Discussion in 'Effects, Pedals, Strings & Things' started by Mac Daddy 355, Feb 19, 2009.
Fellow TC 2290 owners
can you share some of your favorite setting with us
Unless someone is running the same configuration as you, the settings will likely leave you with a very different result.
I recommend creating the 1st 10 presets that the manual walks you through, and adjust to taste with your rig.
I've been going guitar into the 2290. Seems to be some magic there!
You have got to try running XLR's instead, fed from a line signal from your amp and run stereo. WAY more clarity and head room
You mean Slave out to the TC too a Power Amp in Stereo? I tried that and because my Power Amp is Solidstate (Lee Jackson) it wasn't happening.
Depends on your version of slave out. If you're just taking a preamp out (Which works-- it just doesn't sound as full as taking a preamp and poweramp tap down to a line level signal and feeding that into the 2290 via the XLR--then taking the XLR out's to 1/4" inputs, or even better to XLR inputs of a stereo power amp).
I prefer a tube power amp to SS.
Boogie Simul 395, Simul 2:Ninety, Strategy 400, VHT 2150, or Two Ninety Two
Been down that road years ago. Great way to run FX. Have you tried into the 2290 to an amp?
Yes. I got my 1st 2290 back in '87, and have tried every conceivable method (none of which were bad). I prefer using it to do more than add repeats to my guitar's pickup signal. I prefer using it the way I mentioned. The Higher headroom using the XLR's RULES, and after having done it this way-- I can't imagine that anyone who has too, would ever go back to using it guitar to the input of the 2290 again. Why have you gone back to running it guitar to the 2290's input?
I am currently using it with my Multi-amp switching, w/d/w Bradshaw rig-- for the best results yet.
Zachman, two questions for you:
1.Have you ever comparred the TC 2290 to the AMS Neve DMX (side by side)?
2.Are you and The Groove King related (or best friends or something)?
Actually I have. I used to do a lot of recording at a place in Van Nuys, California called Record One, and rented some of my gear to Andy Summers, Gene Simmons etc...-- I digress. The studio had the AMS DMX, and they are KILLER sounding units.
hehehehe, not related to the groove king. He has a lot of really nice gear
Here is the start of a post I am doing for the Two-Rock Forum.
I have had a TC2290 for a couple of years now and truly have not used it much in a band situation. I have been doing a lot of foot pedals in my signal chain for the most part. However, with the band that I currently play with, I recently started using my 2290 in the loop of an EM50 or an Opal. I was absolutely stunned with the difference it makes to the overall tone and feel of the amp(s). My perception of the tone went from thats pretty freakin good to Thats IT!. If was funny to cuz, when asked what that is, I said its and echo
a really expensive echo. A freakin amazing echo indeed.
So in this thread I will describe how I have been using mine and some of the settings that help make my guitars drip Two Rock honey.
I use the TC to provide delay, echo, thick tones, and swirly tones. I control how these tones make me feel by adjusting the delay time/phase/feedback, delay modulation and mod depth. I havent started playing with the pitch shift or sampling yet but I have that on the to do list. The starting point to getting all of these tones is delay time.
Simple concept of splitting the guitar signal into two parts, making one of the parts wait for a specific period of time (delay time) and combining the two parts back together again (and again and again). There are a few fancy knobs that let you limit the number of times the copy is re-injected (feedback level) or the how long it is delayed for. (delay time). This is pretty simple stuff and quite standard to most echoes. The cool part is the level of control over delay times, delay phase inversion and the highly celebrated modulation.
Delay time: Pretty standard stuff. Set it to 8 seconds and then start playing. Or better yet get a momentary contact foot switch and do the tap temp thing. Fully supported by the TC and works very well. This powerful piece for me is when you set really short delay times. My favourite right now is in the 5ms neighbourhood. This delay time produces a thickening of the tone at the same time as it gives it a kind of 3 dimensionality. Its freakin great for distorted tones because it can be dialled in so subtly it doesnt sound like an effect
..but it has an effect on the feel of your tone. Increase the feedback to >50% for the really short delay times and you are supposed to get a flange like effect. I find it ok but not great so I am still looking for the magic setting. When tweaking I increase the delay time in 1ms increments to get a feel for what the changes sound like. A certain amount of frequency cancellation does occur at these tight delay times so YMMV in terms of the sounds you like with your guitar and speakers. Once you get into the 12ms range sounds become more chorus like. For these tones you might want to keep the feedback level fairly low. This will help limit the top end sibilance.
This is one of my favourite features on the 2290. This is like vibrato used by a singer. Except only the echo, the copy of the original note/riff/whatever, is modulated. This modulation is really a slight change to the delay time setting. This feature only works when the "mod" button is pressed and the light is on. The mod button lives in the delay section. Once that is on the depth and speed of the modulation can be controlled in the Modulation section. To set this up,
1) Hit the Select button until the "Delay" light is lit. This tells you that delay modulation has been enabled. This This is important because pan modulation, Dynamic modulation AND delay modulation can all be doing stuff at the same time. We only want to play with Delay modulation so make sure the MOD button in the DYN section and the MOD button in the PAN section are off.
2) You can now control the waveform, depth and speed of modulation from the Modulation section. Press the waveform button until SINE is selected. This will give you the back and forth oscillation you get from a regular chorus pedal etc... The little yellow led in this section will blink at the same rate as the modulation . Please set this to .1. This produces a slow oscillation rate. Set your delay time to 5 (5ms) this too is short. Set the depth to 30 and make sure you have the delay level in the output section set to around 75. If you are using the delay in a series loop you should have the direct volume level set to 99. Play. You should hear something.
Now the real power of just this setting on the 2290 starts to emerge when you begin to adjust the following parameters to tweak the effect.
- Feedback level
- Feedback Phase (inv)
- Delay time
- Modulation Depth
- Modulation Rate
- Echo level
- Direct level
yawn. Taking a break.
Thanks guys for your helpful input ... more please
Found that on Robben Ford Forum and tried it kind of cool slap-back...
Start with preset #97 (kind of a slap back)
Feedback should be 15
Output-Delay set at 99
Modulation (trig) speed at .50
Turn off all the buttons on the Pan and Dyn section
Set delay time to 116 (or 168, or 256)
want more like this one!!!
at 1:50 Robben Ford setting