This is a combination unit with provision for separate icons and images in the main section, plus a row of 23 alphanumeric characters along the bottom. The text line below the main part of the display provides the name of the algorithm and identifies the various parameters and their settings during editing. A rotary encoder allows selected parameters to be adjusted, although winding in high values is a little tedious.
Initially, this indicates the current input selection analogue or digital , the alternative being selected with the rotary encoder. Cursor keys allow the other options in the menu to be selected, the next being the sample rate — internal The Utility menu contains facilities to select preset banks user, factory or external , set a receive MIDI channel, and enable reception of data from continuous controllers.
Another useful facility is a 'Routing Lock' preventing the current engine configuration changing when new presets are recalled. The footpedal input can be set up to operate the tap tempo facility or to bypass either Engine 1 or Engine 2.
Finally, the viewing angle of the LCD panel can be adjusted over a wide range. I found little need to consult the user's manual, although this is well produced with clear, concise information on every aspect of the machine and its effects algorithms. I found the ability to alter the relative level between early reflections and main reverb tail particularly powerful in creating believable auditory illusions of physical spaces.
Delays, chorus, flanging and phasing work extremely well with useful variations, the equaliser is powerful, and the dynamics algorithms allowed accurate and reliable control of programme levels. Both are simple to use and their algorithms are easy to edit, although the very different operating styles of the two machines will tend to make them appeal to different people.
The Hall, Plate and Room reverberations from each machine were of very similar calibre, with only subtle nuances to choose between them.
The Lex sounded a little warmer and fuller on some programs, whereas the TC sounded better on others. There was really very little to choose between them until we compared their simulation of small acoustic spaces. Here, however, there was no doubt: the Lexicon algorithms seemed the most realistic. Both engines generate stereo outputs which are combined via the Effect Balance control and presented as a composite output mix. Taps, each with its own set of parameters. This Frequency Oscillator.
The Bandwidth of the third EQ band. It is primarily used to the signal at a more constant level. It could therefore be compared to Compressor working on a specific frequency area only. This effect is the Hard mode as the signal is only at its typically heard on guitar tracks or tracks where peaks for a short while. These pass filters. These filters creates a comb filters creates a comb looking characteris- looking characteristic. When the tic. This is easily done by performing a System Parameter reset as described below.
This manual is also suitable for: M-one xl. Print page 1 Print document 46 pages. Rename the bookmark. Delete bookmark? The majority of the new machine's physical form and signal processing structure remains identical, so I will highlight only the changes and new functions here. A menu option lets you feed the left input to both channels — previously done by automatic switching on the TRS sockets. Turning to the list of presets, the XL offers twice as many as the original machine, with two hundred factory presets plus a hundred user memories.
The effects programs have also been supplemented with two new options, plus some enhancements to all the reverb algorithms. Of particular note, especially since it was commented on in my previous review, one of the new programs is a Small Room algorithm the other is a ping-pong stereo delay.
The reverb algorithms have been improved for the XL version with TC's 'XL Technology' — the result of the company's continuing research and development in artificial reverberation. The improvements mainly affect the creation of early reflections and provide better reverb tails with greater density and more complex modulation characteristics.
The 'Diffuse Field' technology used to improve the reverb density is currently unique to the XL, but derives from TC Electronic's high-end studio reverberators, and is claimed to offer more natural reverbs than any other processor at a comparable price — I can quite believe it too.
The room size parameter of every reverb program has also been extended to include an XL option small, medium, large and new XL! However, it is in the simulation of small rooms that the new machine really shows its mettle.
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