WHEN YOU THINK about quality effects processors, TC Electronic is a manufacturer that comes readily to mind. The recently released M-One XL — a versatile multi-effects unit designed for stage and studio — is sure to further enhance TC's reputation. Featuring twin digital signal-processing (DSP) architecture, flexible routing, and high-quality effects, it has a lot in common with its predecessor, the M-One. As its name would suggest, however, the XL brings even more to the table (or should I say, to the rack), including new reverb algorithms designed especially for live applications and XLR analog inputs and outputs.
Because of its +4 (line level) balanced analog I/O, the M-One XL is designed to connect to mixers or other pro-sound devices that are similarly equipped, and it generally won't get a hot enough signal when connected directly to instrument-level sources. Here's a peek under the hood.
THE LITTLE ENGINES THAT COULD
Like the original M-One's, the XL's dual processors can each receive signal from one or both of the unit's balanced inputs and act as two independent (mono-to-mono or mono-to-stereo) effects units. They can also be set up to work together in parallel, layering effects over the same sound, or to cascade one into the other to produce, for instance, reverberated echo repeats.
Both engines are output to a single stereo output pair, with sufficient programmable parameters (including level, EQ, and pan) to patch with full functionality into a simple stereo aux return, thus saving your mixer's precious mic input channels for microphones and direct-injection boxes. The M-One XL's 1U chassis saves rackspace, and its internal switch-mode power supply helps keep the unit light and wall-wart free.
S/PDIF inputs and outputs (see Fig. 1) allow the M-One XL to connect with digital audio workstations and other digital devices without leaving the digital domain. The unit's 24-bit A/D/A converters with selectable dither (which smoothes truncation to CD-standard 16 bits) have led some pro studios to use the M-One and the M-One XL, with DSP engines bypassed, to supplant older converters in DAT recorders and PCI sound cards.
MASTER OF SPACE
As handy as a pocket multitool, the M-One XL is capable of a full range of time-based effects, EQ, and dynamics processing. Its main blade, however, is its complement of eight newly redesigned reverb algorithms. Of particular note is the Live reverb algorithm, which TC Electronic recommends for “cutting through” a sound-reinforcement system. This reverb lives up to its billing — the more I used it on shows, the more it became my first choice.
The unit allows you to independently select the characteristics of the early reflections and of the reverb tail, with predelay separating the two. This programmability makes crafting a reverb sound a joy. During a recent sound gig, I was able to easily and intuitively tweak reverb settings on the fly. With the exception of the Spring algorithm, which employs no early reflections, all of the reverbs on the M-One XL share these programming capabilities, including allowing for modulation of the reverb tail. Reverb tone controls include High Color (decay time) and High Cut (cutoff frequency), with Low Color allowing the operator to dry up the low end or get ready to rumble.
The M-One XL's reverb algorithms added a different flavor that nicely supplemented the other reverb units in my rack. However, with its sonic versatility and twin-DSP engine, an M-One XL by itself would certainly provide all the reverb power you'd need for a show.
MASTER OF TIME
Although reverbs are the M-One XL's strong suit, it offers quite a bit more, including a full-featured delay section. The One Tap, Two Tap, and Ping-Pong algorithms offer long delay times (5,000 ms per tap and 2,500 ms per Ping-Pong side) and high fidelity. The M-One XL's Tap Tempo function — which can be assigned to either or both engines and can also tweak modulation speed — allowed me to accurately set delay times on the beat during song count offs.
Delay times can be displayed in milliseconds or bpm, which, along with the unit's MIDI synch capability, should please assemblers of groove-based dance music. There are also sweepable high- and low-cut filters for applications such as tape echo simulation, for which lower fidelity is appropriate.
MODULATE, MODULATE
You'll find a useful selection of chorus, flange, pitch-shift, tremolo, and phaser effects on the M-One XL. The unit's ability to stack modulation effects using the twin-DSP architecture makes it possible to create lush and complex sounds.
The Pitch Detune effect adds depth and breadth, though I did notice audible glitching at ±7 cents, which is right where the sound gets lively and starts moving in the stereo field. Therefore, I would reserve that effect for an element in an ensemble mix rather than for a solo passage. The tremolo is useful but will likely disappoint those looking for a vintage amp throb.
DYNAMIC DUO
The M-One XL offers a nice selection of dynamic processing (compression, limiting, expansion, and gating) as well as parametric EQ, all of which are most appropriate for use when the unit is patched in to channel or bus inserts. The EQ's shelving filters have the interesting ability to vary not only the cutoff frequency but also their cutoff slope from 3 to 12 dB per octave in 3 dB steps, allowing the user to craft smoothly rising or falling responses.
The compressor offers the choice of soft- or hard-knee settings (gradual or abrupt application of gain reduction near the threshold), whereas the limiter permits control over the attack time of the gain reduction. The M-One XL might not be my first choice for these functions, but it gets the job done.
LEARNING TO BE STRONG
The M-One XL is generally pretty easy to use, but it's so feature-rich that there's still a substantial learning curve. Unfortunately, the owner's manual is not as helpful as it could be. Although it does go into detail about the parameter definitions for the various effects, it neglects some important operational information such as how to select from among the algorithms.
The manual's weakness is mitigated to a large extent by TC Support Interactive, a Web-based help feature that lets users ask questions by email; answers are returned promptly, usually within two business days. Some time after the original evaluation period, the Tap Tempo on my review unit ceased to function. It took only two rounds of question-and-response to find out the simple steps to doing a master factory reset, which solved the problem and made me happy as a clam.
One other quibble is the lack of an express mode for the Control Wheel that's used to incrementally change parameter values. This means that it can take a long time to scroll between extreme values of certain parameters, which can be a drag in a live situation. When adjusting delay or modulation times, you can work around this problem by using the Tap Tempo button for entry. You could also program separate user presets (100 can be saved) and simply switch between them when you need parameter variations. Presets can also be accessed and parameters tweaked through MIDI.
STAY WITH ME
The TC Electronic M-One XL has much to offer. It sounds great, has a wide variety of effects, and offers plenty of routing flexibility (including the ability to be configured as two independent multi-effects units). In addition, it doesn't take up much rackspace or use a lot of mixer inputs, and it offers prodigious bang for the buck. As a working sound engineer, I appreciate all of the M-One XL's attributes — so much so, in fact, that I ended up buying one myself.
