TC Electronic M300 Digital Effects Processor
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24-bit processing. 15 stereo reverbs with 15 legendary TC effects.
Overview
Dual Engine Processor
The M300 Dual Engine Processor covers virtually any effects application, from PA and Live to Studio and Club Installations by combining a dedicated true Stereo Reverb engine and a Multi-purpose Effects engine. The true Dual Engine design thus combines 15 stereo reverbs with 15 legendary TC effects. Reverbs include: Classic TC Hall, Large Cathedral, Ambience, and Plates & Springs - Reverb parameters include Decay, Pre-Delay, and Color.
All Reverb types and parameters are accessible directly from the front panel to ensuring maximum flexibility in any given situation. The M300 has 256 ROM Factory presets as well as 99 User RAM presets, in total, 355 presets are provided. High density 24-bit processing and AD/DA conversion gives full justice to the coveted TC Reverbs and Effects. The auto-sensing Digital In at 24-bit S/PDIF ensures bullet-proof Input connection in any setup. If Digital In fails, the M300 automatically switches to Analog! Furthermore, the M300 comes with an easy-to-read Preset Display, and provides MIDI In/Out, MIDI Clock Tempo Sync, Pedal Control of Tap Tempo, and Global Bypass. It is compatible with the G-Minor Triple Footswitch and provides 5 Direct Access Parameters for quick and easy handling of parameter changes. The adaptive built-in power supply, secures seamless operation at any main voltage. No need for clumsy wall-warts!
Reverbs Introduction
Each of these Reverb types are created and fine tuned by the highly experienced staff… read more at TC Electronic and utilizes the vast experience we have accumulated over the past years of producing high quality Reverbs. Though the M300 is a very compact effects unit in the affordable price range there is no compromise when it comes the Reverb quality.
TC Classic Hall
The TC Classic Hall simulates a rather large Hall and preserves the natural characteristics of the source material. This is excellent for many studio applications requiring medium to long Decay times and especially on vocal material.
Concert Hall
Compared to the TC Classic Hall the Concert Hall is a more diffuse Reverb type. This type of Reverb is often used on drums and other percussive material. We are still talking a simulation of a rather big facility.
Vocal Room - Vocal Studio - Vocal Hall
The 3 types all simulates typical vocal recording facilities. The Vocal Studio and Vocal Room types are medium sized locations. They give the soft type of reflections usually associated with wooden surfaces. The Vocal Hall is a larger location than the above but still with the soft characteristics of wooden surfaces.
Drum Box - Drum Room
Reverbs especially designed to emulate the typical recording rooms used for drums. The Drum Box is a 80's style ambient room with only very short reflections. The Drum Room emulates the reflections in a medium-sized drum room with a high ceiling - giving longer but natural sounding reflections compared to the Drum Box.
Large Cathedral
Where the TC Classic Hall, and to some extent also the Concert Hall, are Reverbs with smooth diffuse fields, the Large Cathedral has a much more uneven diffused field. Emphasis on the reflections deriving from many hard surfaces and the high amount of Lo Color naturally occurring in this type of rooms, gives excellent simulation of the Large Cathedral.
Living Room
Directly opposite the Large Cathedral the Living Room type simulates a relatively small room well furnished. In such a room many reflections are absorbed by soft material and source material is reflected and sustained only from walls (with wallpaper) and windows and maybe a table, etc.
Club
Did you ever discover the great difference of a soundcheck and the actual concert. The Club Reverb emulates a typical empty medium sized club. Try this on vocals or guitar as an effect that will put emphasis on these instruments.
Plate I and II
Before the digital era either reverberating springs or large metallic plates was used to create Reverb. The characteristics of Plate Reverbs are diffuse and bright and are still successfully used on many percussive instruments.
Spring
The Spring algorithm is designed to reproduce the sound of the old spring Reverbs, such as the ones used in vintage guitar amps.
Live
For live purposes a rather grainy and bright Reverb is needed to cut through the typical background noise at live locations. The Live Reverb is optimal when used with medium to long Decay times and will work excellent on both vocals and instruments requiring a clear and obvious Reverb.
Ambience
With focus on the Early Reflections that defines the perception of a room size, the Ambience Reverb type is typically used on dry recordings or dry drum samples to emulate a feeling of environment. Ambience and Room definition are the keywords here.
Dynamic Delay
The Dynamic Delay initially introduced in the well-recognized TC 2290, is a function that allows the Delay Output level to be actively altered by the dynamics of the Input level. The basic idea is to have a lower level of the Delay repeats while the instruments are played (or vocals are sung) and an increased level of Delay when no Input is present. A function that leaves the source material clear and undisturbed while played and delicately accompanied by the Delay between phrases. With the correct settings you will be amazed how you can use Delay effects on material where you previously never considered this an option.
Tape Delay
This algorithm emulates the old style Tape Delays. Before the Digital era Delays were created using a Tape Recording device with a tape-loop and recording/playback heads. As you probably know analog tape-recorders has a tendency to deteriorate/change the recorded material. Wow and flutter combined with a significant loss of high-end frequencies, and to some extent also low-end frequencies, are all elements commonly associated with tape recordings. However, these features are at times quite useful and sought-after as they in some situations blend with and compliment the source material in a highly musical manner. Among other things the M300 Tape Delay uses a HiCut with a rather low crossover frequency to emulate the loss of highs found on conventional Tape delays. Compare this to the clean Studio Delay algorithm, which has a considerably higher HiCut frequency to see what fits your application.
Studio Delay
As opposed to the Tape Delay algorithm described above the Studio Delay algorithm will give you a clearer reproduction of the material fed to the M300. To soften the Delay as it is commonly done in studio productions the Studio Delay uses a subtle yet significant HiCut at a relatively High crossover frequency.
Delay
Standard Delay. The M300 processing power and excellent 24-bit converters will process a precise high-quality Delay with no deterioration of the sound.
PingPong Delay
The PingPong Delay basically pans the Delay repeats from left to right and back while keeping the Input signal at its original position. This gives a very wide spread special effect.
Slapback Delay
Slapback Delay is a very short Delay with only a single or a few repeats. The effect is commonly used as a "doubling-effect" making the processed material seam more massive. Short Slapback Delays are also often used on funky rhythm guitars - a bit longer on Rockabilly guitar or vocals.
Phaser and Vintage Phaser
The Vintage Phaser utilizes 4 all-pass filters. These filters create comb-looking characteristics. When the filtered sound is mixed with the direct sound the "phasing sound" occurs. The Standard Phaser utilizes twelve all-pass filters. Due to the higher number of filters in the Smooth Phaser, compared to the Vintage Phaser, the Standard Phaser simply sounds smoother than the Vintage type. Hard Tremolo/Soft Tremolo A Tremolo is basically a repeated level change controlled by an LFO. The M300 offers a Hard Tremolo that used a "square" wave-shape and Soft Tremolo that use a "triangular" wave shape.
Chorus and Flanger
A Chorus/Flanger is basically a short Delay that is modulated by an LFO (Low Frequency Oscillator). The difference between Chorus and Flanging is the applied Delay time and the Feedback parameter in the Flanger. The modulation of the short Delay gives very small variations in pitch. These pitch changes blended with the direct sound gives you the Chorus/Flanger sound. A Chorus effect is typically used as a smoothing effect where the Flanger is more in the genre of "special effects."
Flanger 1 and Flanger 2
The difference lies in a few fixed settings. Flange 2 is more intense due to a higher Feedback setting, a lower HiCut setting and a higher Delay setting.
The M300 Compressor
For optimal "ease of use" we have simplified and reduced the conventional Compression controls into the following controls: Drive (timing knob) The higher the Drive setting is, the lower the Threshold point is set and the harder you will "hit" the Compressor. In other words: The higher Drive setting, the more compression is added. Ratio (feedback/depth knob).
De-Esser
A De-Esser is a compressor type used to reduce only specific sibilant frequencies. Typically the "s" sounds can be far too dominant in a vocal track and the track would therefore often benefit from being processed by a De-Esser. De-Esser Controls Amount (timing knob) Sets the amount of gain reduction around the Frequency specified by the Frequency knob. Frequency (feedback/depth knob) Sets the Frequency around which you would like to reduce frequencies. read less
The M300 Dual Engine Processor covers virtually any effects application, from PA and Live to Studio and Club Installations by combining a dedicated true Stereo Reverb engine and a Multi-purpose Effects engine. The true Dual Engine design thus combines 15 stereo reverbs with 15 legendary TC effects. Reverbs include: Classic TC Hall, Large Cathedral, Ambience, and Plates & Springs - Reverb parameters include Decay, Pre-Delay, and Color.
All Reverb types and parameters are accessible directly from the front panel to ensuring maximum flexibility in any given situation. The M300 has 256 ROM Factory presets as well as 99 User RAM presets, in total, 355 presets are provided. High density 24-bit processing and AD/DA conversion gives full justice to the coveted TC Reverbs and Effects. The auto-sensing Digital In at 24-bit S/PDIF ensures bullet-proof Input connection in any setup. If Digital In fails, the M300 automatically switches to Analog! Furthermore, the M300 comes with an easy-to-read Preset Display, and provides MIDI In/Out, MIDI Clock Tempo Sync, Pedal Control of Tap Tempo, and Global Bypass. It is compatible with the G-Minor Triple Footswitch and provides 5 Direct Access Parameters for quick and easy handling of parameter changes. The adaptive built-in power supply, secures seamless operation at any main voltage. No need for clumsy wall-warts!
Reverbs Introduction
Each of these Reverb types are created and fine tuned by the highly experienced staff… read more at TC Electronic and utilizes the vast experience we have accumulated over the past years of producing high quality Reverbs. Though the M300 is a very compact effects unit in the affordable price range there is no compromise when it comes the Reverb quality.
TC Classic Hall
The TC Classic Hall simulates a rather large Hall and preserves the natural characteristics of the source material. This is excellent for many studio applications requiring medium to long Decay times and especially on vocal material.
Concert Hall
Compared to the TC Classic Hall the Concert Hall is a more diffuse Reverb type. This type of Reverb is often used on drums and other percussive material. We are still talking a simulation of a rather big facility.
Vocal Room - Vocal Studio - Vocal Hall
The 3 types all simulates typical vocal recording facilities. The Vocal Studio and Vocal Room types are medium sized locations. They give the soft type of reflections usually associated with wooden surfaces. The Vocal Hall is a larger location than the above but still with the soft characteristics of wooden surfaces.
Drum Box - Drum Room
Reverbs especially designed to emulate the typical recording rooms used for drums. The Drum Box is a 80's style ambient room with only very short reflections. The Drum Room emulates the reflections in a medium-sized drum room with a high ceiling - giving longer but natural sounding reflections compared to the Drum Box.
Large Cathedral
Where the TC Classic Hall, and to some extent also the Concert Hall, are Reverbs with smooth diffuse fields, the Large Cathedral has a much more uneven diffused field. Emphasis on the reflections deriving from many hard surfaces and the high amount of Lo Color naturally occurring in this type of rooms, gives excellent simulation of the Large Cathedral.
Living Room
Directly opposite the Large Cathedral the Living Room type simulates a relatively small room well furnished. In such a room many reflections are absorbed by soft material and source material is reflected and sustained only from walls (with wallpaper) and windows and maybe a table, etc.
Club
Did you ever discover the great difference of a soundcheck and the actual concert. The Club Reverb emulates a typical empty medium sized club. Try this on vocals or guitar as an effect that will put emphasis on these instruments.
Plate I and II
Before the digital era either reverberating springs or large metallic plates was used to create Reverb. The characteristics of Plate Reverbs are diffuse and bright and are still successfully used on many percussive instruments.
Spring
The Spring algorithm is designed to reproduce the sound of the old spring Reverbs, such as the ones used in vintage guitar amps.
Live
For live purposes a rather grainy and bright Reverb is needed to cut through the typical background noise at live locations. The Live Reverb is optimal when used with medium to long Decay times and will work excellent on both vocals and instruments requiring a clear and obvious Reverb.
Ambience
With focus on the Early Reflections that defines the perception of a room size, the Ambience Reverb type is typically used on dry recordings or dry drum samples to emulate a feeling of environment. Ambience and Room definition are the keywords here.
Dynamic Delay
The Dynamic Delay initially introduced in the well-recognized TC 2290, is a function that allows the Delay Output level to be actively altered by the dynamics of the Input level. The basic idea is to have a lower level of the Delay repeats while the instruments are played (or vocals are sung) and an increased level of Delay when no Input is present. A function that leaves the source material clear and undisturbed while played and delicately accompanied by the Delay between phrases. With the correct settings you will be amazed how you can use Delay effects on material where you previously never considered this an option.
Tape Delay
This algorithm emulates the old style Tape Delays. Before the Digital era Delays were created using a Tape Recording device with a tape-loop and recording/playback heads. As you probably know analog tape-recorders has a tendency to deteriorate/change the recorded material. Wow and flutter combined with a significant loss of high-end frequencies, and to some extent also low-end frequencies, are all elements commonly associated with tape recordings. However, these features are at times quite useful and sought-after as they in some situations blend with and compliment the source material in a highly musical manner. Among other things the M300 Tape Delay uses a HiCut with a rather low crossover frequency to emulate the loss of highs found on conventional Tape delays. Compare this to the clean Studio Delay algorithm, which has a considerably higher HiCut frequency to see what fits your application.
Studio Delay
As opposed to the Tape Delay algorithm described above the Studio Delay algorithm will give you a clearer reproduction of the material fed to the M300. To soften the Delay as it is commonly done in studio productions the Studio Delay uses a subtle yet significant HiCut at a relatively High crossover frequency.
Delay
Standard Delay. The M300 processing power and excellent 24-bit converters will process a precise high-quality Delay with no deterioration of the sound.
PingPong Delay
The PingPong Delay basically pans the Delay repeats from left to right and back while keeping the Input signal at its original position. This gives a very wide spread special effect.
Slapback Delay
Slapback Delay is a very short Delay with only a single or a few repeats. The effect is commonly used as a "doubling-effect" making the processed material seam more massive. Short Slapback Delays are also often used on funky rhythm guitars - a bit longer on Rockabilly guitar or vocals.
Phaser and Vintage Phaser
The Vintage Phaser utilizes 4 all-pass filters. These filters create comb-looking characteristics. When the filtered sound is mixed with the direct sound the "phasing sound" occurs. The Standard Phaser utilizes twelve all-pass filters. Due to the higher number of filters in the Smooth Phaser, compared to the Vintage Phaser, the Standard Phaser simply sounds smoother than the Vintage type. Hard Tremolo/Soft Tremolo A Tremolo is basically a repeated level change controlled by an LFO. The M300 offers a Hard Tremolo that used a "square" wave-shape and Soft Tremolo that use a "triangular" wave shape.
Chorus and Flanger
A Chorus/Flanger is basically a short Delay that is modulated by an LFO (Low Frequency Oscillator). The difference between Chorus and Flanging is the applied Delay time and the Feedback parameter in the Flanger. The modulation of the short Delay gives very small variations in pitch. These pitch changes blended with the direct sound gives you the Chorus/Flanger sound. A Chorus effect is typically used as a smoothing effect where the Flanger is more in the genre of "special effects."
Flanger 1 and Flanger 2
The difference lies in a few fixed settings. Flange 2 is more intense due to a higher Feedback setting, a lower HiCut setting and a higher Delay setting.
The M300 Compressor
For optimal "ease of use" we have simplified and reduced the conventional Compression controls into the following controls: Drive (timing knob) The higher the Drive setting is, the lower the Threshold point is set and the harder you will "hit" the Compressor. In other words: The higher Drive setting, the more compression is added. Ratio (feedback/depth knob).
De-Esser
A De-Esser is a compressor type used to reduce only specific sibilant frequencies. Typically the "s" sounds can be far too dominant in a vocal track and the track would therefore often benefit from being processed by a De-Esser. De-Esser Controls Amount (timing knob) Sets the amount of gain reduction around the Frequency specified by the Frequency knob. Frequency (feedback/depth knob) Sets the Frequency around which you would like to reduce frequencies. read less
Specs
Digital Input and Output
Connector: RCA Phono (S/PDIF)
Formats: S/PDIF (24-bit), EIAJ CP-340, IEC 958
Sample Rates: 44.1 kHz. (48 kHz only @ Digital Input)
Processing Delay: 0.08 ms @ 48 kHz
Frequency Response DIO: DC to 23.9 kHz ± 0.01 dB @ 48 kHz
Analog Inputs
Connectors: 1/4 in. phone jack, mono sense
Impedance, Bal/Unbal: 21 kOhm/13 kOhm
Max./Min. Input Level @ 0 dBFS: +24 dBu/0 dBu
Sensitivity Range @ 12 dB headroom: -12 dBu to +12 dBu
A to D Conversion: 24-bit, 128x oversampling bitstream
A to D Delay: 0.70 ms/0.65 ms @ 44.1 kHz/48 kHz
Dynamic Range: typ < -92 dB, 22 Hz to 22 kHz
THD: typ < -90 dB (0.0032 %) @ 1 kHz, -1 dBFS
Frequency Response: +0/-0.1 dB, 20 Hz to 20 kHz
Crosstalk: typ < -100 dB, 20 Hz to 20 kHz
Analog Outputs
Connectors: 1/4 in. phone jack
Impedance Bal/Unbal: 40 Ohm/20 Ohm
Max. Output Level: +14 dBu
D to A Conversion: 24-bit, 128x oversampling bitstream
D to A Delay: 0.68 ms/0.63 ms @ 44.1 kHz/48 kHz
Dynamic Range: typ < -105 dB typ, 22 Hz to 22 kHz
THD: typ < -97 dB (0.0014 %) @ 1 kHz, +13 dBu
Frequency Response: +0/-0.5 dB, 20 Hz to 20 kHz
Crosstalk: typ < -100 dB, 20 Hz to 20 kHz
EMC
Complies with EN 55103-1 and EN 55103-2
Safety
Certified to: IEC 65, EN 60065, UL6500 and CSA E60065 CSA FILE #LR108093
Environment
Operating Temperature: 32Á F to 122Á F (0Á C to 50Á C)
Storage Temperature: -22Á F to 167Á F (-30Á C to 70Á C)
Humidity: Max. 90 % non-condensing
Control Interface
MIDI: In/Out: 5 Pin DIN
Pedal: 1/4 in. phone jack
General
Finish: Anodized aluminum front Plated and painted steel chassis
Display: 2 x 7 segment + LEDs
Dimensions: 19 x 1.75 x 4.2 in. (483 x 44 x 105.6 mm)
Weight: 3.3 lbs. (1.5 kg)
Mains Voltage: 100 to 240 VAC, 50 to 60 Hz (auto-select)
Power Consumption: <15 W
Warranty Parts and labor: 1 year
Note: Due to continuous development and standardization all specifications are subject to change without notice.
Connector: RCA Phono (S/PDIF)
Formats: S/PDIF (24-bit), EIAJ CP-340, IEC 958
Sample Rates: 44.1 kHz. (48 kHz only @ Digital Input)
Processing Delay: 0.08 ms @ 48 kHz
Frequency Response DIO: DC to 23.9 kHz ± 0.01 dB @ 48 kHz
Analog Inputs
Connectors: 1/4 in. phone jack, mono sense
Impedance, Bal/Unbal: 21 kOhm/13 kOhm
Max./Min. Input Level @ 0 dBFS: +24 dBu/0 dBu
Sensitivity Range @ 12 dB headroom: -12 dBu to +12 dBu
A to D Conversion: 24-bit, 128x oversampling bitstream
A to D Delay: 0.70 ms/0.65 ms @ 44.1 kHz/48 kHz
Dynamic Range: typ < -92 dB, 22 Hz to 22 kHz
THD: typ < -90 dB (0.0032 %) @ 1 kHz, -1 dBFS
Frequency Response: +0/-0.1 dB, 20 Hz to 20 kHz
Crosstalk: typ < -100 dB, 20 Hz to 20 kHz
Analog Outputs
Connectors: 1/4 in. phone jack
Impedance Bal/Unbal: 40 Ohm/20 Ohm
Max. Output Level: +14 dBu
D to A Conversion: 24-bit, 128x oversampling bitstream
D to A Delay: 0.68 ms/0.63 ms @ 44.1 kHz/48 kHz
Dynamic Range: typ < -105 dB typ, 22 Hz to 22 kHz
THD: typ < -97 dB (0.0014 %) @ 1 kHz, +13 dBu
Frequency Response: +0/-0.5 dB, 20 Hz to 20 kHz
Crosstalk: typ < -100 dB, 20 Hz to 20 kHz
EMC
Complies with EN 55103-1 and EN 55103-2
Safety
Certified to: IEC 65, EN 60065, UL6500 and CSA E60065 CSA FILE #LR108093
Environment
Operating Temperature: 32Á F to 122Á F (0Á C to 50Á C)
Storage Temperature: -22Á F to 167Á F (-30Á C to 70Á C)
Humidity: Max. 90 % non-condensing
Control Interface
MIDI: In/Out: 5 Pin DIN
Pedal: 1/4 in. phone jack
General
Finish: Anodized aluminum front Plated and painted steel chassis
Display: 2 x 7 segment + LEDs
Dimensions: 19 x 1.75 x 4.2 in. (483 x 44 x 105.6 mm)
Weight: 3.3 lbs. (1.5 kg)
Mains Voltage: 100 to 240 VAC, 50 to 60 Hz (auto-select)
Power Consumption: <15 W
Warranty Parts and labor: 1 year
Note: Due to continuous development and standardization all specifications are subject to change without notice.
Documents and Manuals
For support or warranty questions, please contact the manufacturer:
Web: https://www.tcelectronic.com/service.html
Web: https://www.tcelectronic.com/service.html
Reviews
Reviewers gave this product an overall rating of 5 out of 5 stars.
(43 ratings)
Submitted July 10, 2004 by a customer from comcast.net
"The best effects proccessor under a thousand bucks."
I have often thought about buying a second M300 just to have it. If one day they stop making them, I'll have a second one.
Sound
You won't find a better sounding unit for under a thousand bucks.
I know, I spent a month going through every effects unit in the store.
Buying them and taking them back before my 30 days were up. When I got to this one my search was over. I also have a high end lexicon unit. When I don't want to fiddle around with a bunch of paramiters and just get the job done, the M300 is just what the doctor ordered.
Features
Very,very simple and easy to operate.
Quality
Very well made product.
Value
Unbelievable value.
Manufacturer Support
Do not know. Never had to call.
Musical Style:
smooth jazz
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