Latest User Reviews

Lovely effects and sounds from other galaxies (I’m sure Adrian Belew has tried it. Bowie tried everything.)My only disappointment is Fireworx doesn’t include a 2290 setting…or an I daft and don’t know how to dial it. Got mine years ago. It sounded bloody great on live vocals. So I’d love to own the best TC unit made. And Danish like mine. You’ve my email. Btw, my Son has 4 TC Electronic pedals for his 1963 lefty Stratocaster I gave him and his other lovely American made guitars.

This is only not a preset box. Yes, the presets are good and the sound is excellent. It reveals itself through programming and exploration. If you spend some time with the manual you will be arranging and patching so many effects your head will spin, but spin the best way via your ears. If you had a rack of physical modules that you could patch together in any order (serial or parallel) you approach what is possible in this device.

I’m not sure I’m going to give it all 10’s but it’s pretty close. TC got the design of this absolutely spot on. It’s more suited for guitar than keyboard, but still sounds phenomenal on Keyboards too. You’ll find 2290’s in a lot of big studios today and it’s become a bit of a cult classic. Ease of use, functional design and sound are so simple and good. There were various memory upgrades including sample options for the 2290, so if your after one, check and see what’s fitted as an extra. Push button contacts (like all similar type of age) need cleaning after time.

While this box has a lot of great effects the value is really in the presets. There are some wild- but useful – presets in this box. The only drawback is that there is a bit of a learning curve to programming it, but it’s worth it.

Simple, different but very useful and instant sonic mojo in your mix!

I have both the 323 and the 626. While they are very similar I advise anyone to get the 626. The 323 has only 8 programs. 626 has 9 plus a, b, c , d, e and f programs. the first 8 programs are exactly the same on both machines and while on the 626 you have double the memory the first 8 programs have the exact same max decay as on the 323. You only take advantage of the extra memory on the 626 for the extra presets and on the extra presets you can actually have longer decays up to 20sec (only preset A does 20sec) or delays with almost infinite feedback. there are mono and stereo delays and delays with some panning variation.

On the delay programs they have fixed delays like 100, 120, 140ms etc. This varies with with the delay preset and the increments can be narrower or wider (weird amazing machine) Its difficult to describe how it sounds but a darker version of eventide blackhole with some delay is the closest thing I can think of. They have a fragile feeling in the hands and are very light. the inside looks simple and If something fails it should be simple to fix. I love it. They are rare machines ,specially the 626, very unique , look cool, and relatively affordable still today. In 2020 I paid for a 323, 1000e and a 626 in mint condition , 1500euro. Grab one now.

I have used this mainly as a reverb unit, but it actually works well as an audio-processor as well. For mixing purposes you would need the MD-algorithm – which can be bought separately. My favorite preset is the “BigBlue” which is a large hall with an extended stereo-width bigger than real life.

I love this machine. the reverbs are magnificent and full of finesse. a perfect complement to Lexicon. I have a PCM96, a PCM70, an SPX90 and an eventide DSP7000 and the M3000 is often my first choice on acoustic instruments and voices. For the price on occasion today, this is absolutely the reverb to have. If I had to keep only one, it would be this one. Sometimes it can have some small wheel problems…

Since I received the SST-282 I must say it’s a jaw dropping and playful unit. Everything sent through sounds magical warm and bright. As for the time it was made the delay time isn’t the longest but I mean for drums, perc, just about everything just adds more richness to the sound.

As a specialist in deep 3 dimensional and spacious mixes i find this device able to fill that emptyness that often arises when mixing entirely in the box. The so called “HOLE IN THE MIDDLE” that many workstation mixdowns suffer from can partly be cured by this device as it utilises semi mono elements that fill up that gap. As many workstation plugin reverbs often sound (too) wide and not deep this SST is a fix in many of these cases. The sound quality is “strange” and that’s just what the brain sees as interesting and characterful. An amazing device that when taken care of properly, will bring years and years of joy to your mixing sessions.