechorus effect is only functional as part of the delayedsignal itself and cannot be applied separately withoutdelay on the direct sound. This limitation reduces theD•Two’s ability to be used as a straight guitar effect unit,but I guess it was never designed as such anyway.

There are a number of other D•Two facets worthy of amention, including the 50 highly inspiring factory presets,as well as a number of other impressive, but rather morecomplex, parameter functions. But, my advice is to try thisone out for yourself. Together, or separately, the M•Oneand D•Two are extremely desirable pieces of gear. TChas managed to blend technically excellent specs andinspired functionality at a highly competitive price. If Iwas putting together a studio – whether home/project oreven pro, I’d put these at the top of my list.

Distributed by• Amber TechnologyPhone: (02) 9975 1211TC Electronic on WWW: ‘www.tcelectronic.com’ For more information: ‘info@alchemedia.com.au’

Price• RRP $1295 each

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