M300DUAL ENGINE PROCESSOR

UUSSEERR’’SS MMAANNUUAALL

IMPORTANT SAFETY INSTRUCTIONS

1 Read these instructions.2 Keep these instructions.3 Heed all warnings.4 Follow all instructions.5 Do not use this apparatus near water.6 Clean only with dry cloth.7 Do not block any ventilation openings.

Install in accordance with the manufacturer's instructions.

8 Do not install near any heat sources such as radiators, heat registers, stoves, or otherapparatus (including amplifiers) that produce heat.

9 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 plughas 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 anelectrician for replacement of the obsolete outlet.

10 Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11 Only use attachments/accessories specified by the manufacturer.

12 Unplug this apparatus during lightning storms or when unused for long periods of time.

13 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 objectshave fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or hasbeen dropped.

• This equipment should be installed near thesocket 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 ormodifications not expressly approved in thismanual could void your authority to operate thisequipment.

Service• There are no user-serviceable parts inside. • All service must be performed by qualified

personnel.

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 thecorrect type. See table below:

Voltage Line plug according to standard110-125V 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.

The lightning flash with an arrowheadsymbol within an equilateral triangle, isintended to alert the user to the

presence of uninsulated "dangerous voltage"within the product's enclosure that may be ofsufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within anequilateral triangle is intended to alertthe user to the presence of important

operating and maintenance (servicing)instructions in the literature accompanying theproduct.

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IMPORTANT SAFETY INSTRUCTIONS

Certificate Of ConformityTC Electronic A/S, Sindalsvej 34, 8240Risskov, Denmark, hereby declares on ownresponsibility that following products:

M300 - Dual Engine Processor

- that is covered by this certificate andmarked with CE-label conforms withfollowing standards:

EN 60065 Safety requirements for mains (IEC 60065) operated electronic and

related apparatus for householdand 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 andentertainment lighting control apparatus for professional use. Part 2: Immunity.

With reference to regulations in followingdirectives:73/23/EEC, 89/336/EEC

Issued in Risskov, March 2002Anders Fauerskov

Chief Executive Officer

EMC / EMI.This equipment has been tested and found tocomply with the limits for a Class B Digitaldevice, pursuant to part 15 of the FCC rules.These limits are designed to providereasonable protection against harmfulinterference in residential installations. Thisequipment generates, uses and can radiateradio frequency energy and, if not installed andused in accordance with the instructions, maycause harmful interference to radiocommunications. However, there is noguarantee that interference will not occur in aparticular installation. If this equipment doescause harmful interference to radio or televisionreception, which can be determined by turningthe equipment off and on. The user isencouraged to try to correct the interference byone 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.

For the customers in Canada:This Class B digital apparatus complies withCanadian ICES-003.Cet appareil numérique de la classe B estconforme à la norme NMB-003 du Canada.

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TABLE OF CONTENTS

INTRODUCTION

Table of Contents . . . . . . . . . . . . . . . .3Introduction . . . . . . . . . . . . . . . . . . . . .5Front Panel Overview . . . . . . . . . . . . .6Rear Panel Overview . . . . . . . . . . . . .8Signal Flow Diagram . . . . . . . . . . . . . .9Typical M300 Setups . . . . . . . . . . . . .10

BASIC OPERATION

How To Operate the M300Input/Output Section . . . . . . . . . . . . .16The Multi-effects Engine . . . . . . . . . .18The Reverb Engine . . . . . . . . . . . . . .20Store . . . . . . . . . . . . . . . . . . . . . . . .21Recall . . . . . . . . . . . . . . . . . . . . . . . .21The Display . . . . . . . . . . . . . . . . . . .21MiscellaneousFactory Presets . . . . . . . . . . . . . . . . .22MIDI channel . . . . . . . . . . . . . . . . . .22Sysex ID . . . . . . . . . . . . . . . . . . . . . .22M300 software . . . . . . . . . . . . . . . . .22Routings . . . . . . . . . . . . . . . . . . . . . .23

EFFECTS

Multi-effects Dynamic Delay . . . . . . . . . . . . . . . . .24Tape Delay . . . . . . . . . . . . . . . . . . . .24Studio Delay . . . . . . . . . . . . . . . . . . .25Delay . . . . . . . . . . . . . . . . . . . . . . . .25PingPong Delay . . . . . . . . . . . . . . . .25SlapBack Delay . . . . . . . . . . . . . . . .25

Phaser . . . . . . . . . . . . . . . . . . . . . . .25Tremolo . . . . . . . . . . . . . . . . . . . . . .25Chorus . . . . . . . . . . . . . . . . . . . . . . .26Compressor . . . . . . . . . . . . . . . . . . .26De-Esser . . . . . . . . . . . . . . . . . . . . .27

ReverbsReverb types . . . . . . . . . . . . . . . . . .28

TC Electronic, Sindalsvej 34, DK-8240 Risskov – tcdk@tcelectronic.com Rev 3.2 – SW – V 1.00English VersionProd. No: E60501601

APPENDIX

MIDI Implementation Chart . . . . . . . .30MIDI Continuous Controllers . . . . . . .31Reset Procedure . . . . . . . . . . . . . . . .31MIDI Bulk Dump . . . . . . . . . . . . . . . .31Technical Specifications . . . . . . . . . .32

QUICK START - IF YOU JUST CAN’T WAIT

If you just can’t wait to hear the greateffects waiting for you in your new M300Dual Effects processor, follow the few stepsin this quick setup guide:

• Unpack the M300 and check for possibledamages that could have been caused bytransport.

• Read the safety instructions.• Take a few minutes to register online via:

www.tcelectronic.com or send in theregistration card. Customers registeredonline will be notified directly via E-Mailabout new tips&tricks and manual updates.

Consider the M300 as two effects processors inone box. We call these two processors“Engines”. The Multi-Effect Engine creates oneof the following effects: Delay, Chorus, Flanger,Phaser, Tremolo, De-Ess or Compression. The Reverb Engine creates Reverb. These two Engines can be used separately orin conjunction.

Connections & Routing: The M300 has two routing options that requiretwo different ways of connecting.The Routing mode is set on the M300 rearpanel and should correspond to your currentsetup.

Serial Routing (switch in OUT position)- utilizing both effect Engines in serial.

Dual Send/Return (switch in IN position)- ideal if you need to send signal from two

different AUX sends on your mixer and returnon a stereo Aux or two other channels.

For detailed explanations on Routings andconnections please read page 22.

• When all audio connections are madeconnect power.

• Set the M300 in Preset Off mode using thePRESET ON/OFF key:

The M300 is in Preset Off mode when thedisplay reads as illustrated above.

• Set all controls in 12 o’clock position to hear factory settings.(For Dual Send/Return mode set MIX to 100%)

• Select an Effect from the Multi-effects section • Select a Reverb type from the Reverb

Section.• Start playing music through the M300.• Adjust Input level to a level just below the

point where the two INPUT PPMs turn red.• Set the desired Mix between the Dry and

Wet signal of the entire M300 using the MIXcontrol.

• Set the desired balance between the Multi-Effects section and the Reverb section usingthe EFFECT BALANCE knob.

• Now tweak the controls for the two sectionsuntil you have the effects intended.(When using the Dual Send/Return modealways set MIX to 100%)

For any questions left unanswered by thismanual feel free to visit our online supportcenter; TC Support Interactive, which can beaccessed via: www.tcelectronic.com

Latest manual revision can always bedownloaded from www.tcelectronic.com

Serial mode

Dual Send/Returnmode

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INTRODUCTION

Congratulations on the purchase of your TC Electronic M300 Dual Engine processor.The M300 is a Dual Engine effects processor that is extremely easy to use. Making nocompromises when it comes to quality we proudly present the M300 in the affordable price range.With top quality effects and the intuitive user-interface we are convinced that you will enjoy theM300 now and in the future. The M300 is so easy to use that this manual may seem nearlyredundant to the front panel itself. However, read on for explanations of basic setups and routing-options to achieve maximumperformance from your new M300.

The Dual Engine Structure lets you combine various effects with high quality Reverbs.

Engine 1• Dynamic Delay• Studio Delay• Tape Delay• Delay• PingPong Delay• SlapBack Delay• Vintage Phaser• Phaser• Hard Tremolo• Soft Tremolo• Flanger 1 & 2• Chorus• Compressor• De-Esser• Off

Engine 2• Concert Hall • TC Classic Hall• Living Room • Vocal Studio• Club • Vocal Room• Plate I • Vocal Hall• Plate II • Drum Box• Spring • Drum Room• “Live” Reverb • Large Cathedral• Ambience • Off

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FRONT PANEL OVERVIEW

INPUT knobAdjusts the Input level.

1/L and 2/R LEDS3 color LEDs indicating Inputlevel on Left and Right Inputs.Green : -40dBYellow : -6dBRed : -1dB

MIX knobAdjusts the mix between thewet and the dry signal. 100%“Wet” is achieved at fullyclockwise position.

EFFECTS BALANCE knobAdjusts the balance betweenthe Effects Engine and theReverb Engine. Maximumeffect from both Engines isachieved at 12 o’clockposition.

DIGI IN button and LEDLED OffDigital Input is set to Off. TheM300 processes only thesignal present on the AnalogInputs.

LED GreenThe M300 is locked correctlyto the Digital Input signal.

LED FlashingDigital In is selected but nodigital signal is received or thesignal is corrupt. The M300automatically returns tointernal clock and Analogoperation.

BYPASS knob and LEDBypass function variesdepending on the selectedRouting (set on the rearpanel):

Dual Send Return routing:Bypass operates as “mute”.

Serial routing:Bypass routes the Input signalto Output.

MULTI-EFFECT selectorSelects between the 15 effects& Off in the Multi-effectsEngine.

TIMING knob & TAP keyTap the global tempo using theTAP key by tapping quarternotes. Now use the timingknob to multiply the tappedtempo.The range varies from 0.5 to 2.

Example:• Tap quarter notes at Tempo

120 BPM. This equals 500milliseconds.

• The range of the TIMINGknob is 0.5 to 2 giving you aDelay time varying from:250ms to 1000ms.Note that the SlapbackDelay type has a shorterrange as the SlapbackDelay type by nature is ashort Delay.

TIMING knob asAMOUNT/DRIVE controlFor the Compressor and De-Ess algorithms (marked withan “*”) this knob has differentfunctions:De-Ess : AmountCompressor : Drive

FEEDBACK/DEPTH knobControls the Feedback orDepth parameter depending ofthe selected effect.Delay : FeedbackPhaser : DepthTremolo : DepthFlange : DepthChorus : Depth

FEEDBACK/DEPTH knob asFREQ/RATIO controlFor the Compressor and De-Ess algorithms (marked withan “*”) this knob has differentfunctions:De-Ess : FrequencyCompressor : Ratio

-3, -6, -12 LEDsThese LEDs indicate theapplied gain-reduction whenCompressor or De-Essalgorithms are selected.It is worth noticing that theCompressor uses AutomaticMake-up Gain to naturallycompensate for the decreasedgain.

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FRONT PANEL OVERVIEW

REVERB Type selectorSelects between 15 differentReverb types or sets theReverb Engine to “Off”.

PRE DELAY knobControls the relative Pre Delayof the selected Reverb.

DECAY knobControls the relative Decay ofthe selected Reverb.

COLOR knobControls the relative Color ofthe selected Reverb.

LOAD/HOLD TO STORE keyThis key has two functions.• Press once to load the

preset selected via theCURSOR UP/DOWN keys.

• Press and hold to store thecurrent preset.

PRESET ON/OFF keyThe M300 has two presetmodes.Preset “Off” mode:The display reads as illustratedabove - no numbers.In this mode the M300 will playeffects according to the frontpanel controls.When going from Preset “On”to Preset “Off” mode theeffects will always be updatedaccording to the positions ofthe front controls.

Preset “On” mode:The display reads a specificpreset number.In this mode you can recallvarious user presets by usingthe UP/DOWN arrows followedby LOAD.(Note that the M300 holds nostored factory presets apartfrom the default settings in thevarious effects).

Toggling between the PresetOn/ Preset Off modesgenerates two situations:

From “On” to “Off”:Preset is updated according tothe positions of the frontcontrols.

From “Off” to “On”:The display starts to blink thepreviously recalled presetnumber while still processingaccording to the front controls.To actually load the presetpress LOAD.

Set MIDI channelPress and hold the PRESETON/OFF key approx. 2.5 sec.Now set the desired MIDIchannel 1 to 16 or “o” forOMNI (receives on allchannels) or OF for Off, usingthe ARROW UP/DOWN keys.Via this menu a Bulk Dumpcan also be performed. (seepage 31).Press PRESET ON/OFF keyonce to exit the MIDI channelsset mode.

EDITED KNOBS LEDsThe LEDs are relevant inPreset “On” mode only. Theyindicate when the frontcontrols do not match thesettings in the actually recalledpreset.

ARROW UP/DOWN keysScroll between presets whenin Preset “On” mode.

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REAR PANEL

BalancedJackAnalogInputs

PedalInput

MIDIIn/Out

Routing Switch BalancedJackAnalogOutputs

DigitalS/PDIFInput/Output

PowerInput100 - 240V

ROUTING switchSwitches between Dual Send/Return and SerialInput modes.

Dual Send/Return mode: Switch is In, and Green LED on front is On.

Serial mode: Switch is Out and Green LED on front is Off.

Read much more about these Routing optionson pages 22/23. See also the suggestedsetups at pages 10-15.

Analog InputAnalog Input on 1/4 inch connectors.Use Left Input for connecting a mono signal.

If you connect to Left Input only and useDual Send Return mode the Input signalis fed to both the Multi-effects Engine

and the Reverb Engine, and you can then usethe M300 as two independent effect units with acommon Output.

Analog OutputAnalog Output is a Stereo Output on two 1/4”Jack connectors.

Pedal InputThe Pedal Input gives you the possibility toBypass and “tap” the Global Tempo viamomentary switches. The Global tempo can beused to set Delay time.The connection is a 1/4” Stereo Jack withBypass on tip and Tap Tempo on ring.

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SIGNAL FLOW

Jack Cable Mono to Mono

MIDI Cable

DIN CONNECTOR5POLE - MALE180 degrees

DIN CONNECTOR5POLE - MALE180 degreesmax. 10m

SHIELDED CABLE (3 or 5 wires + screen)

GNDTIP

TIPGND

TIPRINGGND

GNDRINGTIP

Jack CableStereo

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TYPICAL SETUPS

Connecting and Setting up the M300Setting up the M300 is very easy. It is, however, important to connect and setup the M300 correctlyaccording to your application. Setting up basically means: connecting, selecting one of the tworouting options via the switch on the rear panel and finally setting the MIX control on the front panel.Find the setup you are about to create or similar on the following two pages - and follow theinstructions.

Dual Send/ReturnThis setup applies to a mixer with two (ormore) AUX sends. It utilizes the two effectsections in the M300 as two separate effectswith a common Output.• On the rear panel select DUAL S/R routing

by leaving the switch in the “IN “ position.• Connect AUX 1 send to the M300 Left Input.• Connect AUX 2 send to the M300 Right

Input.• Connect the M300 Left and Right Outputs to

the Stereo AUX L/R returns of either AUX 1or AUX 2.

• Set MIX to 100% wet, as you in this setup donot want the direct signal to pass the M300.

• Set Input level to 12 o’clock position.• Set BALANCE to 12 o’clock position.• Select Reverb type and Multi-effect type

using the selectors on the front panel.• Set the AUX Return level on the mixer to

approx. 50%.• Now slowly turn up the AUX Sends 1 and 2

on the mixer for the channels you wish toadd effect to.

• Adjust/fine-tune the M300 Input level so theInput LED on the front panel often is Orangebut only rarely peaks at Red color.

Setup

M300 Routing Schematic

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TYPICAL SETUPS

Serial SetupThis setup utilizes the M300 as a Multi-effects processor connected in serial to aReverb. It is ideal when you wish to addReverb to a signal already processed byone of the Multi-effects. The illustratedsetup is a typical live instrument setup.

• On the rear panel select SERIAL routing byleaving the switch in “OUT “ position.

• Connect Line signal directly from yourinstrument or from a DI-box to the M300Inputs. (use Left Input for mono signals).

• Connect the M300’s Left and Right Outputsto mixer or amplification.

• Set Input level to 12 o’clock position.• Set MIX level to 12 o’clock position.• Set BALANCE to 12 o’clock position.• Adjust/fine-tune the M300 Input level so the

Input LED on the front panel often is Orangebut only rarely peaks at Red color.

• Select Reverb type and Multi-effect typeusing the selectors on the front panel.

• Now fine-tune:- MIX between wet and dry signal- BALANCE between the two effect Engines.

Setup

M300 Routing Schematic

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TYPICAL SETUPS

Setup

Routing Schematic

“Parallel Setup” (analog Input only)This setup utilizes the M300 as a Dualprocessor on a mono signal with a commonstereo Output.

• On the rear panel select Dual S/R routing byleaving the ROUTING switch in the “IN “position.

• Connect AUX1 (or any) to Left Input.NO connections to Right Input. The Left Inputsignal is automatically fed to the Right Inputinternally in the M300.

• Connect the M300 Left and Right Outputs tothe Stereo AUX L/R returns of either AUX 1or AUX 2.

• Set MIX to 100% wet, as you in this setup donot want the direct signal to pass through theM300.

• Set Input level to 12 o’clock position.• Set BALANCE to 12 o’clock position.• Select Reverb type and Multi-effect type

using the selectors on the front panel.• Set the AUX Return level on the mixer to

approx. 50%.• Now slowly turn up the AUX Sends• Adjust/fine-tune the M300 Input level so the

Input LED on the front panel often is Orangebut only rarely peaks at Red color.

Controlling M300 via MIDIVarious functions in the M300, such aspreset recall and Tap Tempo, can becontrolled via an external MIDI device. This example shows how to control theM300 with a TC Electronic G•Minor*footcontroller. A complete list of CC valuescan be found on page 31.

• Connect MIDI Out on the G•Minor to MIDI Inon the M300.

• Connect MIDI Out on the M300 to MIDI In onthe G•Minor.

You are now able to recall the stored presets inthe M300 using the UP/DOWN switches on theG•Minor. You can also tap the Global Tempousing the HOLD switch.

* Detailed information on the G•Minor can befound in the G•Minor manual. Feel free todownload from www.tcelectronic.com

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TYPICAL SETUPS

Guitar SetupsThis setup utilizes the M300 as a Multi-effects processor connected in serial to aReverb. It is ideal when you wish to addReverb to a signal already processed byone of the Multi-effects. This is a typical guitar setup.

• On the rear panel select SERIAL routing byleaving the switch in the “OUT “ position.

• Connect guitar to preamp Input.• Connect preamp Output to M300 Left Input.• Connect M300 Left Output to Input on your

amp. Use the regular Input or the Return onan effect loop if you use Combos or Heads. Ifyou are using a regular Power-amp andspeakers simply use the Inputs.

• Set Input level to 12 o’clock position.• Set MIX level to 12 o’clock position.• Set BALANCE to 12 o’clock position.• Adjust/fine-tune the M300 Input level so the

Input LED on the front panel often is Orangebut only rarely peaks at Red color.

• Select Reverb type and Multi-effect typeusing the selectors on the front panel.

• Now fine-tune:- MIX between wet and dry signal- BALANCE between the two effect Engines.

M300 in an effects loop• On the rear panel select SERIAL routing by

leaving the switch in “OUT “ position.• Connect guitar to amp Input.• Connect effect-loop send to M300 Left Input.• Connect M300 Left Output to Effect-loop

Return.• Set Input level to 12 o’clock position.• If the effects loop is serial type (see owners

manual for the amp) set MIX level to 12o’clock position.If the effects-loop is parallel type set MIX to100% (fully clockwise position).

• Set BALANCE to 12 o’clock position.• Adjust/fine-tune the M300 Input level so the

Input LED on the front panel often is Orangebut only rarely peaks at Red color.

• Select Reverb type and Multi-effect typeusing the selectors on the front panel.

• Now fine-tune:- BALANCE between the two effect Engines.

Setup

Setup

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TYPICAL SETUPS

Digital Setup - M300 as InsertThis setup is ideal if you are using the M300as a digital insert effect on your harddiskrecording system.This setup requires that you are using anI/O card with S/PDIF In/Out.

• Select Serial Routing by leaving theROUTING switch on the rear panel in Outposition.

• Connect the M300 S/PDIF digital Out to theDigital Input on your soundcard.

• Connect the Digital Out on your soundcard tothe Digital In on the M300.

• Set your Soundcard to act as Master clock.There can be different names for this settingbut “Internal Clock”, “Internal Sync” or“Master“ are commonly used phrases.(This is probably setup via you harddiskrecording program. Please refer to ownersmanual)

• Press the DIGI IN button on the M300.• If the DIGI IN LED is green, the M300 is

locked correctly on the Digital Input signal. • If the LED is flashing Digital In is selected but

no digital signal is received within 5 secondsor the signal is corrupt.The M300 automatically returns to internalclock and analog operation but will continueto look for digital signal and the DIG IN LEDon the front panel will keep blinking.Check cables and make sure that yourSoundcard is set as Master.

• Once setup you can use the M300 as a plugin on your harddisk recording mixer.

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TYPICAL SETUPS

Digital Setup - M300 as A to D converterThe analog to digital converters in the M300are superior to most converters used onsoundcards in the affordable price range.You can therefore most likely benefit fromusing the M300 as an A to D converter whendoing harddisk recordings.Feed the M300 with an analog Input e.g.from you mixer or Instrument line signal,and you are feeding a high quality digitalsignal to the harddisk.If you wish you can of course add effects tothe tracks while recording but the essenceof this setup is to get best possible A to Dconversion by skipping the A to Dconverters on your soundcard.

• Select Serial or Dual S/R Routing via theROUTING switch on the rear panel. Note that if you do not add effects to thetracks while recording and uses Bypassmode you must use Serial routing.

• Feed any analog signal to the analog Inputon the M300.

• Connect the M300 S/PDIF digital Out to theDigital Input on your soundcard.

• The M300 must act as Master clock in thissetup and you must therefore set yourSoundcard to act as Slave.There can be different names for this settingbut “External Clock”, “External Sync” or“Slave“ are commonly used phrases.(This is probably setup via your harddiskrecording program. Please refer to ownersmanual).

• For pure A to D conversion with no effectsadded, both Effect Type Selectors should beset to Off.

• Adjust Input level gain using the INPUT levelknob.

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OPERATING - INPUT/OUTPUT SECTION

INPUTThis knob controls the Input level for both theAnalog and Digital Input options. For optimalperformance of the M300 a well-adjusted Inputlevel is essential.

Analog Input RangeCounter Clockwise : -10dBCenter : 0dBClockwise : +14dB

Digtal Input RangeCounter Clockwise : -18dBCenter : 0dBClockwise : +6dB

1/L - 2/R INPUT LEDsThese LEDs signal with three colors.Green : Indicating that you are “well on the

safe side”Yellow : Reaching optimal performance.Red : Should only occasionally blink at

absolute peaks in the material you feeding the M300 with.

The Input knob adjusts the level for both Leftand Right Input channels. If there is asignificant difference between the Input of theLeft and Right channels you should adjust theOutput of the device feeding the M300.

DIG. INThe M300 has analog as well as digital Inputoptions. The digital Input is the S/PDIF typeconnected via RCA phono cables. To select/deselect the Digital Input press theDIG IN button once.

The green LED next to the DIG IN button willindicate various situations.

LED OffDigital Input is set to Off. The M300 processesonly the signal present on the Analog Inputs.This is done on an internal Sample Rate of44.1kHz.

LED GreenThe M300 is locked correctly on the DigitalInput signal. With the digital signal a clock issupplied. The M300 can lock on either a 44.1or a 48kHz Sample Rate frequency which arethe most commonly used Sample Ratefrequencies. E.g. a regular CD is 44.1kHz.

Flashing LEDIf Digital In is selected but no digital signal isreceived or the signal is corrupt the M300automatically returns to internal clock andAnalog operation. However, the M300 willcontinue to look for digital signal on the S/PDIFInput and this is indicated by the flashing LED.If you wish to stay in analog mode press DIGIN once and the LED will stop flashing.

Dual S/R On - LEDWhen this LED is lit (green) it is indicated thatthe Dual Send/Return Routing is selected viathe switch located on the rear panel.Read more about the Dual Send/Return modeon page 22-23.

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OPERATING - INPUT/OUTPUT SECTION

MIXSets the mix between dry and wet signal. TheMix parameter operates differently dependingon the selected routing:

In "Dual S/R" Routing, "Mix" controls the overallwet/dry mix of both the Multi-effect and theReverb section.

In "Serial" Routing, "Mix" functionality in the"Effects" section depends on the selectedeffect.

BYPASSThe Bypass function operates differentlydepending on the selected routing.

Dual Send/Return routing:Bypass key operates as a Mute function.

Serial routing:Here the Bypass function simply passes thesource signal unprocessed to Output.

EFFECTS BAL.Sets the balance between the two Engines.Both Engines have maximum Output in 12o'clock position.Fully clockwise or counter-clockwise settingscan be considered as 100% bypass of one ofthe Engines.

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THE MULTI-EFFECTS ENGINE

Multi-Effects EngineEffect SelectorWith the EFFECT selector you select betweenone of the following effects and Off.

• Dynamic Delay • De-Esser• Studio Delay • Compressor• Tape Delay • Chorus• Delay • Flanger 1• Ping Pong • Flanger 2• SlapBack • Soft Tremolo• Vintage Phaser • Hard Tremolo• Phaser • Off

-12dB, -6dB, -3dB Gain Reduction LEDsThese LEDs indicate the applied Gain reductionin the Compressor and De-Esser algorithms.

TAP key and TIMING knobDelay Effects:The tempo of the Delay effects is set using boththe TAP key and the TIMING knob. By tapping the TAP key you set a “globaltempo“ that you can increase/decrease usingthe TIMING knob that operates as a multiplierin the Delay algorithms.The range of the TIMING knob is 0.5 to 2.

ExampleLet us say that you tap quarter notes in tempo120BPM using the TAP key. With the TIMINGknob in 12 o’clock position you now have aDelay time off 500ms*.

If you turn the TIMING knob fully counter-clockwise the actual Delay time will be 0.5 times 500ms= 250ms

If you turn the TIMING knob fully clockwise thetempo will be:2 times 500ms=1000ms (1 second)

When powering up the M300 the default Tempois 120BPM, but as explained above the positionof the TIMING knob defines the actual tempo.

*The nature of a Slapback Delay is very shortDelay times and the range of this Delay type istherefore much shorter.

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THE MULTI-EFFECTS ENGINE

TIMING knob - De-Ess and Compression:For the De-Ess algorithm the TIMING knobcontrols the Amount parameter.For the Compressor algorithm the TIMING knobcontrols the Drive parameter.

TIMING knob - Chorus, Flanger, Phaser andTremolo:Increases/decreases the Tempo. Remember that the default setting suggestedby TC Electronic is achieved by setting theknob in 12 o’clock.

FEEDBACK/DEPTH- FREQUENCY/RATIO knobThis knob changes functionality with theselected algorithms.

The knob controls the Feedback parameter in:All Delays

The knob controls the Depth parameter in:ChorusFlangerPhaserTremolo

The knob controls the Frequency parameter in:De-Ess

The knob controls the Ratio parameter in:Compressor

For further details on these parametersplease read the Multi-effects chapter onpages 24-27.

20

THE REVERB ENGINE

Reverb EngineReverb SelectorSelect between the following Reverb types or“Off”.

• Concert Hall • Classic Hall• Living Room • Vocal Studio• Club • Vocal Room• Plate I • Vocal Hall• Plate II • Drum Box• Spring • Drum Room• “Live” Reverb • Large Cathedral• Ambience • Off

To hear the carefully designed default settingsfor each of the Reverb types set PRE DELAY,DECAY and COLOR knobs in “12 o’clock”position (neutral). Then adjust and fine-tune tothe given application.

It is worth noticing that the range of each ofthese parameters will vary from algorithm toalgorithm. As an example it is possible to set a muchlonger Decay time for a Classic or Concert HallReverb than for a Drum Box.

Pre DelayA short Delay placed between the direct signaland the Reverb Diffuse Field. By using PreDelay the source material is kept clear andundisturbed by the more diffuse Reverb Fieldarriving shortly after.

DecayThe Decay parameter determines the length ofthe Reverb Diffuse Field. The length is definedas the time it takes for the Reverb to decayapproximately 60dB.

ColorVaries the “color” of the Reverb. From dark tocrisp and bright the Color parameter can reallychange the characteristics and style of theReverb.

21

STORE - RECALL & M300THE DISPLAY

Preset ModesThe M300 holds two significantly differentmodes. To toggle between these modes pressthe PRESET ON/OFF key.

“Preset On” modeIn this mode it is possible to load any of thepreviously stored presets.The “Preset On” mode is active when thedisplay shows location numbers from 1 to 99.

If you try to load a preset from a locationwhere no preset is stored - no action willtake place.

“Preset Off” modeIn Preset Off mode the M300 will process thesignal according to the position of the frontcontrols. A “what you see is what you hear” -setting.

Once you have accessed the Preset Offmode and return to the Preset On modethe preset number will blink indicatingthat you must press LOAD to recall thesettings stored with that particularpreset.

DisplayEdited knobs LEDs(relevant only in Preset ON mode)These LEDs refer to the 10 front panel controls.See illustration above.They indicate when the front controls do notmatch the current settings of the active preset.

When you turn any of the knobs and pass theposition physically matching the currentparameter value, the parameter is “grabbed”,the LED goes off and you can adjust theparameter.

Load/Store PresetsLoad User Preset• Enter “Preset On” mode using the PRESET

ON/OFF key. The M300 is in Preset Onmode when the display shows location-numbers 1 to 99.Use the UP/DOWN arrows to select desiredpreset (1-99).

• The digits are now blinking to indicate thatyou are previewing the preset and it has notyet been recalled.

• Press LOAD to recall the preset and thedigits are now steady.

Store User Preset• Enter “Preset On” mode using the PRESET

ON/OFF key. The M300 is in Preset Onmode when the display shows location-numbers 1 to 99.

• Use the UP/DOWN arrows to select desiredpreset location where you intend to store thepreset (1-99).

• The digits are now blinking to indicate thatyou have not yet stored the preset.

• Press the LOAD (HOLD TO STORE) key for approx. 2.5 seconds until the digits turn steady.

Edited knobs LEDs

22

MISCELLANEOUS

Factory PresetsThe M300 holds no conventional factorypresets. When all the controllers are in 12o'clock position the M300 is in "neutral",meaning that all parameters are set assuggested by TC Electronic. Combining the 16positions of both the Multi-effect and Reverbselectors you actually have 256 “factory”presets.

MIDI CH.Via an external MIDI device it is possible torecall presets and control parameters in theM300. For the external device to communicatewith the M300 it is essential that theycommunicate on the same MIDI Channel. The M300 can be set to receive on all MIDIchannels, none or all.

• Press and hold PRESET ON/OFF. Thecurrent selected MIDI channel is displayed.

Assuming the M300 is “right out of the box” orthat you have performed a Reset procedure asdescribed on page 31, the display now shows:

- indicating that channel 1 is selected and theM300 can receive MIDI information on channel 1.

• Use the UP/DOWN arrows to select MIDIchannels 1 to 16.

• “O” indicates Omni which means that the M300 can recive MIDI information on allchannels.

• “OF” indicates that the M300 will ignore anyincoming MIDI messages.

• Press LOAD to verify and exit menu.

SysEx IDThe M300 SysEx ID is always identical with theset MIDI Channel.

Application Software versionThis number indicates the current loadedapplication software and is relevant only forsevicing purposes.

• Press and hold PRESET ON/OFF and usethe UP/DOWN arrows to select “AP” asdisplayed below.

The display will flash between “AP” (forapplication) and the current loaded applicationsoftware.

Front Software version This number indicates the current loaded frontsoftware and is relevant only for sevicingpurposes.

• Press and hold PRESET ON/OFF and usethe UP/DOWN arrows to select “Fr” asdisplayed below.

The display will flash between “Fr” (for front-software) and the current loaded frontsoftware number.

23

ROUTINGS

Parallel Routing (analog Input only)This routing gives you the opportunity to havetwo effects in parallel on a single mono signal.• Select Dual Inputs Routing by leaving the

ROUTING switch on the rear panel in “In”position.

• Connect a mono signal to Left Input.The Input signal is now split and fed to both theMulti-effects Engine and the Reverb Engine.Both Engines then uses Left and right Outputsas common Outputs.

Signal Flow:

Connect the M300 according to this illustration:

Also see Setup examples on pages 10 to 15.

It is essential that you have selected the correctrouting according to your setup:

Serial RoutingWith this routing the two Engines are used as aline of two effects where the signal first passesthe Multi-effects Engine and thereafter theReverb Engine.

This is the Routing to select when you want toadd reverb to a signal after the signal isprocessed by the Multi-Effects Engine.On the rear panel you select Serial Routing andyou should connect the M300 according to thisillustration:

Dual Send/ReturnBy routing two different signals to the two effectEngines you can utilize the M300 as twoseparate effect units with a common Output.

Use this if you e.g. wish to use the M300 to addDelay to a guitar on one channel and Reverb toa vocal on another channel.

24

MULTI-EFFECTS

This manual section explains the function of the front panel controls as well as the algorithmparameters in the Multi-effects section.

Example - TIMING knobLet us just explore the Tap Tempo and Timingfunctions a bit further:With a Studio Delay algorithm selected you tapquarter notes in tempo 120BPM using the TAPkey. With the TIMING knob in 12 o’clockposition you now have a Delay time of 500ms.

If you turn the TIMING knob fully counter-clockwise the actual Delay time will be:0.5 times 500ms= 250ms

If you turn the TIMING knob fully clockwise thetempo will be:2 times 500ms=1000ms (1 second)

When powering up the M300 the defaultTempo is 120BPM, but as explained theposition of the TIMING knob defines theactual tempo.

You should also note that the range variesdepending on the selected Delay type.E.g. - as a short Delay time is what defines aSlapback Delay, the range is considerablylower than in any other Delay algorithm.

When using the M300 in a Dual Send/Return setup the MIX knob should be setto 100% wet.

Delay TypesDynamic DelayThe Dynamic Delay initially introduced in thewell-recognized TC 2290, is a function thatallows the Delay Output level to be activelyaltered by the dynamics of the Input level. The basic idea is to have a lower level of theDelay repeats while the instruments are played(or vocals are sung) and an increased level ofDelay when no Input is present.A function that leaves the source material clearand undisturbed while played and delicatelyaccompanied by the Delay between phrases.With the correct settings you will be amazedhow you can use Delay effects on materialwhere you previously never considered this anoption.

Delay - controlsTIMING knobBoth the TIMING and the TAP keys areused to specify the desired tempo of therepeats.A tempo is tapped on the TAP key and withthe TIMING knob you multiply this tempo.The range of the TIMING knob is 0.5 to 2.See example below

FEEDBACK knobThe FEEDBACK knob sets the number ofDelay repeats. Leaving the knob in 12 o’clock position gives you the startingpoint suggested by TC Electronic.

25

MULTI-EFFECTS

Tape DelayThis algorithm emulates the old style TapeDelays. Before the Digital era Delays werecreated using a Tape Recording device with atape-loop and recording/playback heads.As you probably know analog tape-recordershas a tendency to deteriorate/change therecorded material. Wow and flutter combinedwith a significant loss of high-end frequencies,and to some extent also low-end frequencies,are all elements commonly associated withtape recordings. However, these features are attimes quite useful and sought-after as they insome situations blend with and complimentsthe source material in a highly musical manner.Among other things the M300 Tape Delay usesa HiCut with a rather low Cross-over frequencyto emulate the loss of highs found onconventional Tape delays.Compare this to the clean Studio Delayalgorithm, which has a considerably higherHiCut frequency to see what fits yourapplication.

Studio DelayAs opposed to the Tape Delay algorithmdescribed above the Studio Delay algorithm willgive you a clearer reproduction of the materialfed to the M300. To soften the Delay as it iscommonly done in studio productions theStudio Delay uses a subtle yet significant HiCutat a relatively High crossover frequency.

DelayStandard Delay. The M300 processing powerand excellent 24 bit converters will process aprecise high quality Delay with no deteriorationof the sound.

PingPong DelayThe PingPong Delay basically pans the Delayrepeats from left to right and back whilekeeping the Input signal at its original position.This gives a very wide spread special effect.

Slapback DelaySlapback Delay is a very short Delay with onlya single or a few repeats. The effect iscommonly used as a “doubling-effect” makingthe processed material seam more massive.Short Slapback Delays are also often used onfunky rhythm guitars, - a bit longer onRockabilly guitar or vocals.

PhaserPhaser and Vintage PhaserThe Vintage Phaser utilizes four all-pass filters.These filters create comb-looking characteristics.When the filtered sound is mixed with the directsound the “phasing sound” occurs. The Standard Phaser utilizes twelve all-passfilters. Due to the higher number of filters in theSmooth Phaser, compared to the VintagePhaser, the Standard Phaser simply soundssmoother than the Vintage type.

Hard Tremolo/Soft TremoloA Tremolo is basically a repeated level changecontrolled by an LFO. The M300 offers a HardTremolo that used a “square” wave-shape andSoft Tremolo that use a “triangular” waveshape. Please see the illustration below. Thedifference is quite obvious. Listen and enjoy!

Hard Tremolo - Square shape

Soft Tremolo - Triangular shape

Phaser - controlsTIMING knobIn the Phaser algorithm the TIMING knobsets the Speed of the Phaser.

FEEDBACK/DEPTH knobIn the Phaser algorithm theFEEDBACK/DEPTH knob sets the Depth ofthe Phasing effect.

Tremolo - controlsTIMING knobIn the Tremolo algorithm the TIMING knobsets the Speed of the Tremolo.

FEEDBACK/DEPTH knobIn the Tremolo algorithm theFEEDBACK/DEPTH knob sets the Depth ofthe Tremolo effect.

26

MULTI-EFFECTS

Chorus and FlangerA Chorus/Flanger is basically a short Delay thatis modulated by an LFO (Low FrequencyOscillator). The difference between Chorus andFlanging is the applied Delay time and theFeedback parameter in the Flanger. The modulation of the short Delay gives verysmall variations in pitch. These pitch changesblended with the direct sound gives you theChorus/Flanger sound.A Chorus effect is typically used as asmoothing effect where the Flanger is more inthe genre of “special effects”.

Flanger 1 and Flanger 2The difference lies in a few fixed settings.Flange 2 is more intense due to a higherFeedback setting, a lower HiCut setting and ahigher Delay setting.

Speed

Depth

CompressorBefore explaining how the M300Compressor operates a little backgroundinformation on compression in generalcould be useful.

BackgroundA Compressor is basically used to reduce thedynamic content of a signal. When the signal isabove the set Threshold the Compressor startsto reduce the Output level according to the setRatio. With a reduced dynamic range a signalis much easier to further control and will have amore precise and “fixed” appearance in anyaudio production.

Illustration:

Compression is a powerful tool. Correct amountof compression applied on specific instrumentswill create a homogen well-defined result. Toomuch compressing applied will generally givean un-dynamic, less musical and flat result.

Parameters associated with CompressionThresholdAs soon at the Input signal is above the setThreshold point the Output level of theCompressor will be reduced by the specifiedRatio.

RatioSpecifies how aggressive the gain reduction ofthe signal should be. With a ratio setting of e.g.4:1- for every 4dB that is above the Thresholdpoint only 1 is passed to the Output.

AttackSpecifies how fast the gain reduction specifiedby the Ratio parameter should be applied. TheAttack parameter in the M300 Compressor isfixed.

Chorus/Flanger - controlsTIMING knobIn the Chorus/Flanger algorithms theTIMING knob sets the Speed of the effect.

FEEDBACK/DEPTH knobIn the Chorus/Flanger algorithm theFEEDBACK/DEPTH knob sets the Depth ofthe effect.

27

MULTI-EFFECTS

De-EsserA De-Esser is a compressor type used toreduce only specific sibilant frequencies.Typically the “s” sounds can be far toodominant in a vocal track and the track wouldtherefore often benefit from being processed bya De-Esser.

The M300 CompressorFor optimal “ease of use” we have simplifiedand reduced the conventional Compressioncontrols into the following controls:

Drive (TIMING KNOB)The higher the Drive setting is, - the lowerthe Threshold point is set and the harderyou will “hit” the Compressor. In other words:The higher Drive setting, the morecompression is added.

Ratio (FEEDBACK/DEPTH KNOB)This parameter sets the amount of gainreduction of signal above the “Threshold” -see Drive parameter.

De-Esser ControlsAmount (TIMING KNOB)Sets the amount of gain reduction aroundthe Frequency specified by the Frequencyknob.

Frequency (FEEDBACK/DEPTH KNOB)Sets the Frequency around which you wouldlike to reduce frequencies.

Auto Make-up gainSince the Output of the signal above the setThreshold point is reduced the entire signal willappear to be at a lower volume. In manyCompressors and also in the Compressor typeused in the M300, Auto Make-up gain willcompensate for this loss of gain.This way the Output level is kept and only thedynamic range is changed.

Perception of Reverb types may vary fromperson to person. It is a rather subjectiveissue to discuss, describe or even define.However, over the years a generalperception of basic Reverb types hasevolved. From these definitions theexperienced sound-engineer chooses and isgiven good starting points for variousapplications. We choose to briefly describethe Reverb types found in the M300 like this:

TC Classic HallThe TC Classic Hall simulates a rather largeHall and preserves the natural characteristics ofthe source material.This is excellent for many studio applicationsrequiring medium to long Decay times andespecially on vocal material.

Concert HallCompared to the TC Classic Hall the ConcertHall is a more diffuse Reverb type. This type ofReverb is often used on drums and otherpercussive material. We are still talking asimulation of a rather big facility.

Vocal Room - Vocal Studio - Vocal HallThe three types all simulates typical vocalrecording facilities. The Vocal Studio and VocalRoom types are medium sized locations. Theygive the soft type of reflections usuallyassociated with wooden surfaces. The Vocal Hall is a larger location than theabove but still with the soft characteristics ofwooden surfaces.

Drum Box - Drum RoomReverbs especially designed to emulate thetypical recording rooms used for drums.The Drum Box is a 80’s style ambient roomwith only very short reflections. The Drum Room emulates the reflections in amedium sized drum room with a high ceiling -giving longer but natural sounding reflectionscompared to the Drum Box.

Large CathedralWhere the TC Classic Hall, and to some extentalso the Concert Hall, are Reverbs with smoothdiffuse fields, the Large Cathedral has a muchmore uneven diffused field. Emphasis on thereflections deriving from many hard surfacesand the high amount of Lo Color naturallyoccurring in this type of rooms, gives excellentsimulation of the Large Cathedral.

28

REVERBS

The M300 holds the following Reverb types:

• Concert Hall • Classic Hall• Living Room • Vocal Studio• Club • Vocal Room• Plate I • Vocal Hall• Plate II • Drum Box• Spring • Large Cathedral• “Live” Reverb• Ambience

Each of these Reverb types are created andfine tuned by the highly experienced staff at TCElectronic and utilizes the vast experience wehave accumulated over the past years ofproducing high quality Reverbs. Though theM300 is a very compact effects unit in theaffordable price range there is no compromisewhen it comes the Reverb quality.

To get best starting points for yourapplication set the three controls inthe Reverb section in 12 o’clockposition and “take a trip” round thedifferent Reverb types.

By leaving the controls in 12 o’clock positionyou will hear our suggested settings for eachReverb type.Once you have the Reverb type closest to yourgoal start twisting the controls.

Pre DelayA short Delay placed between the direct signaland the Reverb Diffuse field. By using PreDelay the source material is kept clear andundisturbed by the more diffuse Reverb DiffuseField arriving shortly after.

DecayThe Decay parameter determines the length ofthe Reverb Diffuse Field. The length is definedas the time it takes for the Diffuse Field todecay approximately 60dB.

ColorVaries the “color” of the Reverb. From dark tocrisp and bright the Color parameter can reallychange the characteristics and style of theReverb. Try it!

29

REVERBS

Living RoomDirectly opposite the Large Cathedral the LivingRoom type simulates a relatively small roomwell furnished. In such a room many reflectionsare absorbed by soft material and sourcematerial is reflected and sustained only fromwalls (with wallpaper) and windows and maybea table etc.

ClubDid you ever discover the great difference of asoundcheck and the actual concert. The ClubReverb emulates a typical empty medium sizedclub. Try this on vocals or guitar as an effectthat will put emphasis on these instruments.

Plate I and IIBefore the digital era either reverberatingsprings or large metallic plates was used tocreate Reverb. The characteristics of PlateReverbs are diffuse and bright and are stillsuccessfully used on many percussiveinstruments.

SpringThe Spring algorithm is designed to reproducethe sound of the old spring Reverbs, such asthe ones used in vintage guitar amps.

LiveFor live purposes a rather grainy and brightReverb is needed to cut through the typicalbackground noise at live locations. The LiveReverb is optimal when used with medium tolong Decay times and will work excellent onboth vocals and instruments requiring a clearand obvious Reverb.

AmbienceWith focus on the Early Reflections that definesthe perception of a room size, the AmbienceReverb type is typically used on dry recordingsor dry drum samples to emulate a feeling ofenvironment. Ambience and Room definitionare the keywords here.

30

APPENDIX - MIDI IMPLEMENTATION CHART

DUAL ENGINE PROCESSOR M300 - APRIL 2002

Function Transmitted Recognized RemarksBasic Channel Default 1 1

Changed 1-16 OMNI-1-16Mode Default

Messages X XAltered

Note Number X XTrue Voice X X

Velocity Note ON X XNote OFF X X

After Touch Key’s X XChannel X X

Pitch Bend X XControl Change O O

Prog Change O O

SysEx O OCommon Song Pos X X

Song Sel X XTune

System real time Clock X O

Commands X XAux Messages Local ON/OFF X X

All Notes OFF X XActive Sense X XReset X X

O:YES Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONOX:NO Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO

See CC list on page 31for details. All Controllers areSingle Byte type scaledto parameter range.

MIDI TimeClock can beused to set Delay tempo.

31

APPENDIX - MIDI CC & RESET & BULK DUMP

MIDI Bulk DumpBy performing a MIDI bulk dump you are ableto dump all presets to an external MIDI devicesuch as a sequencer for backup.• Press and hold the PRESET ON/OFF key

approx. 2.5 sec.• Use the ARROW UP/DOWN keys to select

Bulk Dump mode.

The display will show:

• Set the receiving device in MIDI bulk receivemode. A standard MIDI sequencer programshould typically be set to record a MIDI track.(Please refer to the user manual of thereceiving device).

• Now press LOAD once, and the MIDI BulkDump is performed.

The M300 is always ready to receive aMIDI bulk dump unless the receive MIDIchannel is set to off “OF”

Reset ProcedureIf you would like to do a complete reset of theM300 and return to factory settings follow thisprocedure:• Power down by disconnecting the power

cord.• Press and hold TAP while reconnecting

power. The display will show a flashing “R”. • Press Load to reset.• Power off - power on.The unit is now reset.

Be aware that all User presets will belost when performing a factory reset!

Via an external MIDI device sending MIDIControl Changes you are able to control theparameters listed below.

Parameter Control Change number:

In Level 12Mix 13Effect Bal. 14Digi. In 15Bypass 81

MultiEff. Type 50MultiEff. Off 82Timing 16Tap 80Feedback 17

Rev. Type 51Rev. Off 83PreDelay 18Decay 19Color 20

32

APPENDIX - TECHNICAL SPECIFICATIONS

Digital Input and OutputConnector:Formats:Sample Rates:Processing Delay:Frequency Response DIO:

Analog InputsConnectors:Impedance, Bal / Unbal:Max. / Min. Input Level @ 0 dBFS:Sensitivity Range@ 12 dB headroom:A to D Conversion:A to D Delay:Dynamic Range:THD:Frequency Response:Crosstalk:

Analog OutputsConnectors:Impedance Bal / Unbal:Max. Output Level:D to A Conversion:D to A Delay:Dynamic Range:THD:Frequency Response:Crosstalk:

EMCComplies with:

SafetyCertified to:

EnvironmentOperating Temperature:Storage Temperature:Humidity:

Control InterfaceMIDI:Pedal:

GeneralFinish:

Display:Dimensions:Weight:

Mains Voltage:Power Consumption:Warranty Parts and labor:

RCA Phono (S/PDIF)S/PDIF (24 bit), EIAJ CP-340, IEC 95844.1 kHz. (48 kHz only @ Digital Input)0.08 ms @ 48 kHzDC to 23.9 kHz ± 0.01 dB @ 48 kHz

1/4" phone jack balanced, mono sense21 kOhm / 13 kOhm

+24 dBu / 0 dBu

-12 dBu to +12 dBu24 bit, 128 x oversampling bitstream0.70 ms / 0.65 ms @ 44.1 kHz / 48 kHz typ < -92 dB, 22 Hz to 22 kHztyp < -90 dB (0.0032 %) @ 1 kHz, -1 dBFS+0/-0.1 dB, 20 Hz to 20 kHztyp < -100 dB, 20 Hz to 20 kHz

1/4" phone jack balanced 40 Ohm / 20 Ohm+14 dBu24 bit, 128 x oversampling bitstream0.68 ms / 0.63 ms @ 44.1 kHz / 48 kHztyp < -105 dB typ, 22 Hz to 22 kHztyp < -97 dB (0.0014 %) @ 1 kHz, +13 dBu+0/-0.5 dB, 20 Hz to 20 kHztyp < -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 E60065CSA FILE #LR108093

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: 5 Pin DIN1/4" phone jack

Anodized aluminum frontPlated and painted steel chassis

2 x 7 segment + LED's19" x 1.75" x 4.2" (483 x 44 x 105.6 mm)3.3 lb. (1.5 kg)

100 to 240 VAC, 50 to 60 Hz (auto-select)<15 W1 year

Due to continuous development these specificationsare subject to change without notice.