*m-one xl NEED SETTINGS**

Keenan Friday · From: Magnolia, Arkansas, USA

If someone could explain to me the settings for the m-one xl processor for steel, I would be appreciated.
I am making the switch from a dd3 and amp spring reverb to this processor which has both. I am using the walker stereo steel with this processor.

I bought this processor from guitar center and it didnt come with walker presetttings for steel.

I need the settings for reverb decay time, delay feedback, level, high cut, high color, (the reverb sounds so spacy)ect.. If someone could email or post their settings, I would immensely appreciate that.
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Keenan Friday
Mullen Pre Royal D-10, Walker Stereo Steel, Hilton pedal, George L cables, Livesteel Strings, (White) Fred Kelly thumbpick, Dunlop .025 fingerpicks

Carl Kilmer · From: East Central, Illinois

I could sure use some help in getting mine set up too.
Mine works good, but I just don't how to program it.
Many thanks for any help from this end as well.
Carl
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aka "Lucky Kay"--Custom built Rittenberry SD10 3X5, Walker S/S, NV-112, and Hilton Pedal

Wayne Franco · From: silverdale, WA. USA

Look for the routing option of Parallel/serial. You would want Delay in Engine 1 and Reverb in engine 2. With the Par/ser setting there is an option of bleeding reverb from engine 2 back into engine 1 delay in the amount you want. I was happy with 20% but I'm still playing with it. If you have the manual or(download) it on line the info will be on pg. 14. Pre delay 30-50 ms. I have two set ups one with 180ms of delay for almost a note doubling and 325ms for ballads. Again I'm still messing around with it. Its so clean I think I can increase the volume of the delay and still be fine. Its REALLY clean and big. I guess my only question is can something be too clean? This is an amazing effects unit. I'm running mono right now thru a Tonic pre and 2 TC Furlong splits. My pre-amp will be a Revelation in about a week and I can run stereo. There is a double mono routing option than may work well with rev/delay in one amp and just reverb in the other. Should be interesting. I've never had a problem being heard yet it doesn't have to be loud.

Carl Kilmer · From: East Central, Illinois

Thanks W Franco. I'll give that a try tomorrow morning.
I do like the sound as clean as I can get it. I know some
like it over driven or distorted a little bit, but I don't.
I use mine with a Walker Stereo Amp and it sounds super.
I would love to get delay, reverb, and chorus all together,
but don't think it's possible with this unit. Sad

Carl
_________________
aka "Lucky Kay"--Custom built Rittenberry SD10 3X5, Walker S/S, NV-112, and Hilton Pedal

Dave Grafe · From: Hudson River Valley NY

The M-One is a very powerful unit, Keenan, perhaps the most bang-for-the-buck available in any single effects processor. As such, there are a lot of parameters to tweak and this can become a brain-masher in short order without a decent grasp of delay theory and practice.

While Franco's setup in parallel/series has some merits, for use as an instrument processor I always set it up in SERIAL, i.e. signal input is sent to Engine 1 (delay), processed signal then feeds Engine 2 (reverb) internally and the output is then returned to the amp. There are many innovative ways to use time-delay effects to create original sounds but this emulates the way natural reflected sound occurs in a real space and thus is most easily digested by human ears without distracting from the music you are playing.

First, the science of delay:

FLANGING and PHASING - Super-short delays - under 10 milliseconds - produce comb-filtering that creates classic phase and flange sounds, particularly with plenty of feedback and enough sine-wave modulation to hear it "shift" without detuning your bar vibrato. The term "flanging" refers to the old studio trick of rubbing one's finger on the flange of the tape reel to vary the speed of the tape through the capstan and skew ever so slightly the angle of the tape as it crossed the playback head.

CHORUS - 10ms to 20ms produces "chorusing" effects, again with plenty of feedback and modulation to milk the aforementioned comb-filtering and produce a rich, luscious bed of sound. As with the shorter delay time, too much modulation will detune your bar vibrato, most of us need no help with this...

DOUBLING - Between 20ms and 50ms you are in the realm of "doubling" - imitating the sound of two voices together - and the feedback will need to be very minimal or you get some pretty wierd artifacts. Some of the best doubling effects are achieved through the use of pitch-shifting algorithms, try +7/-7 cents detuning with 23ms/34ms delay and minimal feedback and modulation for a great sound fattener.

SLAPBACK - Delays from 80ms to 180ms or so produce a fast slapback effect, again keep the feedback fairly low to avoid clutter and other stuff you don't want to hear. This is the classic "Rockabilly" sound originally created by tracking both the playback and monitor heads simultaneously on reel-to-reel tape machines.

ECHO - Delays longer than 180ms begin to create identifiable "echoes" and you will use the feedback control to generate the desired number and fade-out quality of repeats - 270ms is a good generic beginning, 320ms to 360ms are conmmonly used for slower, bigger sounds but it is important to note that the tempo of the song in question must be considered in order to get a musical effect that works for and not against you, and this is where the "SINGLE TAP" function is worth the price of the entire unit.

Common delay settings that I have used for many years in production of all styles of music:

268ms - 272ms with moderate feedback (~14% to 20%) creates a very versatile and musical echo which fits most anything with a faster tempo, this is my standard for up-tempo rock and roll, swing, motown, etc. - it's a good starting point for new material that I haven't had time to experiment with

308ms - 340ms for a larger sound with mid-tempo material and some ballads

360ms - 420ms for the slower tempos, these are "bigger" sounding echoes for dramatic ballad action or "warehouse" rock guitar stuff

Delays longer than that are extremely prominent so are generally reserved for specific effects on specific songs, in which case you will want to fine-tune the delay for the particular application you have in mind

Having dialed in the delay that serves your purposes we move to the reverb side of the equation:

There are subtle differences in the length and pattern of reflections generated by "Room," "Plate" and "Hall" algorithms and this is where your own personal taste comes to play. I tend to work most of the time with the "Hall" programs as the reflections tend to be longer and more open, minimizing the noise that can interfere with articulation of the original signal.

For this same reason I always begin with a good, long predelay, 100ms or better, allowing the character and attack of the dry signal to make it out of the amp before the reverb's early reflections begin to clutter it up. The same thinking dictates that the high frequencies be rolled off and the lows perhaps boosted a bit, giving the overall sound body with a minimum of pick noise and shreekiness.

A good starting point for the M-ONE's HALL REVERB engine might be:

DECAY @ 2.0sec / PREDELAY @ 100ms / SIZE @ Large / HIGH CUT @ 3.6kHz / HIGH COLOR @ -30 / LOW COLOR @ +30 / REFLECT LEVEL @ -18dB / REVERB LEVEL @ 0dB

From this point you can follow the suggestions in the manual to get the precise sound you are after, adjusting the DECAY, HIGH COLOR, LOW COLOR and REFLECT LEVEL parameters will allow you to achieve a natural, open sound with a minimum of interference with the pristene sounds of your fabulous picking techinique and tone.

I suggest that you use only one effect at a time so that you can hear what you are doing as you learn what the adjustments can do for you, then combine them for a complete sound effect. In addition to these basic suggestions there are a lot of possibilities in using the CHORUS, FLANGE, PHASER and PITCH algorithms in place of DELAY for the first Engine, always feeding the reverb on the second side with a mix of dry and effected signal.

Good luck and don't let your brain get too full all at once...

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