TC Electronic D-Two Delay

This TC Electronic D2 Delay is used by Carlos Santana as his guitar tech recalls in the source.

http://www.funksheet.com

TC Electronic D-Two Multi-Tap Rhythm Delay is based on the TC 2290. The D-Two can provide up to 10 seconds of delay, features 24-bit A/D-D/A conversion and 24-bit internal processing, comes with 50 factory presets and 100 user, and provides S/PDIF digital I/O at 44.1kHz and 48kHz. 6 unique direct-access features include Spatial (provides extra-wide delay at a single keystroke), Ping-Pong (pick any 5 patterns and set the relationship between panning speed and delay tempo), Reverse (reverse delay with the flick of a key), Dynamic (sets the release time and threshold to let the input signal control level of delay), Chorus (hit a single key to instantly add chorus or flange to your delay), and Filter (increases filtering as repeats decay). With the D-Two you are able to tap actual rhythm patterns consisting of up to 10 taps directly into the unit. On the below picture you can see the rack of delays as used on The Wall tour in 2012. The rack includes Samson PowerBrite PB10 power conditioner and Korg DTR-2000 tuner.

According to TC Electronics website Robert Trujillo uses the D-Two Delay

Used for Albarn’s vocals on the Escape to Plastic Beach Tour, as stated by Albarn’s longtime FOH engineer Matt Butcher in this July 15, 2019 article by Entec Sound and Light. > “There are quite a few echo and delay cues, especially on Damon’s voice. I have an outboard rack with a TC D2 and a couple of Lexicon PCM81s in it, plus I’m using some of the internal effects for reverbs and delay for snare drums. > “When I was using a Midas Heritage on the first shows we did, I’d mess around with the tone generator and echo, along with guitar pedals to get some weird lo-fi effects. It was all very analogue and suited what we were doing and I’ve tried it with the D5, but I don’t really have as much time to play with these days!”

Summers also incorporated Marshall amps and a Roland guitar synthesizer into his rig. Of course, times have changed and so has Summers’ gear. For the ’07/’08 Police reunion tour, he used an elaborate two-piece Bob Bradshaw switching system, the right wing of which includes three Boss FV-500H Volume/Expression pedals, one used to control a rack-mounted Lexicon PCM 70 and two for an Eventide Eclipse, a Moogerfooger Analog Delay, and a Boss Loop Station and Chromatic Tuner. The left wing houses the main Bradshaw switching unit, plus another FV-500H and a Dunlop Cry Baby wah. Summers’ off-stage rack also contains his main Custom Audio OD100 amp and a Carvin DCM150 used to power stereo effects (each amp feeds two Mesa/Boogie Rectifier 2x12 speaker cabs), plus additional signal processors, including a T.C. Electronic TC1210 Spatial Expander/Stereo Chorus/Flanger, Bob Bradshaw V-Comp Tube Compressor, D-Two Multi-tap Rhythm Delay…

In this Sound On Sound interview, precisely on the "Jumble Sale Studio" section, a bunch of Jenkinson's gear is mentioned. Among them, the TC Electronics D-Two Delay. The item can also be seen in the photo gallery of the interview, along with other pieces in a rack (from top to bottom, TC Electronics D-Two Delay, DBX 1066, Drawmer LX-20 and the Eventide Orville). It is the 8th photo, here's a quick link to it: http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/S/Sq_09.jpg?3CE8TrbIbKGqUfDboUWA_6We1exoFnHv=&itok=6tgbEa6N From the interview: "It's a ragtag collection of stuff, and there's no discernible overall 'vintage' rationale behind the collection as a whole. The most significant pieces are a Roland TR909, TB303, SH101, V?Synth XT and V?Bass 99, Neve 1073 mic pre, AKG BX15 spring reverb, TC Electronics D2 delay, DBX 1066, a self?made mechanical reverb, Tom Jenkinson's custom?made spring reverb: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.” Tom Jenkinson's custom?made spring reverb: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.” Axon AX100 MIDI bass module, MOTU 24I/O audio interface, Dynaudio Acoustics M1 monitors, Yamaha CS80, TX81Z and FS1R synths and QY700 sequencer. A huge amount of gear has also been and gone, like the Yamaha VSS80 8?bit toy keyboard sampler shown in some late '90s television footage of Jenkinson."

From an interview with the Prodigy's chief live sound engineer: "The [Roland] Dimension D is used to make the guitar big, because we've only got one guitarist and we try to make everything bigger than everything else. I've also got a [Yamaha] Rev 7 and a Rev 5. I've got them Y?split together because they've got a habit of stopping working, so one of them is usually working at any one time. They're both drum reverbs, I just run them both off the snare. Then I've got a guitar reverb, an SPX990, and a [TC Electronic] M2000 on vocals, which does harmoniser on some songs and reverbs on others. Then I've got a TC D•Two for all my more traditional delays.”

On this [artist page](http://www.tcelectronic.com/richard-kruspe) for Richard Kruspe of [Rammstein](https://equipboard.com/band/rammstein), is all of the T.C Electronic pedals he uses, among them is a TC Electronic D-Two Delay.

This article shows photos of Steve's rack including the d-two delay.

Used for the lead vocals on "Angel Dance" and the Carry Fire Tour, as stated by tracking and mixing engineer in this Mike Poole in this December 2010 *Sound on Sound* article and as stated by FOH engineer Mark Kennedy in [this August 14, 2018 *Front of House Magazine*](https://fohonline.com/articles/production-profile/robert-plant-carry-fire-tour/), respectively. *Sound on Sound* > **Vocals:** Urei 1178, API 550, LT Sound CLX, Roland SRV2000 & RE501, AMS RMX16, TC Electronic D•Two. > > "I had the Urei 1178 compressor and the API 550 EQ on Robert's vocal, along with a parallel channel that was even more compressed. So any time he hit a low note that sounded a little muddy and needed some more clarity, I pushed up the parallel channel. There's also an effects send channel with the LT Sound CLX on it, which is a Dbx VCA compressor with a good de-esser in it, and that was used as the send to any effects devices. As a side note, all the little slices you see on the screenshot were not performance edits, but mostly me trying to get the sibilance right. I often take out little clicks and pops and also 'esses' or 'effs' out manually. A de-esser will hit everything in a technical-sounding way, and sometimes you may want to retain the emotive way a certain 'ess' or 'eff' is expressed, but only precisely change the gain, just to correct recording artifacts. 'Angel Dance' is one of the few tracks on which Robert's scratch [tracking] vocal didn't make up the largest component of the final vocal track. On this song, he re?sang the vocals later, and I think he did two passes and we used mostly one, with a few lines from the other pass thrown in. For reverb on his vocals, I used the SRV2000 long reverb and a little bit of RMX16; for delay, either the D•Two or an RE501. I used very little reverb on the tracks on the album in general, apart from on Robert's vocals and the backing vocals. The other ambience you hear may have been a long delay from the 501 or PCM42 or any of the room mics.” *Front of House Magazine* > The SSL doesn’t currently run Waves onboard but Kennedy says he doesn’t need much in the way of plug-ins. “The right microphone in the right application will sort out a lot of problems… try tuning the kit or moving the microphone instead of a plug-in. The dynamics on the console do everything I need them to and the all-pass filter is an excellent feature. I use the Buss Compressor and a 31-band graphic on Robert as well as a plate reverb and DDL slapback echo. For my outboard gear, I’m using a TC D2 delay and an Eventide H3500 on Robert’s vocals.” Plant’s vocal mic is a rock ‘n’ roll classic: a Shure SM58.

In [this "Rig Rundown" interview with *Premier Guitar* magazine](https://www.premierguitar.com/articles/21759-rig-rundown-daniel-lanois), it's explained that Lanois runs his pre-recorded loops/tracks through a D-Two delay.

According to Premier Guitar's Rig Rundown with AFI, Jade uses a TC Electronic D-Two Delay rackmount.

I use a delay – the [TC Electronic] D-2. It’s fantastic ‘cause it’s like a low budget version of the… whatever… Yeah, the 2290, which is a beast of a thing to cart about.

On Dave's [Pro Page](http://www.tcelectronic.com/dave-stewart/) on TC Electronics site, they mention him using the D-Two Delay.

"I've been basically using TC Electronics. They're Danish as far as I know. This time around, I've been using them. Before it was maybe just pedals or whatever that weren't as effective. So I've mainly gone to a rack. I use a D2 delay module. Yeah, it's called a D2. And then the reverb unit I use - I don't use a lot of other multi-effects, I use a little chorus on a couple of songs and a little trem on some of the stuff on Final Straw. But most of it on this record is delay and reverb. I think that unit's called an M2."

This is a picture of Jun's live rig with this rack delay between the amp head and cab.

According to Guitar Geek's rig diagram, Fluckey uses the TC Electronic D-Two Delay rack.

Joe Don Rooney’s guitar tech, David Graef, describes the guitarist’s rig as “a fun one. It’s a dry/wet/dry rig with a center 4x12 cabinet, with just the dry amp and two Mathers 1x12 cabinets for the effect left and right signals. We start with two dual Shure UR4D wireless units that go into a line selector made by RJM Technology. From the selector, the signal goes to my pedal board, where I do the majority of his patch changes, and then returns to an amp selector that feeds signal to one of two Bogner Ecstasy 101B heads [miked with three Shure SM57s and a Royer ribbon, pictured], a Blackstar Series One 200 head and a Diamond Decada head, and then out to the 4x12 dry cabinet. I take a line-level signal and feed the outboard effects [TC Electronic D-Two, Fireworx and Reverb 4000]. They return to and are blended through a Midas Venice 160 console and sent to a VHT 292 amp that powers the two Mathers 1x12 cabinets onstage for the wet signal.

While talking about this and the M-One XL, Tom says "These two devices have also been a big part of my career and I think they must have defined my perception on how the known effects, like reverb and delay, must sound! They are hardwired to my mixer, so I can use them always and everywhere!"