The TC Electronic M350 is an extremely user-friendly dual engine rack processor which is equally suited for live and studio applications. It combines 15 brand-new TC-quality reverbs with 15 multipurpose effects including delay, modulation and compression. Studio engineers and recording musicians will benefit from the included VST compatible software editor, which allows for seamless control and editing integration with DAW systems. Through the included software editor, parameters and preset recalls may be fully automated or real-time controlled. High density 24 bit processing and AD/DA conversion delivers the full transparency of TC reverbs and effects.
Choice Selection of Effects
The M350’s reverbs include: classic TC hall, cathedral, ambience, room as well as plates and springs, and the comprehensive effects section includes a number of essential compression, modulation and delay variations.
The 256 factory presets cover a wide range of applications and audio sources, and enable you to use the M350 right out of the box. With 99 additional user presets, the total number of presets amount to 355.
Easy Front Panel Access
M350 was designed with the utmost user-friendliness in mind. All reverb and effect types and parameters are accessible directly from the front panel, ensuring maximum flexibility in any given situation.
Perfect for Computer Recording
Through the included software, the user can control and edit the M350’s parameters stand-alone and in any VST environment.
The auto-sensing digital input at 24 bit S/PDIF ensures bullet-proof input connection in any setup. Furthermore, the M350 comes with an easy-to-read preset display, and provides MIDI in/out, MIDI clock tempo sync, pedal control of tap tempo, and global bypass.
The M350 comes with 15 legendary TC effects. They are all a result of the award winning TC effects heritage, and our research and development department have been working double shifts to come up with these 15 super-tuned TC effects.
The Dynamic Delay preset gives you the possibility to alter the delay output level actively depending on the dynamics of the input level. What that means is that you can have a low level delay when you’re passing a source through the device and a higher level of delay when you cut off or silence the source. Use it for instance to emphasize pauses in between phrases in a solo.
Triplets are basic musical structures that have a great effect on our rhythmical perception, especially when played against something straight. The Triplets delay preset gives you a serious and versatile tool to rework your source material. Use it on e.g. guitar solos, horn solos or even percussive instruments.
With a clear and concise reproduction of the original source material, the Studio Delay gives you a serious tool for studio work. It utilizes a subtle yet significant high cut with a relatively high crossover frequency that enables you to achieve a transparent and precise sound.
If you’re looking for a clear yet soft reproduction of your original sound, you should try the Soft Delay preset. We’ve integrated a subtle yet significant high cut with a relatively high crossover frequency, which will give you a soft and smooth delay. This type of delay is perfect for studio recordings, and in fact you’ll discover that your tracks will sound very “studio like” when you use it.
A PingPong delay pans the delay repeats from left to right, and back, while at the same time keeping the original position of the input. The PingPong Delay preset is naturally no exception and it gives you a very wide-spread special effect that is crowd pleaser. Use it live or in the studio when you want a dramatic and unique sound.
The Slapback Delay preset is a very short delay that only counts one, two, or maybe even three repeats. Often this type of effect is used as a “doubling effect” in order to make the original source content more dense or solid. But you can also use the Slapback Delay on funky guitar riffs for instance.
This phaser uses twelve all-pass filters at the same time, which gives you a well-adapted and very smooth sound. Use this type of phaser when you want the typical phasing characteristics combined with a more elegant and subtle approach. In other words this is an effect that gives you the typical phaser qualities with a sophisticated and delicate twist.
The Vintage Phaser uses four different all-pass filters that give you a direct and to-the-point sound. Depending on how the filtered signal is mixed with the dry signal, you’ll get a strong and typical “phasing sound” that is extremely versatile. Use it with equal success both on the stage and in the studio.
If you’re the type of person that enjoy effects that will take your music one step up, then the Lush Chorus preset will be one of your favourites. It gives you a broader and more complex sound that is a perfect match for the funky and jazzy music styles that often have lots of solos.
Sometimes what you need is a natural, stable and well-tempered sound. The Soft Chorus preset is a basic chorus that you can use with eloquence on laid back styles of music like ballads, chill out and moody jazz. It will give you a sound that is true to the original source material and you’ll be surprised how often it will add that extra something to your music.
TC flangers have been known for their perfect relation between speed and depth, and the Inst. Flanger preset is certainly no exception. This flanger gives you a classic “flange sound” with a wide and broad spread-effect. Use the Inst. Flanger when you want a large chorus-like sound that has all the typical and beneficial characteristics of a genuine flanger.
Compression can be pretty tricky and more often than not, you have probably been subject to “over-compressing”. With the Comp preset you’re on the fast and steadfast track to professional and easy compression. Use it for most sources where you want the benefits from a professional compression that won’t disrupt your original source.
The Hard Comp preset is tweaked to deliver a hard yet “nice” compression to your source. What that means is that although the preset will compress your source relatively hard, it won’t disrupt and over-compress your source. Use this type of compression on e.g. drums and percussive instruments and achieve a signature sound.
The De-Esser preset removes all unwanted s’s that some microphones or singers have so much trouble with. Use it predominately on vocal material to clean up the sound and make the source more homogenous.
The Tremolo preset uses a wave shape that is triangular and that gives you an easily recognizable tremolo sound. This type of effect is a true crowd pleaser and it will work on many sources, although it is probably most known from 007 style guitar solos. It is a soft and appeasing tremolo that is quite useful for slower and more melancholic types of music.
Inside the M350 you’ll find 15 shining world-class TC reverbs. Each of the reverb types is a result of extensive fine-tuning and research done at the TC reverb laboratories. Although the M350 is a non-expensive no-nonsense dual engine processor, you’ll find that the reverbs are some of the best and most versatile reverbs on the market.
TC Classic Hall
This reverb emulates a large hall with a broad and warm reverb, and a relatively long decay time. It preserves the natural characteristics of the original source, which gives you an incomparable and authentic large sound. Very often vocal source material call for the TC Classic Hall preset, but you can use it for a wide variety of studio and live applications.
The Hall Acoustic preset is a broad yet slightly diffuse reverb. It simulates a large environment but adds a distinctive acoustic flavor to the source material. You can use this reverb with great effect on drums and other percussive material, but it is also be used when you want to create an unbiased yet genuine ambience.
This preset will match and refine vocal sources that need that extra something. The Vocal Reverb preset gives you a soft and mellow tone that is identical to the reflections you get from medium sized rooms with wooden surfaces. Use it to obtain a personal yet subtle and agile sound on your vocals.
The Live Vocal reverb emulates a large room or venue that has many wooden surfaces. The reflections from wooden surfaces give you a soft and smooth reverb type that will suit vocal material perfectly. If you’re seeking a large reverb with spongy reflections to use live or in the studio, the Live Vocal preset is the answer.
Going back in time to the 80’s the Drum Ambience preset simulates a small ambient room with very short reflections. This gives you a perfect reverb for all types of drums and percussive instruments that you would like to give that classic sound of the past. It can be used with great effect on studio recordings or even when you play live.
The Drum Room reverb will flavor your drum- and percussive source material with great elegance. The preset simulates a medium sized room that gives you a relatively long yet natural sounding reverb. It preserves the full spectrum of the source while giving it an unmistakably quality of brilliance and presence.
Emulating a large location with hard and uneven surfaces, the Cathedral preset gives you a broad and unevenly diffused reverb. This reverb type will open and colour your source with the natural ambience which is so typical of cathedrals. If you’re playing live this preset will be a crowd pleaser, but it is equally suited for studio use where a distinctive effect is called for.
A small and well-furnished room with an intimate ambience is what the Living Room reverb simulates. Living rooms will absorb many reflections due to the soft materials in it, and that gives you a reverb type with few reflections that are sparingly sustained. Use it to get an intimate and to the point atmosphere.
The Gold Plate reverb is a trip back into the past. In the old days before digital signal processing was invented, people used large metallic plates to create reverbs. This preset emulates that unique sound which is diffuse, bright and filled with nostalgia. The Gold Plate reverb can be used with superior excellence on percussive instruments.
Going back in time the Silver Plate emulates the large metallic plates which were used to create reverbs before digital signal processing was commonplace. This preset gives you a light and relatively diffuse reverb which will work splendidly on percussive instruments that need a twist of the past.
Back in the old days they would use large springs to generate a reverb, and in fact this was used a lot in the old vintage guitar amps. The spring Vintage preset simulates this type of reverb and it will give you a distinctive vintage sound that is true to the original.
If you’re playing live you might want a reverb that can cut through all the background noise which is so typical at live gigs. The Live Stage preset gives you a grainy and bright reverb that will work equally well on vocals and instruments that need to be distinct and to the point.
This reverb is tailor-made for dry source material. It clearly defines a room and focuses on the early reflections which will add ambience and warmth onto many types of sources, e.g. dry drum samples.
The Damped Room reverb can be used with great results on source material which needs to be very lightly reverberated. The preset simulates a small studio or vocal box that is completely padded with soft- and absorbing material. It gives you a very tight and to the point sound.
If you want a reverb that is tight and with a predomination of early reflections, the Nearfield reverb will be your preferred choice. It emulates the small amount of natural reverb that occurs in e.g. a studio control room. Use this reverb type to obtain a tight, bright and smack-in-the-face sound.
- Full DAW integration through VST compatible editor
- 15 true and stunning stereo reverbs
- 15 legendary effects
- 5 seconds of delay
- 256 multi-effect/reverb presets + 99 user preset locations, a total of 355 presets
- Internal power supply – no wallwart !
- Dual send/return & serial style setups
- Auto-sensing 24 bit S/PDIF digital I/O, 44.1-48 kHz
- Tap tempo
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
- Connectors: 1/4″ phone jack, mono sense
- Impedance, Bal / Unbal: 21 kOhm / 13 kOhm
- Max. / Min. Input Level @ 0 dBFS: +24 dBu / 0 dBu
- Sensitivity Range @ 12 dB headroom: -12 dBu to +12 dBu
- A to D Conversion: 24 bit, 128 x oversampling bitstream
- A to D Delay: 0.70 ms / 0.65 ms @ 44.1 kHz / 48 kHz
- Dynamic Range: typ < -92 dB, 22 Hz to 22 kHz
- THD: typ < -90 dB (0.0032 %) @ 1 kHz, -1 dBFS
- Frequency Response: +0/-0.1 dB, 20 Hz to 20 kHz
- Crosstalk: typ < -100 dB, 20 Hz to 20 kHz
- Connectors: 1/4″ phone jack
- Impedance 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 < -97 dB (0.0014 %) @ 1 kHz, +13 dBu
- Frequency Response: +0/-0.5 dB, 20 Hz to 20 kHz
- Crosstalk: typ < -100 dB, 20 Hz to 20 kHz
- Complies with: EN 55103-1 and EN 55103-2
- Certified to: IEC 65, EN 60065, UL6500 and CSA E60065 CSA FILE #LR108093
- 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
- MIDI: In/Out: 5 Pin DIN
- Pedal: 1/4″ phone jack
- 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 lb. (1.5 kg)
- Mains Voltage: 100 to 240 VAC, 50 to 60 Hz (auto-select)
- Power Consumption: <15 W