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USER'S MANUAL - TC Electronic
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1. Dynamic Delay ca e Cain Red Studio Delay Compressor Z O Z TapeDelay Chorus D lt P Delay Fanger E PingPong Flanger 11 A Q SlapBack lt SoftTremolo m MAX MIN ML CP A Sa un u TIMING FEEDBACK DEPTH Phaser k AMOUNT DRIVE k FREQ RATIO r When powering up the M300 the default Delay controls ER Tempo is 120BPM but as explained the TIMING knob RISI position of the TIMING knob defines the Both the TIMING and the TAP keys are used to specify the desired tempo of the repeats A tempo is tapped on the TAP key and with the TIMING knob you multiply this tempo The range of the TIMING knob is 0 5 to 2 See example below FEEDBACK knob The FEEDBACK knob sets the number of Delay repeats Leaving the knob in 12 o clock position gives you the starting point suggested by TC Electronic 2 Example knob Let us just explore the Tap Tempo and Timing functions a bit further With a Studio Delay algorithm selected you tap quarter notes in tempo 120BPM using the TAP key With the TIMING knob in 12 o clock position you now have a Delay time of 500ms If you turn the TIMING knob fully counter clock wise the actual Delay time will be 0 5 times 500ms 250ms If you turn the TIMING knob fully clockwise the tempo will be 2 times 500ms 1000ms 1 second 24 actual tempo You should also note that the range varies
2. M 300 Input I yen AUX AUX Send Return Stereo Stereo Mixer Dual Send Return By routing two different signals to the two effect Engines you can utilize the M300 as two separate effect units with a common Output Left i Mulli Effect Oy Stereo Out i i Right In Reverb Use this if you e g wish to use the M300 to add Delay to a guitar on one channel and Reverb to a vocal on another channel M 300 Input Input Output Left Right Multi Effect Reverb Aux 1 Aux 2 AUX Send Send Return Stereo Mixer Parallel Routing analog Input only This routing gives you the opportunity to have two effects in parallel on a single mono signal Select Dual Inputs Routing by leaving the ROUTING switch on the rear panel in In position Connect a mono signal to Left Input The Input signal is now split and fed to both the Multi effects Engine and the Reverb Engine Both Engines then uses Left and right Outputs as common Outputs Signal Flow L Nr Stereo Out Y O Connect the M300 according to this illustration 900 Input Input Output Left Right Aux 1 AUX Send Retum Stereo Mixer Also see Setup examples on pages 10 to 15 23 MULTI EFFECTS This manual section explains the function of the front panel controls as well as the algorithm parameters in the Multi effects section
3. 31 Signal Flow Diagram 9 Technical Specifications 32 Typical M300 Setups 10 BASIC OPERATION How To Operate the M300 Input Output Section 16 The Multi effects Engine 18 The Reverb Engine 20 S ORO hn 21 Recall tet ag bares site lca dees 21 The Display 21 Miscellaneous Factory PresetS 22 MIDI channel 22 Sysex ID is ise AEn erue 22 M300 software 22 Ro lings de pet au sasay 23 Multi effects Dynamic Delay 24 Tape Delay 24 Studio Delay 25 Delay ric e eme 25 PingPong Delay 25 SlapBack Delay 25 Phaser vue ex nee ewe 25 25 26 Compressor 26 De Esser 27 Reverbs Reverb types 28 TC Electronic Sindalsvej 34 DK 8240 Risskov tcdk a tcelectronic com English Version Rev 3 2 SW V 1 00 Prod No E60501601 3 QUICK START IFYOU JUST CAN T WAIT If you just can t wait to hear the great effects waiting for you in your new M300 Dual Effects processor follow the few steps in this quick setup guide Unpack the M300 and check for possible damages that could have been caused by transport Read the safety instructions Take a few minutes to register online via www tcelectronic com
4. Stereo Out i t gt Right In Reverb R Dual Send Return This setup applies to a mixer with two or more AUX sends It utilizes the two effect sections in the M300 as two separate effects with a common Output On the rear panel select DUAL S R routing by leaving the switch in the IN position Connect AUX 1 send to the M300 Left Input Connect AUX 2 send to the M300 Right Input Connect the M300 Left and Right Outputs to the Stereo AUX L R returns of either AUX 1 or AUX 2 Set MIX to 10096 wet as you in this setup do not want the direct signal to pass the M300 Set Input level to 12 o clock position Set BALANCE to 12 o clock position Select Reverb type and Multi effect type using the selectors on the front panel Set the AUX Return level on the mixer to approx 5096 Now slowly turn up the AUX Sends 1 and 2 on the mixer for the channels you wish to add effect to Adjust fine tune the M300 Input level so the Input LED on the front panel often is Orange but only rarely peaks at Red color TYPICAL SETUPS Setup Outputs Left Right 300 Me 300 Inputs Left Right e e 9 e e ll 300 Outputs Left Right eeeeceeoecoeeoceee 6666666666006 Mixer Power Amp Speakers M300 Routing Schematic Left In Right In Stereo Out gt
5. Multi Effect Reverb Serial Setup This setup utilizes the M300 as a Multi effects processor connected in serial to a Reverb It is ideal when you wish to add Reverb to a signal already processed by one of the Multi effects The illustrated setup is a typical live instrument setup On the rear panel select SERIAL routing by leaving the switch in OUT position Connect Line signal directly from your instrument or from a DI box to the M300 Inputs use Left Input for mono signals Connect the M300 s Left and Right Outputs to mixer or amplification Set Input level to 12 o clock position Set MIX level to 12 o clock position Set BALANCE to 12 o clock position Adjust fine tune the M300 Input level so the Input LED on the front panel often is Orange but only rarely peaks at Red color Select Reverb type and Multi effect type using the selectors on the front panel Now fine tune MIX between wet and dry signal BALANCE between the two effect Engines TYPICAL SETUPS Setup M 300 Left MIXER Routing Schematic isi Multi Effect R gt Stereo Out Lo r NEER O MIDI In MIDI Out MIDI Out MIDI In M 300 19 ee 0 eo Goo of 12 Parallel Setup analog Input only This setup utilizes the M300 as a Dual processor on a mono signal with a common stereo Output
6. E If you try to load a preset from a location ZA where no preset is stored no action will wS take place Preset Off mode In Preset Off mode the M300 will process the signal according to the position of the front controls A what you see is what you hear setting y Once you have accessed the Preset Off BK mode and return to the Preset On mode 4413 the preset number will blink indicating that you must press LOAD to recall the settings stored with that particular preset Edited knobs LEDs Display Edited knobs LEDs relevant only in Preset ON mode These LEDs refer to the 10 front panel controls See illustration above They indicate when the front controls do not match the current settings of the active preset When you turn any of the knobs and pass the position physically matching the current parameter value the parameter is grabbed the LED goes off and you can adjust the parameter Load Store Presets Load User Preset Enter Preset On mode using the PRESET ON OFF key The M300 is in Preset On mode when the display shows location numbers 1 to 99 Use the UP DOWN arrows to select desired preset 1 99 The digits are now blinking to indicate that you are previewing the preset and it has not yet been recalled Press LOAD to recall the preset and the digits are now steady Store User Preset Enter Preset On mode using the PRESET ON OFF key The M300 is in Preset On mode
7. On the rear panel select Dual S R routing by leaving the ROUTING switch in the IN position Connect AUX1 or any to Left Input NO connections to Right Input The Left Input signal is automatically fed to the Right Input internally in the M300 Connect the M300 Left and Right Outputs to the Stereo AUX L R returns of either AUX 1 or AUX 2 Set MIX to 100 wet as you in this setup do not want the direct signal to pass through the M300 Set Input level to 12 o clock position Set BALANCE to 12 o clock position Select Reverb type and Multi effect type using the selectors on the front panel Set the AUX Return level on the mixer to approx 5096 Now slowly turn up the AUX Sends Adjust fine tune the M300 Input level so the Input LED on the front panel often is Orange but only rarely peaks at Red color Controlling M300 via MIDI Various functions in the M300 such as preset recall and Tap Tempo can be controlled via an external MIDI device This example shows how to control the M300 with a TC Electronic GeMinor footcontroller A complete list of CC values can be found on page 31 Connect MIDI Out on the GeMinor to MIDI In on the M300 Connect MIDI Out on the M300 to MIDI In on the G Minor You are now able to recall the stored presets in the M300 using the UP DOWN switches on the GeMinor You can also tap the Global Tempo using the HOLD switch Detailed information on the G Minor can
8. a table etc Club Did you ever discover the great difference of a soundcheck and the actual concert The Club Reverb emulates a typical empty medium sized club Try this on vocals or guitar as an effect that will put emphasis on these instruments Plate and Il Before the digital era either reverberating springs or large metallic plates was used to create Reverb The characteristics of Plate Reverbs are diffuse and bright and are still successfully used on many percussive instruments Spring The Spring algorithm is designed to reproduce the sound of the old spring Reverbs such as the ones used in vintage guitar amps Live For live purposes a rather grainy and bright Reverb is needed to cut through the typical background noise at live locations The Live Reverb is optimal when used with medium to long Decay times and will work excellent on both vocals and instruments requiring a clear and obvious Reverb Ambience With focus on the Early Reflections that defines the perception of a room size the Ambience Reverb type is typically used on dry recordings or dry drum samples to emulate a feeling of environment Ambience and Room definition are the keywords here 29 APPENDIX MIDI IMPLEMENTATION CHART DUAL ENGINE PROCESSOR M300 APRIL 2002 Function Basic Channel Mode Note Number Velocity After Touch Pitch Bend Control Change Prog Change SysEx Common System real time Aux Messages Default C
9. Routing via the ROUTING switch on the rear panel Note that if you do not add effects to the tracks while recording and uses Bypass mode you must use Serial routing Feed any analog signal to the analog Input on the M300 Connect the M300 S PDIF digital Out to the Digital Input on your soundcard The M300 must act as Master clock in this setup and you must therefore set your Soundcard to act as Slave There can be different names for this setting but External Clock External Sync or Slave are commonly used phrases This is probably setup via your harddisk recording program Please refer to owners manual For pure A to D conversion with no effects added both Effect Type Selectors should be set to Off Adjust Input level gain using the INPUT level knob OPERATING INPUTIOUTPUT SECTION 1 40dB Overload O DIGIN O IL IR ZNN BYPASS C Dual input ON C CO v 2NI SN rd INPUT This knob controls the Input level for both the Analog and Digital Input options For optimal performance of the M300 a well adjusted Input level is essential Analog Input Range Counter Clockwise 10dB Center OdB Clockwise 14dB Digtal Input Range Counter Clockwise 18dB Center OdB Clockwise 6dB 1 L 2 R INPUT LEDs These LEDs signal with three colors Green Indicating that you are well on the safe side Yellow Reaching optimal performan
10. depending on the selected Delay type E g as a short Delay time is what defines a Slapback Delay the range is considerably lower than in any other Delay algorithm When using the M300 in a Dual Send ZA Return setup the MIX knob should be set to 100 wet Delay Types Dynamic Delay The Dynamic Delay initially introduced in the well recognized TC 2290 is a function that allows the Delay Output level to be actively altered by the dynamics of the Input level The basic idea is to have a lower level of the Delay repeats while the instruments are played or vocals are sung and an increased level of Delay when no Input is present A function that leaves the source material clear and undisturbed while played and delicately accompanied by the Delay between phrases With the correct settings you will be amazed how you can use Delay effects on material where you previously never considered this an option MULTI EFFECTS Tape Delay This algorithm emulates the old style Tape Delays Before the Digital era Delays were created using a Tape Recording device with a tape loop and recording playback heads As you probably know analog tape recorders has a tendency to deteriorate change the recorded material Wow and flutter combined with a significant loss of high end frequencies and to some extent also low end frequencies are all elements commonly associated with tape recordings However these features are at times quite useful a
11. mode A standard MIDI sequencer program should typically be set to record a MIDI track Please refer to the user manual of the receiving device Now press LOAD once and the MIDI Bulk Dump is performed E 4 The M300 is always ready to receive a Nena MIDI bulk dump unless the receive MIDI channel is set to off OF Reset Procedure If you would like to do a complete reset of the M300 and return to factory settings follow this procedure Power down by disconnecting the power cord Press and hold TAP while reconnecting power The display will show a flashing R Press Load to reset Power off power on The unit is now reset E 4 Be aware that all User presets will be maA lost when performing a factory reset 3I APPENDIX TECHNICAL SPECIFICATIONS Digital Input and Output Connector RCA Phono S PDIF Formats S PDIF 24 bit EIAJ CP 340 IEC 958 Sample Rates 44 1 kHz 48 kHz only Digital Input Processing Delay 0 08 ms 48 kHz Frequency Response DIO DC to 23 9 kHz 0 01 dB 48 kHz Analog Inputs Connectors 1 4 phone jack balanced mono sense Impedance Bal Unbal 21 kOhm 13 kOhm Max Min Input Level 0 dBFS 24 dBu 0 dBu Sensitivity Range 12 dB headroom 12 dBu to 12 dBu A to D Conversion 24 bit 128 x oversampling bitstream A to D Delay 0 70 ms 0 65 ms 44 1 kHz 48 kHz Dynamic Range typ lt 92 dB 22 Hz to 22 kHz THD typ lt 90 dB
12. the front panel itself However read on for explanations of basic setups and routing options to achieve maximum performance from your new M300 The Dual Engine Structure lets you combine various effects with high quality Reverbs E ngine 1 Dynamic Delay Studio Delay Tape Delay Delay PingPong Delay SlapBack Delay Vintage Phaser Phaser Hard Tremolo Soft Tremolo Flanger 1 amp 2 Chorus Compressor De Esser Off Engine 2 Concert Hall Living Room Club Plate Plate Il Spring Live Reverb Ambience TC Classic Hall Vocal Studio Vocal Room Vocal Hall Drum Box Drum Room Large Cathedral Off dual engine processor t c electronic 1 40dB Overload O Ovnrurrem IL 28 DIGIN O Ouf Ort zt y 7 M d is Pd DRY BYPASS C Dual input ON C ins WET EFF REV rel MIX rel EFFECT BALANCE Dynamic Delay g Studio Delay TapeDelay Delay PingPong SlapBack VintagePhaser Phaser N FRONT PANEL OVERVIEW 4048 Overload O O ur y O y O lt T d d y uet DiGIN O BYPASS C DudipucON O 2B 348 E PO O O Gain Red rel rel MIX INPUT knob Adjusts the Input level 1 L and 2 R LEDS 3 color LEDs indicating Input level on Left and Right Inputs Green 40dB Yellow 6dB Red 1dB MIX knob Adjusts the mix between the wet and
13. when the display shows location numbers 1 to 99 Use the UP DOWN arrows to select desired preset location where you intend to store the preset 1 99 The digits are now blinking to indicate that you have not yet stored the preset Press the LOAD HOLD TO STORE key for approx 2 5 seconds until the digits turn steady 21 MISCELLANEOUS Factory Presets The M300 holds no conventional factory presets When all the controllers are in 12 o clock position the M300 is in neutral meaning that all parameters are set as suggested by TC Electronic Combining the 16 positions of both the Multi effect and Reverb selectors you actually have 256 factory presets MIDI CH Via an external MIDI device it is possible to recall presets and control parameters in the M300 For the external device to communicate with the M300 it is essential that they communicate on the same MIDI Channel The M300 can be set to receive on all MIDI channels none or all Press and hold PRESET ON OFF The current selected MIDI channel is displayed Assuming the M300 is right out of the box or that you have performed a Reset procedure as described on page 31 the display now shows d I indicating that channel 1 is selected and the M300 can receive MIDI information on channel 1 Use the UP DOWN arrows to select MIDI channels 1 to 16 O indicates Omni which means that the M300 can recive MIDI information on all channe
14. y A acm 22 M ES ol m TI FEEDBACK DEPTH MING AMOUNT DRIVE FREQ I RATIO TIMING knob as AMOUNT DRIVE control For the Compressor and De Ess algorithms marked with an this knob has different functions De Ess Amount Compressor Drive FEEDBACK DEPTH knob Controls the Feedback or Depth parameter depending of the selected effect Delay Feedback Phaser Depth Tremolo Depth Flange Depth Chorus Depth FEEDBACK DEPTH knob as FREQ RATIO control For the Compressor and De Ess algorithms marked with an this knob has different functions De Ess Compressor Frequency Ratio 3 6 12 LEDs These LEDs indicate the applied gain reduction when Compressor or De Ess algorithms are selected It is worth noticing that the Compressor uses Automatic Make up Gain to naturally compensate for the decreased gain FRONT PANEL OVERVIEW REVERB Concert Hall Lore TC Classic Hall Living Room Vocal Studio aang teen v N au iu Club Vocal Room Plate Vecal Hall Plate Il Drum Box A J lt A S Spring o a DrumRoom MIN i MAX MAX MIN i MAX Live Reverb J T large Cathedral Ambience PRE DELAY EDITED KNOBS un VO EFFECTS REVERB Hold PRESET to set MIDI Channel DECAY COLOR REVERB Type selector Selects between 15 different Reverb types or sets the Reverb Engine to Off PR
15. 0 0032 1 kHz 1 dBFS Frequency Response 0 0 1 dB 20 Hz to 20 kHz Crosstalk typ lt 100 dB 20 Hz to 20 kHz Analog Outputs Connectors 1 4 phone jack balanced mpedance Bal Unbal 40 Ohm 20 Ohm Max Output Level 14 dBu D to A Conversion 24 bit 128 x oversampling bitstream D to A Delay 0 68 ms 0 63 ms 44 1 kHz 48 kHz Dynamic Range typ 105 dB typ 22 Hz to 22 kHz THD typ lt 97 dB 0 0014 96 1 kHz 13 dBu Frequency Response 0 0 5 dB 20 Hz to 20 kHz Crosstalk typ 100 dB 20 Hz to 20 kHz EMC Complies with EN 55103 1 and EN 55103 2 FCC part 15 Class B CISPR 22 Class B Safety Certified to IEC 65 EN 60065 UL6500 and CSA E60065 CSA FILE LR108093 Environment Operating Temperature 32 F to 122 F 0 C to 50 C Storage Temperature 22 F to 167 F 30 C to 70 C Humidity Max 90 non condensing Control Interface MIDI In Out 5 Pin DIN Pedal 1 4 phone jack General Finish Anodized aluminum front Plated and painted steel chassis Display 2 x 7 segment LED s Dimensions 19 x 1 75 x 4 2 483 x 44 x 105 6 mm Weight 3 3 Ib 1 5 kg Mains Voltage 100 to 240 VAC 50 to 60 Hz auto select Power Consumption lt 15 W oo Parts and labor 1 year E Due to continuous development these specifications are subject to change without notice 32
16. Amount parameter For the Compressor algorithm the TIMING knob controls the Drive parameter TIMING knob Chorus Flanger Phaser and Tremolo Increases decreases the Tempo Remember that the default setting suggested by TC Electronic is achieved by setting the knob in 12 o clock FEEDBACK DEPTH FREQUENCY RATIO knob This knob changes functionality with the selected algorithms The knob controls the Feedback parameter in All Delays The knob controls the Depth parameter in Chorus Flanger Phaser Tremolo The knob controls the Frequency parameter in De Ess The knob controls the Ratio parameter in Compressor For further details on these parameters please read the Multi effects chapter on pages 24 27 THE REVERB ENGINE REVERB Concert Hall Exil TC Classic Hall Living Room Vocal Studio ae y Z Club Vocal Room P EN P M P Plate Vocal Hall S Plate Drum Box EMT NM se Za Ss CF Spring 4 a Drum Room MIN MIN Live Reverb Large Cathedral PRE DELAY DECAY COLOR Ambience Reverb Engine Pre Delay Reverb Selector Select between the following Reverb types or Off Concert Hall Classic Hall Living Room Vocal Studio Club Vocal Room Platel Vocal Hall Plate Il Drum Box Spring Drum Room Live Reverb Large Cathedral Ambience Off To hear the carefully de
17. DI channel 1 to 16 or o for OMNI receives on all channels or OF for Off using the ARROW UP DOWN keys Via this menu a Bulk Dump can also be performed see page 31 Press PRESET ON OFF key once to exit the MIDI channels set mode EDITED KNOBS LEDs The LEDs are relevant in Preset On mode only They indicate when the front controls do not match the settings in the actually recalled preset ARROW UP DOWN keys Scroll between presets when in Preset On mode REAR PANEL r wr um O O O O id N N Routing Switch Balanced Balanced Digital MIDI Pedal Power Jack Jack S PDIF In Out Input Input Analog Analog Input 100 240V Inputs Outputs Output ROUTING switch Analog Input Switches between Dual Send Return and Serial Analog Input on 1 4 inch connectors Input modes Use Left Input for connecting a mono signal Dual Send Return mode Ey If you connect to Left Input only and use Switch is In and Green LED on front is On ZA Dual Send Return mode the Input signal Mad is fed to both the Multi effects Engine Serial mode and the Reverb Engine and you can then use Switch is Out and Green LED on front is Off the M300 as two independent effect units with a common Output Read much more about these Routing options on pages 22 23 See also the suggested Analog Output setups at pages 10 15 Analog Output i
18. E DELAY knob Controls the relative Pre Delay of the selected Reverb DECAY knob Controls the relative Decay of the selected Reverb COLOR knob Controls the relative Color of the selected Reverb LOAD HOLD TO STORE key This key has two functions Press once to load the preset selected via the CURSOR UP DOWN keys Press and hold to store the current preset PRESET ON OFF key The M300 has two preset modes Preset Off mode The display reads as illustrated above no numbers In this mode the M300 will play effects according to the front panel controls When going from Preset On to Preset Off mode the effects will always be updated according to the positions of the front controls Preset On mode The display reads a specific preset number In this mode you can recall various user presets by using the UP DOWN arrows followed by LOAD Note that the M300 holds no Stored factory presets apart from the default settings in the various effects Toggling between the Preset On Preset Off modes generates two situations Erom On to Off Preset is updated according to the positions of the front controls From Off to On The display starts to blink the previously recalled preset number while still processing according to the front controls To actually load the preset press LOAD Set MIDI channel Press and hold the PRESET ON OFF key approx 2 5 sec Now set the desired MI
19. SLvynNiLaAn on n A Fa ANIHOVYN ANNOS JIUOJ 3 M300 DUAL ENGINE PROCESSOR emas e baez GN 7 USER S MANUAL IMPORTANT SAFETY INSTRUCTIONS The lightning flash with an arrowhead A 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 Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with dry cloth 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
20. a you harddisk recording program Please refer to owners manual Press the DIGI IN button on the M300 If the DIGI IN LED is green the M300 is locked correctly on the Digital Input signal If the LED is flashing Digital In is selected but no digital signal is received within 5 seconds or the signal is corrupt The M300 automatically returns to internal clock and analog operation but will continue to look for digital signal and the DIG IN LED on the front panel will keep blinking Check cables and make sure that your Soundcard is set as Master Once setup you can use the M300 as a plugin on your harddisk recording mixer TYPICAL SETUPS M300 M 300 Anolog Input 00 e o o e e e l S PDIF Digital Out Computer with Digital Card S PDIF Digital In Digital Setup M300 as A to D converter The analog to digital converters in the M300 are superior to most converters used on soundcards in the affordable price range You can therefore most likely benefit from using the M300 as an A to D converter when doing harddisk recordings Feed the M300 with an analog Input e g from you mixer or Instrument line signal and you are feeding a high quality digital signal to the harddisk If you wish you can of course add effects to the tracks while recording but the essence of this setup is to get best possible A to D conversion by skipping the A to D converters on your soundcard Select Serial or Dual S R
21. be found in the GeMinor manual Feel free to download from www tcelectronic com TYPICAL SETUPS Setup Preamp 300 Left Input 9990 e e e e ll Input or Effect loop Return Setup Left Input Left Output Effect loop Send Return Guitar Setups This setup utilizes the M300 as a Multi effects processor connected in serial to a Reverb It is ideal when you wish to add Reverb to a signal already processed by one of the Multi effects This is a typical guitar setup On the rear panel select SERIAL routing by leaving the switch in the OUT position Connect guitar to preamp Input Connect preamp Output to M300 Left Input Connect M300 Left Output to Input on your amp Use the regular Input or the Return on an effect loop if you use Combos or Heads If you are using a regular Power amp and speakers simply use the Inputs Set Input level to 12 o clock position Set MIX level to 12 o clock position Set BALANCE to 12 o clock position Adjust fine tune the M300 Input level so the Input LED on the front panel often is Orange but only rarely peaks at Red color Select Reverb type and Multi effect type using the selectors on the front panel Now fine tune MIX between wet and dry signal BALANCE between the two effect Engines M300 in an effects loop On the rear panel select SERIAL routing by leaving the switch in OUT position Connec
22. ce Red Should only occasionally blink at absolute peaks in the material you feeding the M300 with The Input knob adjusts the level for both Left and Right Input channels If there is a significant difference between the Input of the Left and Right channels you should adjust the Output of the device feeding the M300 DIG IN The M300 has analog as well as digital Input options The digital Input is the S PDIF type connected via RCA phono cables To select deselect the Digital Input press the DIG IN button once The green LED next to the DIG IN button will indicate various situations l6 gt a TOSS WET EFF REV rel EFFECT BALANCE LED Off Digital Input is set to Off The M300 processes only the signal present on the Analog Inputs This is done on an internal Sample Rate of 44 1kHz LED Green The M300 is locked correctly on the Digital Input signal With the digital signal a clock is supplied The M300 can lock on either a 44 1 or a 48kHz Sample Rate frequency which are the most commonly used Sample Rate frequencies E g a regular CD is 44 1kHz Flashing LED If Digital In is selected but no digital signal is received or the signal is corrupt the M300 automatically returns to internal clock and Analog operation However the M300 will continue to look for digital signal on the S PDIF Input and this is indicated by the flashing LED If you wish to stay in analog mode press DIG IN once and the LED will stop fla
23. 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 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 e Con
24. een one of the following effects and Off Dynamic Delay De Esser Studio Delay Compressor Tape Delay Chorus Delay Flanger 1 Ping Pong Flanger 2 SlapBack Soft Tremolo Vintage Phaser Hard Tremolo Phaser Off 12dB 6dB 3dB Gain Reduction LEDs These LEDs indicate the applied Gain reduction in the Compressor and De Esser algorithms TAP key and TIMING knob Delay Effects The tempo of the Delay effects is set using both the TAP key and the TIMING knob By tapping the TAP key you set a global tempo that you can increase decrease using the TIMING knob that operates as a multiplier in the Delay algorithms The range of the TIMING knob is 0 5 to 2 18 Example Let us say that you tap quarter notes in tempo 120BPM using the TAP key With the TIMING knob in 12 o clock position you now have a Delay time off 500ms If you turn the TIMING knob fully counter clockwise the actual Delay time will be 0 5 times 500ms 250ms If you turn the TIMING knob fully clockwise the tempo will be 2 times 500ms 1000ms 1 second When powering up the M300 the default Tempo is 120BPM but as explained above the position of the TIMING knob defines the actual tempo The nature of a Slapback Delay is very short Delay times and the range of this Delay type is therefore much shorter THE MULTI EFFECTS ENGINE TIMING knob De Ess and Compression For the De Ess algorithm the TIMING knob controls the
25. hanged Default Messages Altered True Voice Note ON Note OFF Key s Channel Song Pos Song Sel Tune Clock Commands Local ON OFF All Notes OFF Active Sense Reset O YES Mode 1 OMNI ON POLY X NO 30 Mode 3 OMNI OFF POLY Transmitted 1 1 16 x O X X X X Xx x gt XXO O gt x x x x gt x Recognized 1 OMNI 1 16 x O X X X X X x gt x O XXO O gt x x x x gt x Mode 2 OMNI ON MONO Mode 4 OMNI OFF MONO Remarks See CC list on page 31 for details All Controllers are Single Byte type scaled to parameter range MIDI TimeClock can be used to set Delay tempo APPENDIX MIDI CC amp RESET amp BULK DUMP Via an external MIDI device sending MIDI Control Changes you are able to control the parameters listed below Parameter Control Change number In Level 12 Mix 13 Effect Bal 14 Digi In 15 Bypass 81 MultiEff Type 50 MultiEff Off 82 Timing 16 Tap 80 Feedback 17 Rev Type 51 Rev Off 83 PreDelay 18 Decay 19 Color 20 MIDI Bulk Dump By performing a MIDI bulk dump you are able to dump all presets to an external MIDI device such as a sequencer for backup Press and hold the PRESET ON OFF key approx 2 5 sec Use the ARROW UP DOWN keys to select Bulk Dump mode The display will show EDITED KNOBS na n000 VO EFFECTS REVERB Lo mtl Y Hold PRESET to set MIDI Channel Set the receiving device in MIDI bulk receive
26. haser utilizes four all pass filters These filters create comb looking characteristics When the filtered sound is mixed with the direct sound the phasing sound occurs The Standard Phaser utilizes twelve all pass filters Due to the higher number of filters in the Smooth Phaser compared to the Vintage Phaser the Standard Phaser simply sounds smoother than the Vintage type E Phaser controls TIMING knob In the Phaser algorithm the TIMING knob sets the Speed of the Phaser FEEDBACK DEPTH knob In the Phaser algorithm the FEEDBACK DEPTH knob sets the Depth of the Phasing effect N J Hard Tremolo Soft Tremolo A Tremolo is basically a repeated level change controlled by an LFO The M300 offers a Hard Tremolo that used a square wave shape and Soft Tremolo that use a triangular wave shape Please see the illustration below The difference is quite obvious Listen and enjoy Hard Tremolo Square shape Soft Tremolo Triangular shape OSL Tremolo controls TIMING knob In the Tremolo algorithm the TIMING knob sets the Speed of the Tremolo FEEDBACK DEPTH knob In the Tremolo algorithm the FEEDBACK DEPTH knob sets the Depth of the Tremolo effect 25 MULTI EFFECTS Chorus and Flanger A Chorus Flanger is basically a short Delay that is modulated by an LFO Low Frequency Oscillator The difference between Chorus and Flanging is the applied De
27. ied knob and reduced the conventional Compression controls into the following controls Frequency FEEDBACK DEPTH KNOB Sets the Frequency around which you would Drive TIMING KNOB like to reduce frequencies The higher the Drive setting is the lower J the Threshold point is set and the harder you will hit the Compressor In other words The higher Drive setting the more compression is added Ratio FEEDBACK DEPTH KNOB This parameter sets the amount of gain reduction of signal above the Threshold see Drive parameter N 2 27 REVERBS The M300 holds the following Reverb types Concert Hall Classic Hall Living Room Vocal Studio Club Vocal Room Platel Vocal Hall Plate Drum Box Spring Large Cathedral Live Reverb Ambience Each of these Reverb types are created and fine tuned by the highly experienced staff at TC Electronic and utilizes the vast experience we have accumulated over the past years of producing high quality Reverbs Though the M300 is a very compact effects unit in the affordable price range there is no compromise when it comes the Reverb quality To get best starting points for your application set the three controls in kee the Reverb section in 12 o clock position and take a trip round the different Reverb types By leaving the controls in 12 o clock position you will hear our suggested settings for each Reverb type Once y
28. ined result Too much compressing applied will generally give an un dynamic less musical and flat result Parameters associated with Compression Threshold As soon at the Input signal is above the set Threshold point the Output level of the Compressor will be reduced by the specified Ratio Ratio Specifies how aggressive the gain reduction of the signal should be With a ratio setting of e g 4 1 for every 4dB that is above the Threshold point only 1 is passed to the Output Attack Specifies how fast the gain reduction specified by the Ratio parameter should be applied The Attack parameter in the M300 Compressor is fixed MULTI EFFECTS Auto Make up gain De Esser Since the Output of the signal above the set A De Esser is a compressor type used to Threshold point is reduced the entire signal will reduce only specific sibilant frequencies appear to be at lower volume In many Typically the s sounds can be far too l Compressors andialso inthe Compressor type dominant in a vocal track and the track would used inthe Auto Make up gain will therefore often benefit from being processed by compensate for this loss of gain a D Esser This way the Output level is kept and only the dynamic range is changed De Esser Controls 2 lt Amount TIMING KNOB Sets the amount of gain reduction around The M300 Compressor the Frequency specified by the Frequency For optimal ease of use we have simplif
29. lay time and the Feedback parameter in the Flanger The modulation of the short Delay gives very small variations in pitch These pitch changes blended with the direct sound gives you the Chorus Flanger sound A Chorus effect is typically used as a smoothing effect where the Flanger is more in the genre of special effects i Speed Flanger 1 and Flanger 2 The difference lies in a few fixed settings Flange 2 is more intense due to a higher Feedback setting a lower HiCut setting and a higher Delay setting Chorus Flanger controls TIMING knob In the Chorus Flanger algorithms the TIMING knob sets the Speed of the effect FEEDBACK DEPTH knob In the Chorus Flanger algorithm the FEEDBACK DEPTH knob sets the Depth of the effect 26 lt Compressor Before explaining how the M300 Compressor operates a little background information on compression in general could be useful Background A Compressor is basically used to reduce the dynamic content of a signal When the signal is above the set Threshold the Compressor starts to reduce the Output level according to the set Ratio With a reduced dynamic range a signal is much easier to further control and will have a more precise and fixed appearance in any audio production Illustration Threshold In Compression is a powerful tool Correct amount of compression applied on specific instruments will create a homogen well def
30. ls OF indicates that the M300 will ignore any incoming MIDI messages Press LOAD to verify and exit menu SysEx ID The M300 SysEx ID is always identical with the set MIDI Channel 22 Application Software version This number indicates the current loaded application software and is relevant only for Sevicing purposes Press and hold PRESET ON OFF and use the UP DOWN arrows to select AP as displayed below The display will flash between AP for application and the current loaded application software Front Software version This number indicates the current loaded front software and is relevant only for sevicing purposes Press and hold PRESET ON OFF and use the UP DOWN arrows to select Fr as displayed below The display will flash between Fr for front software and the current loaded front software number ROUTINGS It is essential that you have selected the correct routing according to your setup Serial Routing With this routing the two Engines are used as a line of two effects where the signal first passes the Multi effects Engine and thereafter the Reverb Engine Left In Stereo Out aa Multi Effect gt Reverb gt ight In This is the Routing to select when you want to add reverb to a signal after the signal is processed by the Multi Effects Engine On the rear panel you select Serial Routing and you should connect the M300 according to this illustration
31. lustrated above Set all controls in 12 o clock position to hear factory settings For Dual Send Return mode set MIX to 100 Select an Effect from the Multi effects section Select a Reverb type from the Reverb Section Start playing music through the M300 Adjust Input level to a level just below the point where the two INPUT PPMs turn red Set the desired Mix between the Dry and Wet signal of the entire M300 using the MIX control Set the desired balance between the Multi Effects section and the Reverb section using the EFFECT BALANCE knob Now tweak the controls for the two sections until you have the effects intended When using the Dual Send Return mode always set MIX to 10096 For any questions left unanswered by this manual feel free to visit our online support center TC Support Interactive which can be accessed via www tcelectronic com OSURFORT Latest manual revision can always be downloaded from www tcelectronic com INTRODUCTION Congratulations on the purchase of your TC Electronic M300 Dual Engine processor The M300 is a Dual Engine effects processor that is extremely easy to use Making no compromises when it comes to quality we proudly present the M300 in the affordable price range With top quality effects and the intuitive user interface we are convinced that you will enjoy the M300 now and in the future The M300 is so easy to use that this manual may seem nearly redundant to
32. nd sought after as they in some situations blend with and compliments the source material in a highly musical manner Among other things the M300 Tape Delay uses a HiCut with a rather low Cross over frequency to emulate the loss of highs found on conventional Tape delays Compare this to the clean Studio Delay algorithm which has a considerably higher HiCut frequency to see what fits your application Studio Delay As opposed to the Tape Delay algorithm described above the Studio Delay algorithm will give you a clearer reproduction of the material fed to the M300 To soften the Delay as it is commonly done in studio productions the Studio Delay uses a subtle yet significant HiCut at a relatively High crossover frequency Delay Standard Delay The M300 processing power and excellent 24 bit converters will process a precise high quality Delay with no deterioration of the sound PingPong Delay The PingPong Delay basically pans the Delay repeats from left to right and back while keeping the Input signal at its original position This gives a very wide spread special effect Slapback Delay Slapback Delay is a very short Delay with only a single or a few repeats The effect is commonly used as a doubling effect making the processed material seam more massive Short Slapback Delays are also often used on funky rhythm guitars a bit longer on Rockabilly guitar or vocals Phaser Phaser and Vintage Phaser The Vintage P
33. or send in the registration card Customers registered online will be notified directly via E Mail about new tips amp tricks and manual updates Consider the M300 as two effects processors in one box We call these two processors Engines The Multi Effect Engine creates one of the following effects Delay Chorus Flanger Phaser Tremolo De Ess or Compression The Reverb Engine creates Reverb These two Engines can be used separately or in conjunction Connections amp Routing The M300 has two routing options that require two different ways of connecting The Routing mode is set on the M300 rear panel and should correspond to your current setup m Serial mode ed Dual Send Return ROUTING mode Serial Routing switch in OUT position utilizing both effect Engines in serial Left In Stereo Out Multi Effect Li Reverb Right In Dual Send Return switch in IN position ideal if you need to send signal from two different AUX sends on your mixer and return on a stereo Aux or two other channels L sett Multi Effect Stereo Out Right ight In Reverb r For detailed explanations on Routings and connections please read page 22 When all audio connections are made connect power Set the M300 in Preset Off mode using the PRESET ON OFF key EDITED KNOBS ONOFF The M300 is in Preset Off mode when the display reads as il
34. ou have the Reverb type closest to your goal start twisting the controls Pre Delay A short Delay placed between the direct signal and the Reverb Diffuse field By using Pre Delay the source material is kept clear and undisturbed by the more diffuse Reverb Diffuse Field arriving shortly after Decay The Decay parameter determines the length of the Reverb Diffuse Field The length is defined as the time it takes for the Diffuse Field to decay approximately Color Varies the color of the Reverb From dark to crisp and bright the Color parameter can really change the characteristics and style of the Reverb Try it 28 Perception of Reverb types may vary from person to person It is a rather subjective issue to discuss describe or even define However over the years a general perception of basic Reverb types has evolved From these definitions the experienced sound engineer chooses and is given good starting points for various applications We choose to briefly describe the Reverb types found in the M300 like this TC Classic Hall The TC Classic Hall simulates a rather large Hall and preserves the natural characteristics of the source material This is excellent for many studio applications requiring medium to long Decay times and especially on vocal material Concert Hall Compared to the TC Classic Hall the Concert Hall is a more diffuse Reverb type This type of Reverb is often used on drums and other perc
35. s a Stereo Output on two 1 4 Jack connectors Pedal Input The Pedal Input gives you the possibility to Bypass and tap the Global Tempo via momentary switches The Global tempo can be used to set Delay time The connection is a 1 4 Stereo Jack with Bypass on tip and Tap Tempo on ring SIGNAL FLOW M 300 ANALOG IN DPUEPM LEVEL Digital Analog Left Input Selector Signal ignal ANALOG al Processing INPUTS Engine amp balanced Right Engine 2 ANALOG OUTPUTS balanced Digital Output S PDIF Digital Input MC S PDIF DIGITAL IN GAIN MIDI Cable DIN CONNECTOR DIN CONNECTOR SPOLE MALE 5POLE MALE max 10m 180 degrees 180 degrees Neun CABLE 3 or 5 wires md Jack Cable Jack Cable Mono to Mono Stereo TIP GND GND GND TIP RING TIP TYPICAL SETUPS Connecting and Setting up the M300 Setting up the M300 is very easy It is however important to connect and setup the M300 correctly according to your application Setting up basically means connecting selecting one of the two routing options via the switch on the rear panel and finally setting the MIX control on the front panel Find the setup you are about to create or similar on the following two pages and follow the instructions 10 Setup a tl AUX STEREO SENDS AUX RETURNS M300 Routing Schematic L Leth y Multi Effect OH
36. shing Dual S R On LED When this LED is lit green it is indicated that the Dual Send Return Routing is selected via the switch located on the rear panel Read more about the Dual Send Return mode on page 22 23 OPERATING INPUT OUTPUT SECTION MIX Sets the mix between dry and wet signal The Mix parameter operates differently depending on the selected routing In Dual S R Routing Mix controls the overall wet dry mix of both the Multi effect and the Reverb section In Serial Routing Mix functionality in the Effects section depends on the selected effect BYPASS The Bypass function operates differently depending on the selected routing Dual Send Return routing Bypass key operates as a Mute function Serial routing Here the Bypass function simply passes the source signal unprocessed to Output EFFECTS BAL Sets the balance between the two Engines Both Engines have maximum Output in 12 o clock position Fully clockwise or counter clockwise settings can be considered as 100 bypass of one of the Engines THE MULTI EFFECTS ENGINE Ea Deis Studio Delay O S TapeDelay lt Chorus Delay e Hanger I PingPong e anger 11 I e Soft Tremolo Hard Tremolo SlapBack Vintage Phaser 1 Phaser 3dB A Gain Red TAP CS MIN OR DEPTH P G k FREQ RATIO Multi Effects Engine Effect Selector With the EFFECT selector you select betw
37. signed default settings for each of the Reverb types set PRE DELAY DECAY and COLOR knobs in 12 o clock position neutral Then adjust and fine tune to the given application It is worth noticing that the range of each of these parameters will vary from algorithm to algorithm As an example it is possible to set a much longer Decay time for a Classic or Concert Hall Reverb than for a Drum Box 20 A short Delay placed between the direct signal and the Reverb Diffuse Field By using Pre Delay the source material is kept clear and undisturbed by the more diffuse Reverb Field arriving shortly after Decay The Decay parameter determines the length of the Reverb Diffuse Field The length is defined as the time it takes for the Reverb to decay approximately Color Varies the color of the Reverb From dark to crisp and bright the Color parameter can really change the characteristics and style of the Reverb STORE RECALL amp M300THE DISPLAY EDITED KNOBS ET CI I O EFFECTS REVERB LOAD HOLD TO STORE L Hold PRESET to set MIDI Channel PRESET ON OFF Preset Modes The M300 holds two significantly different modes To toggle between these modes press the PRESET ON OFF key Preset On mode In this mode it is possible to load any of the previously stored presets The Preset On mode is active when the display shows location numbers from 1 to 99 i 4c
38. 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 NOOB OO N The exclamation point within an A 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 e Check the voltage in your area and use the correct type See table below Voltage Line plug according to standard 110 125 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
39. sultthe 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 num rique de la classe B est conforme 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 M300 Dual Engine 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 Product family standard for audio video audio visual and entertainment lighting control apparatus for professional use Part 1 Emission Product family standard for audio video audio visual and entertainment lighting control apparatus for professional use Part 2 Immunity EN 55103 1 EN 55103 2 With reference to regulations in following directives 73 23 EEC 89 336 EEC Issued in Risskov March 2002 Anders Fauerskov Chief Executive Officer T TABLE OF CONTENTS INTRODUCTION APPENDIX Table of Contents 3 MIDI Implementation Chart 30 Introduction 5 MIDI Continuous Controllers 31 Front Panel Overview 6 Reset Procedure 31 Rear Panel Overview 8 MIDI Bulk Dump
40. t guitar to amp Input Connect effect loop send to M300 Left Input Connect M300 Left Output to Effect loop Return Set Input level to 12 o clock position f the effects loop is serial type see owners manual for the amp set MIX level to 12 o clock position If the effects loop is parallel type set MIX to 100 fully clockwise position Set BALANCE to 12 o clock position Adjust fine tune the M300 Input level so the Input LED on the front panel often is Orange but only rarely peaks at Red color Select Reverb type and Multi effect type using the selectors on the front panel Now fine tune BALANCE between the two effect Engines TYPICAL SETUPS Digital Setup M 300 00 e 6 e e e e e lll M300 as Insert I S PDIF In S PDIF Out This setup is ideal if you are using the M300 as a digital insert effect on your harddisk Computer with recording system Me This setup requires that you are using an pi O Cord VO card with S PDIF In Out Select Serial Routing by leaving the CERES ROUTING Switch on the rear panel in Out position Connect the M300 S PDIF digital Out to the Digital Input on your soundcard Connect the Digital Out on your soundcard to the Digital In on the M300 S PDIF Digital In Set your Soundcard to act as Master clock There can be different names for this setting but Internal Clock Internal Sync or Master are commonly used phrases This is probably setup vi
41. the dry signal 100 Wet is achieved at fully clockwise position EFFECTS BALANCE knob Adjusts the balance between the Effects Engine and the Reverb Engine Maximum effect from both Engines is achieved at 12 o clock position DIGI IN button and LED LED Off Digital Input is set to Off The M300 processes only the signal present on the Analog Inputs LED Green The M300 is locked correctly to the Digital Input signal LED Flashing Digital In is selected but no digital signal is received or the signal is corrupt The M300 automatically returns to internal clock and Analog operation rel EFFECT BALANCE BYPASS knob and LED Bypass function varies depending on the selected Routing set on the rear panel Dual Send Return routing Bypass operates as mute Serial routing Bypass routes the Input signal to Output MULTI EFFECT selector Selects between the 15 effects amp Off in the Multi effects Engine TIMING knob amp TAP key Tap the global tempo using the TAP key by tapping quarter notes Now use the timing knob to multiply the tapped tempo The range varies from 0 5 to 2 Example Tap quarter notes at Tempo 120 BPM This equals 500 milliseconds The range of the TIMING knob is 0 5 to 2 giving you a Delay time varying from 250ms to 1000ms Note that the Slapback Delay type has a shorter range as the Slapback Delay type by nature is a short Delay s v
42. ussive material We are still talking a simulation of a rather big facility Vocal Room Vocal Studio Vocal Hall The three types all simulates typical vocal recording facilities The Vocal Studio and Vocal Room types are medium sized locations They give the soft type of reflections usually associated with wooden surfaces The Vocal Hall is a larger location than the above but still with the soft characteristics of wooden surfaces Drum Box Drum Room Reverbs especially designed to emulate the typical recording rooms used for drums The Drum Box is a 80 s style ambient room with only very short reflections The Drum Room emulates the reflections in a medium sized drum room with a high ceiling giving longer but natural sounding reflections compared to the Drum Box Large Cathedral Where the TC Classic Hall and to some extent also the Concert Hall are Reverbs with smooth diffuse fields the Large Cathedral has a much more uneven diffused field Emphasis on the reflections deriving from many hard surfaces and the high amount of Lo Color naturally occurring in this type of rooms gives excellent simulation of the Large Cathedral REVERBS Living Room Directly opposite the Large Cathedral the Living Room type simulates a relatively small room well furnished In such a room many reflections are absorbed by soft material and source material is reflected and sustained only from walls with wallpaper and windows and maybe
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