TC Electronic M-One XL User Manual

M•ONE &
M•ONE XL

DUAL EFFECTS PROCESSORS

UUSSEERR’’SS MMAANNUUAALL

IMPORTANT SAFETY INSTRUCTIONS

The lightning flash with an arrowhead
symbol within an equilateral triangle, is

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

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 other
apparatus (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 plug
has 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 an
electrician 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 objects
have fallen into the apparatus, the
apparatus has been exposed to rain or
moisture, does not operate normally, or has
been dropped.

The exclamation point within an
equilateral triangle is intended to alert

the user to the presence of important
operating and maintenance (servicing)
instructions in the literature accompanying the
product.

Warning!

• To reduce the risk of fire or electric shock,

do not expose this 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 the

correct type. See table below:

Voltage Line plug according to standard

110-125V 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.

• This equipment should be installed near the

socket 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 or
modifications not expressly approved in this
manual could void your authority to operate this
equipment.

Service

• There are no user-serviceable parts inside.

• All service must be performed by qualified

personnel.

a

IMPORTANT SAFETY INSTRUCTIONS

EMC / EMI.

This equipment has been tested and found to
comply with the limits for a Class B Digital
device, pursuant to part 15 of the FCC rules.
These limits are designed to provide
reasonable protection against harmful
interference in residential installations. This
equipment generates, uses and can radiate
radio frequency energy and, if not installed and
used in accordance with the instructions, may
cause harmful interference to radio
communications. However, there is no
guarantee that interference will not occur in a
particular installation. If this equipment does
cause harmful interference to radio or television
reception, which can be determined by turning
the equipment off and on. The user is
encouraged to try to correct the interference by
one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the
equipment and receiver.

• Connect the equipment into an outlet on a
circuit different from that to which the
receiver is connected.

• Consult the dealer or an experienced
radio/TV technician for help.

For the customers in Canada:

This Class B digital apparatus complies with
Canadian ICES-003.
Cet appareil numérique de la classe B est
conforme à la norme NMB-003 du Canada.

Certificate Of Conformity

TC Electronic A/S, Sindalsvej 34, 8240
Risskov, Denmark, hereby declares on own
responsibility that following products:

M•ONE - Dual Effects Processor &
M•ONE XL - Dual Effects Processor

- that is covered by this certificate and
marked with CE-label conforms with
following standards:

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

related apparatus for household
and similar general use

EN 55103-1 Product family standard for

audio,video, audio-visual and
entertainment lighting control
apparatus for professional
use. Part 1: Emission.

EN 55103-2 Product family standard for

audio, video, audio-visual and
entertainment lighting control
apparatus for professional
use. Part 2: Immunity.

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

Issued in Risskov, 09 2001

Anders Fauerskov

Chief Executive Officer

b

TABLE OF CONTENTS

INTRODUCTION

Important Safety Instructions

Table of contents . . . . . . . . . . . . . . . .3

Introduction . . . . . . . . . . . . . . . . . . . . .5

Front Panel . . . . . . . . . . . . . . . . . . . . .6

Rear Panel . . . . . . . . . . . . . . . . . . . . .8

Signal flow diagram &

Soldering Instructions . . . . . . . . . . . . .9

BASIC OPERATION

The M•ONE Display . . . . . . . . . . . . .10

I/O Setup . . . . . . . . . . . . . . . . . . . . .11

Clock Mismatch . . . . . . . . . . . . . . . . .11

Utility & MIDI . . . . . . . . . . . . . . . . . . .12

Routings . . . . . . . . . . . . . . . . . . . . . .13

Recall . . . . . . . . . . . . . . . . . . . . . . . .16

Edit . . . . . . . . . . . . . . . . . . . . . . . . . .16

Store . . . . . . . . . . . . . . . . . . . . . . . . .17

Tap . . . . . . . . . . . . . . . . . . . . . . . . .17

ALGORITHMS

Reverb

Hall . . . . . . . . . . . . . . . . . . . . . . . . . .18

Room . . . . . . . . . . . . . . . . . . . . . . . .19

Small Room . . . . . . . . . . . . . . . . . . .21

Plate 1 . . . . . . . . . . . . . . . . . . . . . . .22

Plate 2 . . . . . . . . . . . . . . . . . . . . . . .23

Spring . . . . . . . . . . . . . . . . . . . . . . . .24

Live . . . . . . . . . . . . . . . . . . . . . . . . .25

Ambience . . . . . . . . . . . . . . . . . . . . .26

APPENDIX

MIDI Implementation Chart . . . . . . . .38

Technical Specifications . . . . . . . . . .39

Troubleshooting . . . . . . . . . . . . . . . .41

Preset List . . . . . . . . . . . . . . . . . . . .42

Other Algorithms

Delay - One Tap & two Tap . . . . . . . .27

Delay - PingPong . . . . . . . . . . . . . . .28

Chorus - Classic & 4-Voice . . . . . . . .29

Flange - Classic & 4-Voice . . . . . . . .30

Pitch - Detune & Pitch Shift . . . . . . . .31

Parametric Equalizer . . . . . . . . . . . . .32

Compressor & Limiter . . . . . . . . . . . .33

Gate/Expander . . . . . . . . . . . . . . . . .34

De-esser . . . . . . . . . . . . . . . . . . . . . .35

Tremolo - Hard & Soft . . . . . . . . . . . .36

Phaser - Vintage & Smooth . . . . . . . .37

TC Electronic, Sindalsvej 34, DK-8240 Risskov - [e-mail] English version

Prod. No: E60500152

Rev 4 - SW - V 1.43 - ST
Rev 4 - SW - V 2.07 - XL

3

INTRODUCTION

Congratulations on the purchase of your new TC Electronic M•ONE or M•ONE XL unit.

The M•ONE is a Dual Engine Multi-effects Processor, focusing mainly on high quality Reverbs. The
M•ONE can be used for a number of purposes due to flexible routing of the two Engines and more
than 20 TC algorithms. Do you want two independent Reverbs, controlled from separate Auxiliary
sends? Select the Dual Input Routing plus two Reverbs, and you are up and running. Do you want
a compressor in front of a Delay? Select the Serial Routing, a Compressor and a Delay. You can
even tap the Delay time on the TAP key. Or maybe you just want stick with that one Routing, no
matter the preset? Simply use the Routing Lock function to avoid routing changes at preset change.
It is really as easy as that, go ahead and tweak some keys and knobs. We hope you have as much
pleasure using the M•ONE as we had making it.

Please note that this manual covers both the M•One and the M•One XL. Both products will in
general be referred to as “M•One”. When a feature relevant only for the XL version is
covered, this will be marked with “XL only”.

Though the M•ONE is focusing on high quality Reverb you will discover that the
M•ONE also covers a wide variety of other algorithms. Experience and enjoy !

• Hall

• Room

• Small Room

(XL only)

• Plates 1&2

• Spring

• Live

• Ambience

• Delay One Tap

• Delay Two Tap

• PingPong Delay

(XL only)

• Chorus Classic & 4-voice

• Flange: Classic & 4-voice

• Pitch: Detune & Pitch Shift

• Parametric EQ

• Compressor/Limiter

• Gate/Expander

• De-esser

• Tremolo

• Phaser

5

FRONT PANEL

POWER button

Power on/off.

IN LEVEL knob

Adjusts the Input level.
At center position a relay will
switch the Input circuit
between consumer and pro
level. This will insure optimal
Input gain range and superb
“signal to noise” ratio is
achieved.

MIX knob

Adjusts the global mix between
dry and wet signal.
Fully clockwise is 100% effect.

EFFECT BAL knob

Adjusts the balance between
the two Engines.

INPUT Meters

The Peak meter shows the
Input level of left/right
channels.
The meter range is:
0, -3, -6 ,-12, -18, -24, -40.

OVERLOAD LEDs

The OVERLOAD LEDs
indicate one of two situations:

• The Input level is too hot

and therefore overloading.

• There is an internal DSP

overflow.
The Overload LED is lit when
1 sample is @ -1dBFS.

INPUT - Analog/Digital

Indicates whether the M•ONE
is set to analog or digital Input.
When set to digital Input, the
Sample Rate automatically
switches to DI.
In case of no or unacceptable
clock the "Digital" and "DI" icon
will be blinking.

ANALOG/DIGITAL LED

ANALOG/DIGITAL indicator
states the selected Input.
Input type is selected in the
"I/O Setup" menu.

SAMPLE RATE indicator

The SAMPLE RATE indicator
shows the clock source and
the incoming master clock.
The “Digital In” icon will be
blinking if no clock or
unacceptable clock is found.

ROUTING indicator

Indication of what Routing
mode the M•ONE currently is
using.

ALGO Indicator

Shows the currently used
algorithms in each of the two
Engines.

DYNAMIC meters 1+2

These two meters show the
gain reduction when an Engine
is running Dynamic algorithms.
The Dynamic algorithms are:
Compressor, Limiter, Gate,
Expander and De-esser.

DISPLAY

Displays the preset number
and the preset type:
Factory or User.

EDITED icon

This icon will be lit as soon as
the current recalled preset has
been modified.

FACTORY/USER icon

Shows whether you are
operating in the Factory or the
User bank.

MIDI IN icon

Shows any incoming
MIDI activity.

6

FRONT PANEL

ROUTING key

Press the ROUTING key to set
the Engine Routing.
The options are: Dual Send/
Ret, Parallel, Parallel/Serial,
Serial, Stereo, Dual Mono.

I/O SETUP

Basic parameters are set here.

• Input source - Analog/Digital.

• Sample Rate -

44.1/48kHz/DI

• Bypass Mode - See Bypass
keys 1 and 2.

• Global Output level.

• Dither 16, 20 or 24(off).

TAP key

Tap this key to enter the global
Tap tempo and to enter the
Tap menu. Subdivision of the
tapped tempo is setup in this
menu. The tapped tempo can
be used for Delay time, Chorus
rate etc.

UTILITY

MIDI, Sys-Ex ID, Routing-lock,
Bypass mode, Pedal function
and Display View angle.

ALGO/EDIT 1+2

Press this key to enter the Edit
display and the Algorithm
Change display of the currently
selected Engine.

BYPASS keys 1 and 2

The Bypass mode is set up in
Utility. There are three different
Bypass modes:

0% Mix:

1

The Input signal is passed
directly to the Output.

FX Input:

2

Cuts only the Engine Input
in order to let the effect "ring
out", but will still leave the
same amount of dry signal
coming through.

FX Output:

3

Cuts only the Engine Output
in order to kill the FX instan­taneously, but leaves the
same amount of dry signal
coming through.

RECALL key

Selects the Recall menu.
Select a desired preset using
the CONTROL wheel and
press the ENTER key to
enter/load the selected preset.

STORE key

Selects the Store menu.
Presets can be stored in the
User bank only. Location is
selected using the CONTROL
wheel. Operation is confirmed
using ENTER.

CURSOR UP/DOWN

Use the cursors to move
around in the display.

ENTER key

Confirms operations. The
ENTER key LED will indicate
when this key can be used.

EXIT key

Is used to exit a menu or to
disapprove an action.

CONTROL wheel

Is used to change values.

7

IN

UL6500
EN/IEC60065

PROFESSIONALAUDIO EQUIPMENT

THRU

INLEFT LEFTRIGHT RIGHT

OUT

MIDIBALANCED INPUTS BALANCED OUTPUTS DIGITALI/O PEDAL

DI

DO

S/PDIF

SERIAL NO.

TYPE:MAN001

TCELECTRONIC

MADEIN THAILAND

WARNING

TOREDUCE THE RISK OF FIRE OR ELECTRIC
SHOCKDO NOT EXPOSE THIS EQUIPMENT TO
RAINOR MOISTURE

AVIS:

RISQUEDE CHOC ELECTRIQUE-NE PAS

OUVRIR.

100-240VAC
50-60Hz,15W

CAUTION

R

CUS

THISCLASS B DIGITAL DEVICE MEETS ALL REQUIREMENTS OF THE CANADIAN INTERFERENCE­CAUSINGEQUIPMENT REGULATIONS AND COMPLIES WITH PART 15 OF THE FCC RULES.
OPERATIONSUBJECT TO CONDITIONS STATED IN THE MANUAL.

RISKOF ELECTRIC SHOCK

DONOT OPEN

M•One “Standard”

REAR PANEL

Balanced
Jack
Analog
Inputs

Use Left Input
for mono only

M•One XL

Balanced

XLR

Analog

Inputs

Balanced
Jack
Analog
Outputs

Balanced

XLR

Analog

Outputs

Digital
S/PDIF
Input/
Output

Digital
S/PDIF
Input/
Output

MIDI
In, Out, Thru

MIDI
In, Out, Thru

Pedal Input
for Bypass

Pedal Input
for Bypass

Input

Serial no.Power

Serial no.Power

Input

Use Left Input for mono only.
Input select MUST be set to
ANLGLEFT in the I/O menu.

8

SIGNAL FLOW & SOLDERING INSTRUCTIONS

ANALOG

INPUTS

[balanced]

ANALOG IN

LEVEL

ANALOG

OUT RANGE

DIGITAL IN

OUT LEVEL

ANALOG
OUTPUTS
[balanced]

A/D

INPUT PPM

Left

Left

Left

Right

Bypass

MIX

Bypass

Bypass
Fx Out

Bypass

Fx In

S-Rate

Right

Right

Input

Selector

Digital Output

[S/PDIF]

Digital Input

[S/PDIF]

M-ONE

Engine 1

Engine 2

44.1kHz

48kHz

Digi

D/A

Dither

MIDI Cable

DIN CONNECTOR
5POLE - MALE
45 degrees

max. 10m

SHIELDED CABLE (3 or 5 wires + screen)

Jack (unbalanced) - XLR

Sleeve - Pin 1 (Ground)
Tip - Pin 2 (Hot)
Sleeve - Pin 3 (Cold)

TIP

GND

DIN CONNECTOR
5POLE - MALE
45 degrees

Jack (balanced) - XLR

Sleeve - Pin 1 (Ground)
Tip - Pin 2 (Hot)
Ring - Pin 3 (Cold)

TIP
RING
GND

XLR - XLR

Pin 1 - Pin 1 (Ground)
Pin 2 - Pin 2 (Hot)
Pin 3 - Pin 3 (Cold)

9

THE M•ONE DISPLAY

Overload LEDs Analog/Digital Routing Algo Indicator

O

ANALOG

0

DIGITAL

3

12
18

24
40

-dB

INPUT

6

MORE

DUALSEND/RET

7IAH2HAIAJ

Input Meters Text Line

Analog/Digital

Analog/Digital indicator states the chosen
Input.
This choice is done in the "I/O Setup" menu.
The Input choice is global
Icons: Analog, Digital

Sample Rate

The Sample Rate indicator shows the clock

LOCK

L

R

Dynamic Meters Preset Bank

Dynamic Meters

These two meters are used to show the gain
reduction when one of the Engines is running
a dynamic algorithm. Dynamic algorithms are:
Compressor, Limiter, Gate,
De-esser and Expander.

Preset Number

The current preset number.
source and the incoming master clock.
These can be: Digi In, 44.1kHz, 48kHz.

Edited

This icon will be lit as soon as the current
Example

preset has been modified.

• When locked to an external digital signal,

the indicator will display: Digi In and 44.1.

• While using analog Inputs and the internal

clock will display: 44.1.

Factory/User

Shows whether you are operating in the

Factory or User bank.

Preset Number

EDITED FACTORYUSER MIDIIN



MIDI Activity

Indicator

LED

In case of no clock or unacceptable clock, the
Digital In icon will be blinking indicating the
error situation. The Sample Rate choice is
global.

Routing Fig and text

Shows the current Routing.
Options are: Dual Send/Return, Parallel/Serial,
True Stereo and Dual Mono.

Algo Indicator

Shows the running algorithm in each of the
two Engines. Push any of the EDIT keys to
scroll through the available effect algorithms.
Select between:
Rev, Dly, Cho, Fla, Pit, EQ, Dyn, Trm and Pha.

10

MIDI In

Indicates the presence of incoming MIDI data.

Text Line

This 20 character text line is used to display

preset names as well as selected functions.

I&O SETUP

I/O Setup

Basic operation

• Press the I/O SETUP key to enter the global
setup parameters of the M•ONE.

• Use the ARROW keys to select parameters
and the CONTROL wheel to change
parameter values.

All changes in the I/O Setup menu are
instantly effective.

Input Source

Analog
Select the Source parameter using the
ARROW keys.
The source display arrow is lit. Dial the
CONTROL wheel to select between Analog or
Digital. When "Analog" is selected M•ONE
automatically defaults to the internal 44.1kHz
clock as Sample Rate and analog Input is lit in
the display.

al

Digit
When "Digital" is selected the M•ONE attempts
to lock to the S/PDIF Input. The incoming clock
will be displayed by the 44.1 or 48kHz display
icons and the Digital In icon will be lit. During
the lock-up period the Digital In icon will be
blinking indicating none or unacceptable clock,
and the Outputs are muted. When "lock" is
achieved the matching Clock Rate icon is lit,
and the Outputs are un-muted.

ANLGLEFT
With this selection analog Input type is
selected and the Left XLR Input connector
must be used.

Clock

Analog Input
When Input source is analog the following
Sample Rates are available:
Internal 44.1kHz: The M•ONE runs at

Internal 48kHz: The M•ONE runs at

Digital: The M•ONE locks to the

Digital Input

When Input Source is digital the M•ONE
following Sample Rates are available:
Internal 44.1kHz: The M•ONE runs at

(M•ONE XL only)

internal 44.1kHz.

internal 48kHz.

incoming Digital clock.

internal 44.1kHz.

Internal 48kHz: The M•ONE runs at

internal 48kHz.

Digital: The M•ONE locks to the

incoming Digital clock.
Please note that when using internal
clock with external digital audio, the
incoming digital audio must be in sync
with the M•ONE internal clock in order
to avoid slip-samples.

***Rate Mismatch****

This Error message will occur in the
display if the M•ONE detects
slipsamples. Typically this problem

only occurs in very special clock setups e.g. if
the M•ONE is running via internal clock, while
processing audio from the Digital Input. If the
incoming clock and the internal clock do not
match the M•ONE will display the above
written error message.

Out Range

Range: 2dBu, 8dBu, 14dBu and 20dBu.
Sets the maximum Gain range of the analog
Output stage.

Out level

Range: 0 to Off (-100dB) in 1dB increments.
Controlling the overall digital/analog Output
level.

Digital In Gain

Sets the digital Input level. This level only
affects the digital level.

Dither

Going from one type of bit resolution to a
lower, e.g. from 24 bit to 16 bit, you actually
loose 8 bits of information.
The process of cutting off bits is called
truncation and it introduces digital distortion of
low level signals, due to the lack of complete
signal information. To compensate for this,
dither must be applied. Dither is a small
amount of filtered noise that generates
randomization at the noise floor, ensuring a
less distorted low level signal.
Dithering is relevant only on digital Outputs
and it is always the receiving device that
determines the number of bits you must dither
to. A CDR or a DAT recorder should normally
be dithered to 16 bit.

11

UTILITY & MIDI

Utility

Basic operation

• Press the UTILITY key to enter the local
setup parameters of the M•ONE.

• Use the ARROW keys to select parameters
and the CONTROL wheel to change
parameter values.

All changes are instantly effective in the Utility
menu.

MIDI Channel

Sets the responding MIDI channel of the
M•ONE.
Range: Off/1-16/Omni.

MIDI CC

Determines whether the M•ONE should
respond to MIDI Continuous Controllers or not.
Range: On/Off.

MIDI Bulk Dump

Press ENTER to perform a Bulk Dump of all
presets to an external MIDI device. The
M•ONE is always ready to receive MIDI Bulk
Dump information.

MIDI Sys-Ex ID

Determines the Sys-Ex ID number of the unit.
All effects parameters; algo changes and
routings can be changed through MIDI Sys-Ex
via an external MIDI device. In order to define
which unit the sent MIDI Sys-Ex information
should reach, the appropriate ID number must
be set.

Program Bank

Determines which bank an external MIDI
device will address in the M•ONE when
sending a program change.
The options are: Factory, User or External.
When External is selected controller #32 can
be used to address either the Factory or the
User bank.

Routing Lock

Locks the current Routing, meaning that the
current selected routing will act as a “global
routing” and that “preset routings” will not take
effect when presets are recalled.

Tap Unit

Selects whether the Tapped tempo in the Tap
menu should be displayed in ms (milliseconds)
or BPM (Beats Per Minute).

Bypass Mode

There are three different Bypass modes:

0% Mix
The Input signal is passed directly to the
Output.

FX Input
Shuts off the Engine Input in order to let the
effect "ring out", but leaves the same amount
of dry signal through the unit.

FX Output
Shuts off the Engine Output in order to kill the
FX instantaneously, but leave the same
amount of dry signal coming through.

Pedal setup

Sets the function of the back panel Pedal jack.
The Pedal Input uses momentary switches
only.
Range: Bypass 1, Bypass 2, Bypass 1&2, Tap.

Viewing Angle

Adjusts the LCD display backlight for better
viewing comfort.

M•One (st
Factory bank: Controller #0=0
User bank: Controller #0=1

M•One XL
Factory bank 1-100: Controller #0=0
Factory bank 101-200: Controller #0=1
User bank 1-100: Controller #0=2

12

andard)

ROUTINGS

M•ONE

MIXER

L

STEREO R

RETURNSSEND

DUALEFFECTS PROCESSOR

The Routing Menu sets the Routing of the
two Engines. When the Routing menu is
entered, the arrow in the Routing display
icon is lit. Routings are stored with presets,
but it is also possible to keep a locked
“global routing” meaning that preset
routings do not take effect. This is set in
the Utility menu.

Basic operation

• Press the ROUTING key to enter the
Routing display.

• Use the CONTROL wheel to select routing.
The ENTER key is now blinking.

• Press ENTER to activate the selected
routing.

Dual S/R - Dual Send/Return

M•ONE

DUALEFFECTS PROCESSOR

MIXER

1R2

M•ONE

This is the routing to use if you wish to use the
M•ONE as two independent effects
processors. Left Input is sent to Engine 1 and
right Input is sent to Engine 2. The four FX
Outputs are summed to two channels.

EFFECT

BAL
Controls the balance between the two Engine’s
FX Outputs.

MIX
Controls the amount of dry signal passed
around the two Engines. Dry signal is passed
in mono. Set MIX fully clockwise when using
the M•ONE in a send/return setup.

L

ENG1

L

RETURNSSENDS

ENG2

R

MIX

FX BAL

Parallel

L

R

The Parallel routing sums left/right Inputs, and
both Engines are fed with the exact same
signal. As illustrated the unprocessed dry
signal is mixed with the processed signal into
two channels via the Mix parameter.

EFFECT
Controls the balance between the two Engine’s

L

FX Outputs.

MIX

R

Controls the amount of dry signal passed
around the two Engines. Dry signal is passed
in stereo.

Example:
You need a Chorus and a Reverb on the same
guitar track. Select the Chorus in Engine 1, the
Reverb in Engine 2 and the Parallel Routing.
Now you have your two effects side by side,
not influencing each other.

BAL

The Parallel routing is perfect when
you want to add two different
effects to the same source.

ENG1

ENG2

FX BAL

L

R

MIX

Example:
Feed the two M•ONE Engines with signal from
e.g. two separate Aux.’s from your mixer.
Connect the M•ONE L/R Output to a stereo
L/R return on your mixer.
You are now using the two Engines in the
M•ONE as separate stereo effects with a
common 2 channel Output.

13

MIXER

L

1R

RETURNSSENDS

M•ONE

DUALEFFECTS PROCESSOR

ROUTINGS

Parallel/Serial

M•ONE

DUALEFFECTS PROCESSOR

L

MIXER

1R2

L

RETURNSSENDS

Parallel-Serial

The Parallel-Serial routing is similar to the
Dual Input routing except for one thing: The
Output of Engine 1 can be fed back to Engine
2's Input. This enables you to e.g. add reverb
to the repeats of a delay. The amount of signal
that is fed to Engine 2 is controlled by the Eng
2 Crossfeed parameter. The Eng 2 Crossfeed
parameter is found in the Routing menu and is
part of the preset.

EFFECT

BAL
Controls the balance between the two Engine’s
FX Outputs.

MIX
Controls the amount of dry signal passed
around the two Engines. Dry signal is passed
in mono.

Eng2 Feed
Controls the amount of signal passed from the
Output of Eng 1 to the Input of Eng 2. This
parameter is only active in the Parallel-Serial
routing.

The Parallel-Serial can be used
when you want separate Inputs on
the two Engines, but still want the
two effects to be partially combined.

Example

:
You have a long Delay running in Engine 1,
and a large Hall Reverb on Engine 2. Both
effects are used for the lead vocal. The level of
the two effects are determined by two
independent auxiliary sends from your mixing
console. The repeats from the Delay seams
kind of dry when compared the reverberated
vocal, so now you bleed a bit of the Delay
repeats from Engine 1 into the Reverb in
Engine 2 by turning up the Eng 2 Feed
parameter. Now both the Vocal and the Delay
repeats are reverberated.

14

ENG1

ENG2

R

ENG 2 FEED

FX BAL

MIX

Serial

L

R

Serial

In Serial mode the signal always passes
Engine 1 before Engine 2. On the front panel
the EFFECT BAL knob and the MIX knob
works as follows:

MIX
In Serial routing, the MIX knob work as the Mix
control of Engine 1.

EFFECT

BAL
Controls the level of dry signal passed around
Engine 2. Please note that the "Dry" signal that
passes Eng 2 is picked up after Engine 1.
This makes it possible to emulate two stand
alone effects in a serial setup. Dry signal is
passed in stereo.

Use the Serial mode when you
want to combine the Engines to
one effect.

Example:
Select the De-esser in Engine 1, and a bright
Reverb in Engine 2. The De-esser will now
suppress the “Sss” sounds of a vocal, enabling
you to use bright and open Reverbs without
getting too much sibilance.

LL

ENG 1 ENG 2

RR

MIX

FX BAL

ROUTINGS

Stereo Linked Dual Mono

MIXER

M•ONE

DUALEFFECTS PROCESSOR

STEREO R

STEREO LINKED

L

L

RETURNSSEND

ENG1

ENG2

R

FX BAL

L

R

MIX

MIXER

M•ONE

DUALEFFECTS PROCESSOR

1

INSERTS

DUAL MONO

L

ENG1

2

R

ENG2

FX BAL

L

R

MIX

In the Stereo Linked Routing the Engines
perform the exact same effect with
synchronized parameter settings.
Left I/O are used for Engine 1, Right I/O are
used for Engine 2. When switching to Stereo
Linked Routing the Engine 1 settings are
forced into Engine 2.

EFFECT

BAL.
Controls the balance between the two Engine’s
FX Outputs.

MIX
Controls the amount of dry signal passed
around the two Engines. Dry signal is passed
in stereo.

The Stereo Linked routing can be
used for a true stereo application.

Example:
Select the Compressor and insert the M•ONE
on a sub- group on your mixing console. Now
you have a true stereo compressor with
identical settings, and you only have to edit
one Engine to change the settings of both
channels.

In the Dual Mono routing, the two Engines are
totally independent, meaning mono in/mono
out of each Engine.
Left I/O are used for Engine 1, Right I/O are
used for Engine 2.

EFFECT

BAL.
Controls the balance between the two Engine’s
FX Outputs.

MIX
Controls the amount of dry signal passed
around the two Engines. Dry signal is passed
independently for the two channels.

Dual Mono is a great routing for
independent Mono use. This
enables you to use the two Engines
for two totally different purposes.

Example:
You need a Tremolo and an EQ for inserting
on two different channels.
Connect the first channel to Left In/Out of the
M•ONE, and the second channel to right
In/Out, select the Tremolo and the EQ, and
you are up and running.

15

RECALL EDIT

Recall

Recalling a Preset

Recalling a preset means loading/activating a
preset.

• Press RECALL to enter the RECALL menu.

• Use the CONTROL wheel to preview
presets.
Preview mode is indicated by blinking preset
number and simultaneously blinking LED in
the ENTER key.

• Press ENTER or RECALL to recall/activate
the preset.

Press the EXIT key during a preview to return
to the current recalled preset.

Preset types

User presets - RAM
User presets that can be edited and stored in
any User location. You can store up to 100
user presets in the User bank.

Factory presets - ROM

Factory presets that can be edited and stored
in any User location. You cannot store presets
into a Factory location.
The M•ONE holds 100 factory presets.
(M•ONE XL - 200)

When you are in the Factory bank you
can press the ARROW UP key to
quickly enter the User bank. Likewise
you can quickly enter the Factory
preset bank by pressing the ARROW
DOWN key.

Edit

Editing a preset on the M•One is quite easy if
you follow the steps below.

Editing the effects currently
two Engines:

• Press ALGO/EDIT 1 for Engine 1 or
ALGO/EDIT 2 for Engine 2.

• Depending on the effect currently loaded in
the Engine you will now be at the key
parameter for that particular effect.

- for a Reverb that would be Decay

- for Delay that would be Delaytime etc.

• Adjust the parameter using the CONTROL
wheel or select another parameter using the
ARROW keys.

ARROW keys CONTROL wheel

Changing the type of effects loaded in
Engines 1 or Engine 2:

loaded in the

16

• Press ALGO/EDIT 1 or ALGO/EDIT 2

• Use the ARROW UP key to go to the
parameter located in the top of the list.

This is where you select which effect you wish
to load in that particular Engine.

• Use the CONTROL wheel to select the
effect type and press ENTER to confirm
your choice.

You may wish to store you edited preset.
Please refer to the storing options described
on the following page of this manual.

STORE TA P

Preset types

User presets - RAM
User presets that can be edited and stored in
any User location. You can store up to 100
user presets in the User bank.

Factory preset
Factory presets that can be edited and stored
in any User location. You cannot store presets
into a Factory location.
The M•ONE holds 100 factory presets.
(M•ONE XL - 200)

Basic operation:

Press the STORE key to enter the Store page.
The ENTER key and the preset number will be
blinking indicating that the current preset has
not yet been stored.

Preset Locations

Presets can be stored in User locations only.
The Store page automatically suggests the first
free User location in the memory as storing
space unless the currently recalled preset is a
User preset. In this case the same User
location is suggested.

Storing an edited preset with the same
name at the same location

• Press STORE to enter the Store menu.

• Press ENTER to store the preset. The
display reads "Stored" shortly and returns to
the Recall page.

s - ROM

The TAP function allows you to tap a global
tempo into the M•ONE. This tempo can be
used for Delay time, Chorus Rate etc.

Basic operation

• Press the TAP key once to enter the Tap
menu.

• Use the ARROW keys to select parameters.

• Use the CONTROL wheel to select values.

Changes are instantly effective.

Tap

Shows the currently entered Tap tempo.
The tempo is shown in either ms (milliseconds)
or BPM (Beats Per Minute).

Tap Subdivision

The subdivision determines how the M•ONE
should respond to the tapped tempo.

Options are:
Ignored, 1, 1/2D, 1/2, 1/2T, 1/4D, 1/4, 1/4T,
1/8D, 1/8, 1/8T, 1/16D, 1/16, 1/16T,
1/32D, 1/32, 1/32T,

Tap Func

Sets what Engine the Tap control is working on.
Range: Eng 1, Eng 2 or Eng 1&2.

You must select “Ignored” in “Tap
Subdivision” to switch off the Tap
function.

Storing a preset with the same name at a
new location

• Press STORE to enter the Store menu.

• Use the CONTROL wheel to select storing
location.

• Press ENTER once to store the preset, the
display reads "Stored" shortly and returns to
the Recall page.

Storing a preset with a new name

• Press STORE to enter the Store menu.

• Select storing location using the CONTROL
wheel.

• Press the STORE key again or the ARROW
DOWN key to enter the” Naming” display.

• Use the ARROW keys to change cursor
position.

• Dial the CONTROL wheel to select
characters.

• Press ENTER to store the preset.

MIDI Sync

When MIDI Sync is enabled the M•ONE will
lock to any incoming MIDI clock. Eg. when
hooked up to a sequencer.

When MIDI Sync is enabled the Tap
display will default to Subdivision
indication.

17

REVERB - HALL

The Reverbs

Most of the Reverbs in the M•ONE contain two
different parts; the Reflections and the Tail.

• The Reflections, or Early Reflections,
simulate the first reflections that are heard.
In real life, this is the part of a Reverb that
defines the size and character of the room.

• The other part of the Reverb is known as
the Reverb Tail or the diffused field. These
reflections are so complex and disordered
that you can no longer determine the
actual direction of the original source.

In conjunction the two parts create the natural
sound of an environment, however in real life
the balance between these two parts of a
Reverb may vary quite a bit. Therefore we
provided controls that allow you to change the
level, color and duration or size of the two.
Please try to experiment with the two parts of
the Reverbs, and we guarantee that you will
hear some astonishing effects.

Hall

Decay

Range: 0.02s - 20sec
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approximately 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the Early
Reflections and the Tail of the reverb. By using
predelay the source material is kept clear and
undisturbed by the more diffuse reverb tail.

Try to turn down the Reflect Level
in order to achieve the traditional
“slapback ” effect on the Reverb
Tail.

Size

Range: Small - Medium - Large - XL (XL-Only)
This parameter determines the size of the
Early Reflection pattern. Try experimenting
with the different sizes to hear what suits your
source material best.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave.
Use this to remove sibilance in the Reverb.

18

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

REVERB - HALL

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while
preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

Reflect Level

Range: 0dB to -100dB
This parameter adjusts the level of the Early
Reflection.

Many older Reverbs did not utilize
Early Reflection patterns. Try
lowering the Reflect Level in order
to achieve this character.

Reverb Level

Range: 0dB to -100dB
This parameter adjusts the Reverb Tail level.
Lowering the Reverb Level will give you a
more ambient sound, since the Early
Reflection patterns will become more obvious.

Mod Type

Range: Off - Smooth - Vintage
Sets the Type of Modulation used on the
Reverb Tail.

Smooth:
complicated modulation pattern, that allows the
Reverb Tail to be modulated without detuning
the original source signal.

The Smooth modulation uses a

Mod Depth

Range: -25 - +25
Sets the depth of the Modulation. The Depth
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

FX Level

Range: 0 - 100%
The level of the entire effect.

intage: Many older reverbs used a very

V
simple modulation pattern that tended to
detune the original source slightly. The Vintage
modulation is an emulation of this old
modulation style, giving you the traditional
detuning effect in the ringout of the reverb.

Mod Speed

Range: -25 - +25
Sets the speed of the modulation. The speed
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

19

REVERB - ROOM

Room

Decay

Range: 0.02s - 2,5s
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approx 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the Early
Reflections and the Tail of the reverb. By using
predelay the source material is kept clear and
undisturbed by the more diffuse reverb tail.

Try to turn down the Reflect Level
in order to achieve the traditional
“slapback ” effect on the Reverb
Tail.

Size

Range: Small - Medium - Large - XL (XL-Only)
This parameter determines the size of the
Early Reflection pattern. Try experimenting
with the different sizes to hear what suits your
source material best.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave. Use this to remove sibilance in the
Reverb.

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

Reflect Level

Range: 0dB to -100dB
This parameter adjusts the level of the Early
Reflections.

Many older Reverbs did not utilize
Early Reflection patterns. Try
lowering the Reflect Level in order
to achieve this character.

Reverb Level

Range: 0dB to -100dB
This parameter adjusts the Reverb Tail level.
Lowering the Reverb Level will give you a
more ambient sound, since the Early
Reflection patterns will become more obvious.

Mod

Range: Off - On
Modulating the Reverb tail will create a more
chaotic Reverb Tail, very similar to a natural
room.

Mod Speed

Range: -25 - +25
Sets the speed of the modulation. The speed
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

Mod Depth

Range: -25 - +25
Sets the depth of the Modulation. The Depth
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

FX Level

Range: 0 - 100%
The level of the entire effect.

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while
preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

20

REVERB - SMALL ROOM (M•ONE XL ONLY)

Small Room

Decay

Range: 0.02s - 2.5s
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approx 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the Early
Reflections and the Tail of the reverb. By using
predelay the source material is kept clear and
undisturbed by the more diffuse reverb tail.

Try to turn down the Reflect Level
in order to achieve the traditional
“slapback ” effect on the Reverb
Tail.

Size

Range: Small - Medium - Large - XL
This parameter determines the size of the
Early Reflection pattern. Try experimenting
with the different sizes to hear what suits your
source material best.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave. Use this to remove sibilance in the
Reverb.

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

Reflect Level

Range: 0dB to -100dB
This parameter adjusts the level of the Early
Reflections.

Many older Reverbs did not utilize
Early Reflection patterns. Try
lowering the Reflect Level in order
to achieve this character.

Reverb Level

Range: 0dB to -100dB
This parameter adjusts the Reverb Tail level.
Lowering the Reverb Level will give you a
more ambient sound, since the Early
Reflection patterns will become more obvious.

Mod

Range: Off - On
Modulating the Reverb tail will create a more
chaotic Reverb Tail, very similar to a natural
room.

Mod Speed

Range: -25 - +25
Sets the speed of the modulation. The speed
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

Mod Depth

Range: -25 - +25
Sets the depth of the Modulation. The Depth
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

FX Level

Range: 0 - 100%
The level of the entire effect.

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while
preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

21

REVERB - PLATE

Plate 1

Decay

Range: 0.02s - 20s
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approx 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the Early
Reflections and the Tail of the reverb. By using
predelay the source material is kept clear and
undisturbed by the more diffuse reverb tail.

Try to turn down the Reflect Level
in order to achieve the traditional
“slapback ” effect on the Reverb
Tail.

Size

Range: Small - Medium - Large - XL (XL-Only)
This parameter determines the size of the
Early Reflection pattern. Try experimenting
with the different sizes to hear what suits your
source material best.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave. Use this to remove sibilance in the
Reverb.

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while
preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

Reflect Level

Range: 0dB to -100dB
This parameter adjusts the level of the Early
Reflections.

Many older Reverbs did not utilize
Early Reflection patterns. Try
lowering the Reflect Level in order
to achieve this character.

Reverb Level

Range: 0dB to -100dB
This parameter adjusts the Reverb Tail level.
Lowering the Reverb Level will give you a
more ambient sound, since the Early
Reflection patterns will become more obvious

Mod Speed

Range: -25 - +25
Sets the speed of the modulation. The Speed
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

Mod Depth

Range: -25 - +25
Sets the depth of the Modulation. The Depth
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

FX Level

Range: 0 - 100%
The level of the entire effect.

22

REVERB - PLATE

Plate 2

Decay

Range: 0.02s - 20s
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approximately 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the Early
Reflections and the Tail of the reverb. By using
predelay the source material is kept clear and
undisturbed by the more diffuse reverb tail.

Try to turn down the Reflect Level
in order to achieve the traditional
“slapback ” effect on the Reverb
Tail.

Size

Range: Small - Medium - Large - XL (XL-Only)
This parameter determines the size of the
Early Reflection pattern. Try experimenting
with the different sizes to hear what suits your
source material best.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave. Use this to remove sibilance in the
Reverb.

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

Reflect Level

Range: 0dB to -100dB
This parameter adjusts the level of the Early
Reflections.

Many older Reverbs did not utilize
Early Reflection patterns. Try
lowering the Reflect Level in order
to achieve this character.

Reverb Level

Range: 0dB to -100dB
This parameter adjusts the Reverb Tail level.
Lowering the Reverb Level will give you a
more ambient sound, since the Early
Reflection patterns will become more obvious

Mod

Range: Off - On
Modulating the Reverb tail will create a more
chaotic Reverb Tail, very similar to a natural
room.

Mod Speed

Range: -25 - +25
Sets the speed of the modulation. The Speed
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

Mod Depth

Range: -25 - +25
Sets the depth of the Modulation. The Depth
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

FX Level

Range: 0 - 100%
The level of the entire effect.

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while
preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

23

REVERB - SPRING

Spring

A reverb algorithm designed to reproduce the
sound of the old spring reverbs, such as the
ones used in vintage guitar amps.

Decay

Range: 0.02s - 20s
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approximately 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the direct signal
and the Tail of the reverb. By using predelay
the source material is kept clear and
undisturbed by the more diffuse reverb tail.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave. Use this to remove sibilance in the
Reverb.

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while
preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

FX Level

Range: 0 - 100%
The level of the entire effect.

24

REVERB - LIVE

Live

Decay

Range: 0.02s - 20s
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approximately 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the Early
Reflections and the Tail of the reverb. By using
predelay the source material is kept clear and
undisturbed by the more diffuse reverb tail.

Try to turn down the Reflect Level
in order to achieve the traditional
“slapback ” effect on the Reverb
Tail.

Size

Range: Small - Medium - Large - XL (XL-Only)
This parameter determines the size of the
Early Reflection pattern. Try experimenting
with the different sizes to hear what suits your
source material best.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave. Use this to remove sibilance in the
Reverb.

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while
preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

Reflect Level

Range: 0dB to -100dB
This parameter adjusts the level of the Early
Reflection.

Many older Reverbs did not utilize
Early Reflection patterns. Try
lowering the Reflect Level in order
to achieve this character.

Reverb Level

Range: 0dB to -100dB
This parameter adjusts the Reverb Tail level.
Lowering the Reverb Level will give you a
more ambient sound, since the Early
Reflection patterns will become more obvious

Mod Speed

Range: -25 - +25
Sets the speed of the modulation. The speed
has been optimized for each Reverb type. The
+/-50 range is calculated as the variation from
this optimal setting.

Mod Depth

Range: -25 - +25
Sets the depth of the Modulation. The Depth
has been optimized for each Reverb type. The
+/-50 range is calculated as the variation from
this optimal setting.

FX Level

Range: 0 - 100%
The level of the entire effect.

25

REVERB - AMBIENCE

Ambience

As opposed to the Spring reverb, the Ambience
algorithm is a very natural sounding reverb.

Decay

Range: 0.02s - 2,5s
The Decay parameter determines the length of
the Reverb Tail. The length is defined as the
time it takes for the Reverb Tail to decay
approximately 60dB.

Predelay

Range: 0 - 100ms
A short delay placed between the Early
Reflections and the Tail of the reverb. By using
predelay the source material is kept clear and
undisturbed by the more diffuse reverb tail.

Try to turn down the Reflect Level
in order to achieve the traditional
“slapback ” effect on the Reverb
Tail.

Size

Range: Small - Medium - Large - XL (XL-Only)
This parameter determines the size of the
Early Reflection pattern. Try experimenting
with the different sizes to hear what suits your
source material best.

High Cut

Range: 501.2Hz - 20kHz
Rolls off high frequencies with a slope of
6dB/octave. Use this to remove sibilance in the
Reverb.

Try experimenting with the
difference in removing high
frequencies using the High Cut and
the High Color parameters.

High Color

Range: -50 - +50
This parameter adjusts the Decay time in the
upper frequency spectra. By decreasing the
upper frequency Decay time you remove
sibilance while preserving the openness of the
Reverb.

preserving the warmth of the Reverb Tail by
decreasing the lower frequency Decay time.

Reflect Level

Range: 0dB to -100dB
This parameter adjusts the level of the Early
Reflection.

Many older Reverbs did not utilize
Early Reflection patterns. Try
lowering the Reflect Level in order
to achieve this character.

Reverb Level

Range: 0dB to -100dB
This parameter adjusts the Reverb Tail level.
Lowering the Reverb Level will give you a
more ambient sound, since the Early
Reflection patterns will become more obvious

Mod

Range: Off - On
Switches the Modulation function On/Off.
Modulating the Reverb tail will create a more
chaotic Reverb Tail, very similar to a natural
room.

Mod Speed

Range: -25 - +25
Sets the speed of the modulation. The Speed
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

Mod Depth

Range: -25 - +25
Sets the depth of the Modulation. The Depth
has been optimized for each Reverb type. The
+/-25 range is calculated as the variation from
this optimal setting.

FX Level

Range: 0 - 100%
The level of the entire effect.

Low Color

Range: -50 - +50
This parameter adjusts the Decay time in the
lower frequency spectra. Remove rumble while

26

DELAY - ONE TAP & TWO TAP

One Tap

The One Tap Delay mode operates with one
delay line only.

Delay Time

Range: 0 - 4000ms
The length of the the Delay time.

Feedback

Range: -100 to +100
Controls the amount of signal that is routed
back to the Input of the algorithm. The higher
Feedback value the more repeats you will get.

Pan

Range: 50L - 50R
Controls the panning of the selected voice.

High Cut

Range: 500Hz - 20kHz
High Cut filter that allows you to reduce the
high frequencies of the Delay Taps. This gives
you softer and more analog sounding Delay
Taps which in some cases will seem less
disturbing in the overall sound, than a delay
with no High Cut.

Low Cut

Range: 19.9Hz - 2kHz
Low Cut filter reducing the low end frequencies
of the Delay Taps. When using delay on
signals with low frequencies a full-range delay
might introduce a less tight feeling in the low
frequencies. Use the Low Cut filter to avoid
this.

Two Tap

The Two Tap Delay mode operates with two
Taps, each with its own set of parameters.

Delay Time 1+2

Range: 0 - 4000ms
The Delay time of the Delay tap.

Offset

Range: 0-200ms
Offsets the Delay in the right Channel.

Feedback 1+ 2

Range: -100 to +100
Controls the amount of signal that is routed
back to the Input of the algorithm. The higher
the Feedback value the more repeats you will
get.

Level 1+2

Range: -100 - 0dB
The level of the selected Tap.

Pan 1+2

Range: 50L - 50R
Controls the panning of the selected voice.

High Cut

Range: 500Hz - 20kHz
High Cut filter that allows you to reduce the
high frequencies of the Delay Taps. This gives
you softer and more analog sounding Delay
Taps which in some cases will seem less
disturbing in the overall sound than a delay
with no High Cut.

FX Level

Range: 0 - 100%
The over all level of the Delay.

Low Cut

Range: 19.9Hz - 2kHz
Low Cut filter reducing the low end frequencies
of the Delay Taps. When using delay on
signals with low frequencies a full-range delay
might introduce a less tight feeling in the low
frequencies. Use the Low Cut filter to avoid
this.

FX Level

Range: 0 - 100%
The overall level of the Delay.

27

DELAY - PINGPONG (M•ONE XL ONLY)

Ping Pong

Delay time

Range: 0 to 1800ms
The time between the repetitions.

Feedback

Range: 0 to 100%
Determines how many repetitions there will be.

Width

Range: -100 to 100%
The Width parameter determines whether the
Left or Right repetitions is panned 100% or
not. 10 is the most extreme setting but also the
most disturbing in the overall sound.
Experiment with this.

FB Hi Cut - Feedback Hi Cut

Range: 2.00kHz to 20kHz
Attenuates the frequencies over the set
frequency thereby giving you a more analog
Delay sound that in many cases will blend
better in the overall sound.

FB Lo Cut

Range: 19.95Hz to 2.00kHz
Attenuates the frequencies below the set
frequency.

FX Level

Range: 0 - 100%
The over all level of the Delay.

28

CHORUS - CLASSIC & 4 VOICE

L

R

CHORUS

LFO

L
R

Classic

A Chorus/Flanger is basically a delay
being pitch-modulated by an LFO (Low
Frequency Oscillator).
The M•ONE Classic Chorus is based on
2 voices and produces a smooth natural
sounding chorus.

Speed

Range: 0.05 - 19.2Hz
The Speed of the Chorus. Also known as
”Rate”.

Depth

Range: 0 - 100%
The Depth of the Chorus. Also known as
”Intensity”.

Delay

Range: 0 - 100ms
A Chorus is basically a delay being pitch­modulated by an LFO (Low Frequency
Oscillator). The typical Delay time used in
a Chorus is around 10ms.

4-Voice

The 4-voice Chorus is based on two Classic
Chorus blocks connected in serial, phase­reversed and with a fixed Delay time. This
gives you twice the amount on “voices” and
produces a much thicker sounding Chorus
effect compared to the Classic algorithm.

Speed

Range: 0.05 - 19.2Hz
The speed of the Chorus. Also known as
”Rate”.

Depth

Range: 0 - 100%
The depth of the Chorus. also known as
”Intensity”.

FX Lev

Range: 0 -100%
The level of the Chorus effect.

FX Lev

Range: 0 -100%
The level of the Chorus effect.

29

FLANGE - CLASSIC & 4 VOICE

Classic

A Chorus/Flanger is basically a delay being
pitch-modulated by an LFO (Low Frequency
Oscillator).
The M•ONE Classic Flanger is based on 2
voices.

Speed

Range: 0.05 - 19.2Hz
The speed of the Flanger. Also known as
”Rate”.

Depth

Range: 0 - 100%
The depth of the Flanger. also known as
”Intensity”.

Feedback

Range: -100 to +100
The amount of processed signal that is fed
back to the Input of the algorithm. When the
feedback value is negative, the Feedback
signal is phase reversed.

4-Voice

The 4-voice Flanger is based on two Classic
Flanger blocks connected in serial, phase­reversed and with a fixed Delay time. This
gives you twice the amount on “voices” and
produces a much thicker sounding Flange
effect compared to the Classic algorithm.

Speed

Range: 0.05 - 19.2Hz
The speed of the Flanger. Also known as
”Rate”.

Depth

Range: 0 - 100%
The depth of the Flanger. also known as
”Intensity”.

Feedback

Range: -100 - 100
The amount of processed signal that is fed
back to the Input of the algorithm. When the
feedback value is negative, the Feedback
signal is phase reversed.

FX Lev

Range: 0 -100%
The level of the Flanger effect.

Delay

Range: 0 - 100ms
The typical delay used in a Flanger is around
5ms.

FX Lev

Range: 0 -100%
The level of the Flanger effect.

30

PITCH - DETUNE & PITCH SHIFT

Pitch Detune

Pitch Detune is similar to the Pitch algorithm
meaning that a fixed voice is added to the
signal. However the range in a Detune
algorithm is considerably lower and is often
used to create a wide sound as opposed to a
second voice.
By using approx. 5-10 cent of Detune amount
you will get a chorus sounding effect without
the modulating/swirling motion that is so
characteristic for the chorus, but in some
cases disturbs the clarity of the sound.

Pitch 1+2

Range: -50 - 50 cent
The pitch value of the selected voice.

Level 1+2

Range: -100 - 0dB
The level of the selected voice.

Pan 1+2

Range: 50L to 50R
Controls the panning of the selected voice.

Delay 1+2

Range: 0 - 100ms
The Delay time of the selected voice.

FX Level

Range: 0 - 100%
The level of the entire effect.

Pitch Shift

The M•ONE Pitch algorithm allows you to add
2 separate fixed voices to the source signal. In
the following parameter description these are
referred to as 1 and 2.

Pitch 1

Range: -1200 - 1200 cent
Determines the pitch value of the first fixed
voice.
As 100 cent is one semitone you are able to
add a second voice withing the range of +/­one whole octave.

Level 1

Range: -100 - 0dB
The level of the added voice.

Pan 1

Range: 50L to 50R
Controls the panning of the first voice.

Delay 1

Range: 0 - 100ms
The Delay time of the added voice.

Pitch 2

Range: -1200 - 1200 cent
Determines the pitch value of the second fixed
voice.

Level 2

Range: -100 - 0dB
The level of the second added voice.

Pan 2

Range: 50L to 50R
Controls the panning of the second voice.

Delay 2

Range: 0 - 100ms
The Delay time of the added voice.

FX Lev

Range: 0 - 100%
The Level of the entire effect.

31

PARAMETRIC EQUALIZER

The M•ONE Equalizer is a three band
parametric type with an additional high and
low shelving band.

Low Shelving Band:

Low Freq

Range: 19.95Hz to 5.01kHz
Sets the target-frequency for the Low shelving
band.

Low Slope

Range: 3dB/oct - 12dB/oct
The Low Slope parameter sets the steepness
of the Low Shelving Band curve.

Low Gain

Range: -12dB - 12dB
The cut or boost of the Low shelving Band.

Parametric Filters:

Freq 1

Range: 19.95Hz to 20kHz
The target frequency for the first of the three
EQ bands.

BndWdth 1 - Bandwidth 1

Range: 0.1oct - 4oct
The Bandwidth of the first EQ band.

Gain 1

Range: -12dB - 12dB
The cut or boost of this band.

BndWdth 3 - Bandwidth 3

Range: 0.1oct - 4oct
The Bandwidth of the third EQ band.

Gain 3

Range: -12dB - 12dB
The cut or boost of this band.

High Shelving Band:

High Freq

Range: 501.2Hz - 20kHz
Sets the target frequency for the High Shelving
Band.

High Slope

Range: 3dB/oct - 12dB/oct
The High Slope parameter sets the steepness
of the High Shelving Band curve.

High Gain

Range: -12dB - 12dB
The cut or boost of the High Shelving Band.

FX Level

Range: 0 - 100%
The overall Output level of the Equalizer.

Freq 2

Range: 19.95Hz to 20kHz
The target frequency for the second of the
three EQ bands.

BndWdth 2 - Bandwidth 2

Range: 0.1oct - 4oct
The Bandwidth of the second EQ band.

Gain 2

Range: -12dB - 12dB
The cut or boost of this band.

Freq 3

Range: 19.95Hz to 20kHz
The target frequency for the third of the three
EQ bands.

32

DYNAMICS - COMPRESSOR & LIMITER

Compressor

A compressor is meant to reduce the dynamic
content of the Input signal and thereby keep
the signal at a more constant level.

Threshold

Range: -60 - 0dB
When the Input signal exceeds the Threshold
the Compressor will be activated. So, the
lower the Threshold the more compression you
will get.

Ratio

Range: Off - inf: 1
The Ratio of the gain reduction. On the
illustration this is the angle of the line above
the Threshold point.
Example. If the Ratio is set to 4:1 it means that
for every 4dB the Input level rises above the
set Threshold only one dB is Output.

Knee Mode

Range: Soft or Hard
The Knee mode sets the bending point of the
Compressor. When Soft knee mode is
selected, the Compressor will gradually reach
the Ratio, while Hard knee mode will cause
the Compressor to go directly from no
compression to the specified Ratio.

Release

Range: 10 - 100dB/sec.
Determines the time the Compressor uses to
reach a gain reduction of 1:1 (no reduction)
once the Input signal has dropped below the
Threshold.

Limiter

A Limiter can be conceived as a compressor
with a high Ratio setting. It is primarily used to
prevent fullscale overloads. A fullscale
overload means hitting 0dBFS, which is the
absolute max in the digital domain, and it
causes a clipped and distorted signal.

Threshold

Range: -60dB - 0dB
When the Input signal exceeds the Threshold
the Limiter will be activated. So, the lower the
Threshold the more
limiting you will get.

Ratio

Range: Off - inf: 1
The Ratio of the gain reduction. On the
illustration it is the angle of the line above the
Threshold point.
Example. If the Ratio is set to 4:1 it means that
for every 4dB the Input level rises above the
set Threshold only 1dB is output.

Attack

Range: 0.3ms - 100ms
The time it takes for the Limiter to reach the
gain reduction specified by the Ratio
parameter when the signal is above the set
Threshold.

Release

Range: 20ms - 7.0 sec
Release is the time that the Limiter uses to
release the gain reduction when the signal
exceeds the Threshold.

Gain

Range: -100 - +30dB
Use the Gain parameter to compensate for
unwanted gain reduction caused by heavy
compression.

FX Level

Range: 0 - 100%
The Output level of the Compressor

Gain

Range: -100dB - 30dB
Use the Gain parameter to compensate for
unwanted gain reduction caused by heavy
limiting.

FX Level

Range: 0 - 100%
The Output level of the Limiter.

33

DYNAMICS - GATE/EXPANDER

Gate

A Gate is also known as a ”downward
expander”. Meaning that when the signal drops
below a set Threshold the gate will ”close” and
thereby mute the signal. This is especially
useful when trying to remove unwanted
background noise from source material that is
only periodically present. This can be anything
from vocal tracks to noisy guitar-amps. You
can even use it on drums to add a more
percussive feeling to the track.

Threshold

Range: -60 - 0dB
When the Input signal falls below the
Threshold, the Gate starts working. This
means that the higher Threshold the more
gating you will get.

Release

Range: 20ms - 7 sec.
Release is the time that the Gate uses to
release the gain reduction when the signal
exceeds the Threshold.

FX Lev

Range: 0 - 100%
The Output level of the Gate.

Ratio

Range: Off - Inf:1
This is the Ratio of the gain reduction. If the
Ratio is set to 4:1 it means that for every 1dB
the Input signal decreases, the Output will
decrease by 4dB.
When the Ratio is set to Infinite:1, it means
that when the Input signal falls below the
Threshold, the Output is turned all the way
down.

Attack

Range: 0.5 - 100ms
The Attack time is the fallback time that the
Gate uses to reach the gain reduction
specified by the Ratio parameter.
Example: If the Input signal suddenly drops
4dB below Threshold in no time, with the Ratio
set to 4:1 and the Attack set to 20ms, the
M•ONE will use 20ms to reach a total gain
reduction of 16dB.

34

DYNAMICS - DE-ESSER

De-esser

A De-esser is used to remove sibilant sounds
from various instruments - especially voices.
To remove only the unwanted (most
significant) “esses” a De-esser must work
dynamically. It could therefore be compared to
Compressor working on a specific frequency
area only. A dynamic filter ensures that the De­esser only reduces the high frequencies when
they are too loud.

Threshold

Range: -60dB - 0dB
When the Input level for the specified
frequency area exceeds this level the De­esser will be activated.

Ratio

Range: Off - inf:1
The Ratio of the gain reduction in the specified
frequency area.

Frequency

Range: 1kHz - 20kHz
Sets the center frequency for the area in which
the De-esser should work.

Attack

Range: 0.5 - 50ms
The Attack time is the response time that the
De-esser uses to reach the gain reduction
specified by the Ratio parameter.
Example: If the Input signal suddenly
increases to 4dB above Threshold with the
Ratio set to 4:1 and the Attack set to 20ms, the
De-esser will use 20ms to reach the gain
reduction of 3dB.

Release

Range: 20ms - 7 sec.
Release is the fallback time of the De-esser,
after the signal drops below the Threshold.

FX Lev

Range: -100 - 0dB
The Output level of the De-esser.

35

TREMOLO - HARD & SOFT

Tremolo

A tremolo is basically an identical level change
in left and right channels. This effect is
typically heard on guitar tracks or tracks where
old Wurlitzer E-Pianos are used.

Hard

The Hard Tremolo mode produces the most
aggressive type of tremolo.

Speed

Range: 0.05 - 19.2Hz
The Speed of the Tremolo.

Depth

Range: 0 - 100%
The Depth of the Tremolo.

FX Lev

Range: 0 - 100%
The level of the Tremolo effect.

Soft

The Soft Tremolo mode is softer sounding than
the Hard mode as the signal is only at its
peaks for a short while.

Speed

Range: 0.05 - 19.2Hz
The Speed of the Tremolo.

Depth

Range: 0 - 100%
The Depth of the Tremolo.

FX Lev

Range: 0 - 100%
The level of the Tremolo effect.

36

PHASER - VINTAGE & SMOOTH

Vintage

The Vintage Phaser utilizes four All-pass
filters. These
filters creates a comb looking characteris­tic. When the
filtered sound is mixed with the direct
sound the “phasing sound” occurs.

Speed

Range: 0.05 - 19.2Hz
The Speed of the Phaser.

Depth

Range: 0 - 100%
The Depth of the Phaser.

Range

Range: Low or Mid
The Range parameter determines the fre­quency area in which the Phaser is oper­ating.

Feedback

Range: -100 - 100%
The amount of processed signal that is
fed back to the Input of the effect block.
When the Feedback value is
negative, the Feedback signal is phase
reversed.

Smooth

The Smooth Phaser utilizes twelve All­pass filters. These filters creates a comb
looking characteristic. When the
filtered sound is mixed with the direct
sound, the “phasing sound” occurs. Due
to the higher number of filters this
version of the Phaser sounds smoother
than Vintage.

Speed

Range: 0.05 - 19.2Hz
The Speed of the Phaser.

Depth

Range: 0 - 100%
The Depth of the Phaser.

Range

Range: Low or High
The Range parameter determines the fre­quency area in which the Phaser is oper­ating.

Feedback

Range: -100 - 100%
The amount of processed signal that is
fed back to the Input of the effect block.

Try experimenting with the
reversed phase
Feedback.

FX Lev

Range: 0 - 100%
The level of the Phaser effect.

Try experimenting with the
reversed phase
Feedback.

FX Lev

Range: 0 - 100%
The level of the Phaser effect.

37

APPENDIX - MIDI IMPLEMENTATION CHART

DUAL EFFECTS PROCESSOR M•ONE - NOVEMBER - 1999

Function Transmitted Recognized Remarks
Basic Channel Default 1 1

Mode Default

Note Number XX

Velocity Note ON X X

After Touch Key’s X X

Pitch Bend XX
Control Change from 16 and up from 16 and up

Prog Change OO

System Excl. OO
Common Song Pos X X

System real time Clock X O

Aux Messages Local ON/OFF X X

Changed 1-16 1-16

Messages X X
Altered

True Voice X X

Note OFF X X

Ch’s X X

Eng 1: 16-31
Eng 2: 48-63
System: 70-78
All Controllers are
single byte type,
scaled to
parameter range.

Song Sel X X
Tune X X

Commands X X

All Notes OFF X X
Active Sense X X
Reset X X

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

38

APPENDIX - TECHNICAL SPECIFICATIONS

M•ONE - Standard

Digital Inputs and Outputs

Connectors:
Formats:
Output Dither:
Sample Rates:
Processing Delay:
Frequency Response DIO:

Analog Inputs

Connectors:
Impedance, Bal / Unbal:
Max. Input Level:
Min. Input Level for 0 dBFS:
Sensitivity:
A to D Conversion:
A to D Delay:
Dynamic Range:
THD:
Frequency Response:
Crosstalk:

Analog Outputs

Connectors:
Impedance Balanced /
Unbalanced:
Max. Output Level:
Output Ranges:

D to A Conversion:
D to A Delay:
Dynamic Range:
THD:

Frequency Response:
Crosstalk:

EMC

Complies with:

Safety

Certified to:

Environment

Operating Temperature:
Storage Temperature:
Humidity:

Control Interface

MIDI:
Pedal:

General

Finish:

Display:
Dimensions:
Weight:
Mains Voltage:
Power Consumption:
Warranty Parts and labor:

RCA Phono (S/PDIF)
S/PDIF (24 bit), EIAJ CP-340, IEC 958
HPF/TPDF dither 24/20/16/8 bit

44.1 kHz, 48 kHz

0.1 ms @ 48 kHz
DC to 23.9 kHz ± 0.01 dB @ 48 kHz

1/4" phone jack, balanced
21 kOhm / 13 kOhm
+24 dBu
0 dBu
@ 12 dB headroom: -12 dBu to +12 dBu
24 bit, 128 x oversampling bitstream

0.65 ms / 0.70 ms @ 48 kHz / 44.1 kHz
100 dB typ, 20 Hz - 20 kHz
typ < 92 dB (0,0025 %) @ 1 kHz
+0/-0.1 dB @ 48 kHz, 20 Hz to 20 kHz
<-95 dB, 20 Hz to 20 kHz

1/4" phone jack, balanced

40 Ohm
+20 dBu (balanced)
Balanced: 20/14/8/2 dBu
Unbalanced: 14/8/2 dBu
24 bit, 128 x oversampling bitstream

0.63 ms / 0.68 ms @ 48 kHz / 44.1 kHz
104 dB typ, 20 Hz to 20 kHz
typ <-94 dB (0.002 %) @ 1 kHz,
+20 dBu Output
+0/-0.5 dB @ 48 kHz, 20 Hz to 20 kHz
<-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 E65
CSA 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/Thru: 5 Pin DIN
1/4" phone jack

Anodized aluminum front
Plated and painted steel chassis
23 character / 280 icon STN-LCD display
19" x 1.75" x 8.2" (483 x 44 x 195 mm)

4.1 lb. (1.85 kg)
100 to 240 VAC, 50 to 60 Hz (auto-select)
<15 W
1 year

Technical specifications are subject to change without notice

39

APPENDIX - TECHNICAL SPECIFICATIONS

M•ONE - XL

Digital Inputs and Outputs

Connectors:
Formats:
Output Dither:
Sample Rates:
Processing Delay:
Frequency Response DIO:

Analog Inputs

Connectors:
Impedance, Bal / Unbal:
Max. Input Level:
Min. Input Level for 0 dBFS:
Sensitivity:
A to D Conversion:
A to D Delay:
Dynamic Range:
THD:
Frequency Response:
Crosstalk:

Analog Outputs

Connectors:
Impedance Balanced /
Unbalanced:
Max. Output Level:
Output Ranges:
D to A Conversion:
D to A Delay:
Dynamic Range:
THD:

Frequency Response:
Crosstalk:

EMC

Complies with:

Safety

Certified to:

Environment

Operating Temperature:
Storage Temperature:
Humidity:

Control Interface

MIDI:
Pedal:

General

Finish:

Display:
Dimensions:
Weight:
Mains Voltage:
Power Consumption:
Warranty Parts and labor:

RCA Phono (S/PDIF)
S/PDIF (24 bit), EIAJ CP-340, IEC 958
HPF/TPDF dither 24/20/16/8 bit

44.1 kHz, 48 kHz

0.1 ms @ 48 kHz
DC to 23.9 kHz ± 0.01 dB @ 48 kHz

XLR, balanced
21 kOhm / 13 kOhm
+24 dBu
0 dBu
@ 12 dB headroom: -12 dBu to +12 dBu
24 bit, 128 x oversampling bitstream

0.65 ms / 0.70 ms @ 48 kHz / 44.1 kHz
100 dB typ, 20 Hz - 20 kHz
typ < 92 dB (0,0025 %) @ 1 kHz
+0/-0.1 dB @ 48 kHz, 20 Hz to 20 kHz
<-95 dB, 20 Hz to 20 kHz

XLR, balanced
40 Ohm
+20 dBu (balanced)
Balanced: 20/14/8/2 dBu
Unbalanced: 14/8/2 dBu
24 bit, 128 x oversampling bitstream

0.63 ms / 0.68 ms @ 48 kHz / 44.1 kHz
104 dB typ, 20 Hz to 20 kHz
typ <-94 dB (0.002 %) @ 1 kHz,
+20 dBu Output
+0/-0.5 dB @ 48 kHz, 20 Hz to 20 kHz
<-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 E60065
CSA 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/Thru: 5 Pin DIN
1/4" phone jack

Anodized aluminum front
Plated and painted steel chassis
23 character / 280 icon STN-LCD display
19" x 1.75" x 8.2" (483 x 44 x 195 mm)

4.1 lb. (1.85 kg)
100 to 240 VAC, 50 to 60 Hz (auto-select)
<15 W
1 year

40

Technical specifications are subject to change without notice

APPENDIX - TROUBLESHOOTING

Problems sending and receiving MIDI
information

You will need to reset the System Parameters!
This is easily done by performing a System
Parameter reset as described below.

The "System Parameter reset",
restores the factory defaults in the I/O
and Utility menus. The "System
Parameter reset" does NOT erase any
presets.

• Press and hold the ENTER key during
power up.

• Dial the CONTROL wheel until the display
reads "Reset Sys Param".

• Press the ENTER key to confirm.

• After 2 seconds, the display reads
"Clear/Reset done"

• Power Off - On.

The display reads "Kernel cleared" during the
first power up.

The M•ONE System parameters are now reset
and the MIDI port is fully functional.

41

APPENDIX - PRESET LIST - M•ONE

Presets in the standard M•ONE

M-One halls

1

Vintage Hall & Room

2

Natural Hall + Ambient

3

vocal/Choir halls

4

Vocal ambient & Hall

5

Vocal Delay & Spring

6

Vocal Hall/Ahort SN

7

VOC Large/Med plate

8

VOC Amb &Liveverb

9

Large VOC Hall/Room

10

Vocal Amb+ small Room

11

Drum &Perc Room

12

Share/Tom Live/Plate

13

Big Snare/ Real Room

14

Toms & a Big Share

15

Toms & a Short snare

16

Drum Amb+Short Snare

17

Perc Plate +S Room

18

Short Plate + L Room

19

Ambience & Liveverb

20

Tap Delay/Small Hall

21

Small/Large Halls

22

Gold Plate/Warm Hall

23

Plate & Spring

24

Bright Hall & Room

25

Wide/ Narrow Room

26

Medium/Small Room

27

Large /Medium Room

28

Large/Small Chamber

29

Slap Dly + Med Room

30

Detune and Med Room

31

Genericl Hall/Spring

32

Generic2 Amb/Live

33

Live Hall +Slapbak

34

Saxophone Room

35

Horns Hit Me

36

Horns Med/Large Room

37

Synth Hall+Ambience

38

Repeats & Slapback

39

The Pack 1SN 2VOX

40

Delay bleed-Hall

41

Detune bleed- Ambient

42

M-one Magic

43

Tape Delay - Spring

44

Phaser - Plate

45

Delay bleed-Room

46

Hall bleed - Chorus

47

Hall bleed -Hall

48

Room bleed -Hall

49

Small Hall - Hall

50

De-Essed Hall

51

De-Essed Plate

52

Chorused Hall

53

Compresed Live verb

54

Compresed Room verb

55

Wet Chorus-Phaser

56

Party Next Door

57

Sund Check

58

Aalog Style Delay

59

Detuned Tape Delay

60

Filtered Octaver

61

70´s Style

62

Room- Large Hall

63

Delay Phased

64

Chorused Ambience

65

Predelayed Hall

66

Chorused Warm Hall

67

Compresed Share Verb

68

Chorused Spring Verb

69

Gated Live Reverb

70

Delays and Hall

71

Five seconds Later

72

Wurlitzer Verb+Delay

73

Spread out Verb

74

Acoustic GTR

75

BG´s Spread

76

GTR Spring & Delay

77

GTR Spring & Chorus

78

GTR Spread

79

Rhodes Verb & Chorus

80

Dual Compressor

81

Dual Gate/ Expander

82

Phaser + Termolo

83

Dual EQ

84

Dual Delays

85

Delay and Chorus

86

Flanger & Chorus

87

Tremolo & Compressor

88

Slap Dly+Spring Verb

89

Phaser & Spring Verb

90

Stereo Compressor

91

Stereo Limiter

92

Stereo Gate / Expander

93

Stereo EQ-Loudness

94

Stereo EQ -Low Boost

95

Stereo EQ HighBoost

96

Stereo Phaser

97

Stereo Real Hall

98

Stereo Real Room

99

Stereo Hall

100

42

APPENDIX - PRESET LIST M•ONE XL

Presets in the M•ONE XL

M-One XL Halls

1

Pop Vocals

2

Small'n'Big

3

Concert Halls

4

Dance Vocals

5

Fat Vocal

6

Two Small Rooms

7

Big Vocal Lead

8

Medium Room/Big Hall

9

CountryRoom Big/Smal

10

Crispy Room & Delay

11

M-One Hall & Delay

12

Vox Plate/Warm Hall

13

Warm Club & Sn Plate

14

Warm Plates

15

Vocal Ensemble

16

Small Arena/Lrg Hall

17

Dry FAT/Double

18

Dry Feel 1&2

19

Dry Feel /Background

20

Empty Room & Delay

21

Rock'n Room'n Hall

22

Rock'a Billy Rev/Del

23

Wood Room Large/Big

24

Wood Room Small/Mid

25

Female Air Big Hall

26

Vox Bleed+Slap Room

27

Big Choir

28

Bright Hall & Delay

29

Vocal Ambience

30

Big Vocal & Gtr. Cho

31

Air/Small Guitar Rev.

32

Super Bright

33

Acc. Gtr. Cho&Detune

34

Acc. Gtr Ambi & Cho

35

Guitar Hero

36

Guitar Reverb Mid/Large

37

For Guitar

38

Jumping-Cat Guitar

39

Steel Strings

40

Jazzy Saxes

41

Drums & Perc

42

Drum Ambience

43

Large Snare/Tom

44

Long Snare/Tom Hall

45

Sn Gate Reverb

46

Sn Plate/Ballad Sn

47

Snare FAT/Hard

48

Snare + Lead Vocal

49

Snare Natural/Crisp

50

Snare Tight/InYrFace

51

Small Plate/Sn Hall

52

Horn Rev - Perc Rev

53

El Piano Verb&Chorus

54

Clavinet Pha & Rev

55

Wurly Trem & Chorus

56

Roomsssssss 1/2

57

Careless Whisper

58

Big Viking Hall

59

Ambience & Hall

60

Ambience & Room

61

NonLin

62

PingPong & Hall

63

Play Them Noseflutes

64

Pop Dr./Vocal

65

Small Room & Delay

66

Smooth Plate L/XL

67

Tight or BigBright

68

Tiles & Delay

69

Vintage Lead Vocals

70

Vintage Plate+Spring

71

Flutter Room & Delay

72

Hold Me Now Drm/Voc

73

80’s Hall and Chorus

74

Vocal-Dynamic

75

VocComps Hard/Soft

76

Short Reverb Voc/Sn

77

Vox Plate/Drum Room

78

Eggbox & Dark Hall

79

Complex Ambience

80

Concrete Basement

81

Closet + Locker Room

82

Gothic Cave

83

Bathroom

84

Small With Open Door

85

Empty Train Station

86

Wide Chorus&Flanger

87

Windy Reverb

88

Far Away / Volcano

89

XL Bright Hall/Pitch

90

XL-Plate Voc/Spring

91

Reverb & Gate

92

TweedSpring & Phaser

93

Double-Boomerang

94

Classic Devils Voice

95

BassBoomer

96

SFX:Phaser&Tremolo

97

Space Invaders

98

Spookey Voice

99

Stone Chorus

100

43

APPENDIX - PRESET LIST M•ONE XL

M-One halls

101

Vintage Hall & Room

102

Natural Hall + Ambient

103

Vocal/Choir Halls

104

Vocal ambient & Hall

105

Vocal Delay & Spring

106

Vocal Hall/Ahort SN

107

VOC Large/Med plate

108

VOC Amb &Liveverb

109

Large VOC Hall/Room

110

Vocal Amb+ small Room

111

Drum &Perc Room

112

Share/Tom Live/Plate

113

Big Snare/ Real Room

114

Toms & a Big Share

115

Toms & a Short snare

116

Drum Amb+Short Snare

117

Perc Plate +S Room

118

Short Plate + L Room

119

Ambience & Liveverb

120

Tap Delay/Small Hall

121

Small/Large Halls

122

Gold Plate/Warm Hall

123

Plate & Spring

124

Bright Hall & Room

125

Wide/ Narrow Room

126

Medium/Small Room

127

Large /Medium Room

128

Large/Small Chamber

129

Slap Dly + Med Room

130

Detune and Med Room

131

Genericl Hall/Spring

132

Generic2 Amb/Live

133

Live Hall +Slapbak

134

Saxophone Room

135

Horns Hit Me

136

Horns Med/Large Room

137

Synth Hall+Ambience

138

Repeats & Slapback

139

The Pack 1SN 2VOX

140

Delay bleed-Hall

141

Detune bleed- Ambient

142

M-one Magic

143

Tape Delay - Spring

144

Phaser - Plate

145

Delay bleed-Room

146

Hall bleed - Chorus

147

Hall bleed -Hall

148

Room bleed -Hall

149

Small Hall - Hall

150

De-Essed Hall

151

De-Essed Plate

152

Chorused Hall

153

Compresed Live verb

154

Compresed Room verb

155

Wet Chorus-Phaser

156

Party Next Door

157

Sound Check

158

Analog Style Delay

159

Detuned Tape Delay

160

Filtered Octaver

161

70´s Style

162

Room- Large Hall

163

Delay Phased

164

Chorused Ambience

165

Predelayed Hall

166

Chorused Warm Hall

167

Compresed Share Verb

168

Chorused Spring Verb

169

Gated Live Reverb

170

Delays and Hall

171

Five seconds Later

172

Wurlitzer Verb+Delay

173

Spread out Verb

174

Acoustic GTR

175

BG´s Spread

176

GTR Spring & Delay

177

GTR Spring & Chorus

178

GTR Spread

179

Rhodes Verb & Chorus

180

Dual Compressor

181

Dual Gate/ Expander

182

Phaser + Termolo

183

Dual EQ

184

Dual Delays

185

Delay and Chorus

186

Flanger & Chorus

187

Tremolo & Compressor

188

Slap Dly+Spring Verb

189

Phaser & Spring Verb

190

Stereo Compressor

191

Stereo Limiter

192

Stereo Gate / Expander

193

Stereo EQ-Loudness

194

Stereo EQ-Low Boost

195

Stereo EQ-HighBoost

196

Stereo Phaser

197

Stereo Real Hall

198

Stereo Real Room

199

Stereo Hall

200

44