What is it?
The TC 2290-P digital delay pedal is TC’s latest flagship delay. The original 2290 rack delay is an industry legend, not just for its excellent delays and additional modes like ducking and compression, but also for its looks.
At the time, its delays and modulations singled it out as a studio workhorse, but the modern market is equally driven by the same retro kick that has also sent Roland SDE-3000 prices through the roof.
This isn’t TC’s first attempt at resurrecting the legendary unit. Several years ago, they released the TC 2290-DT, a hardware interface for interacting with their plug-in recreation.
While it brought a welcome tactility to the plug-in, it wasn't a smash hit. For one, the form factor was large-ish for the average desk. Moreover, its audience sat oddly between guitarists who would prefer a pedal, and producers who were happy with a plug-in ‘in the box.’ Enter the 2290-P.
Specs
PRICE: $349/£299/€349
TYPE: Digital delay and modulation
CONTROLS: Rotary encoder, selection and parameter buttons, A/B, Tap Footswitches
FEATURES: 128 Presets, 3 Footswitches, Tap tempo and feedback Send/Return, MIDI control, App control
CONNECTIVITY: Mono Input, Stereo In/Return, Mono Out, Stereo Out/Send, Expression, USB-C, Power, MIDI In, MIDI Out/Thru
BYPASS: Buffered
POWER: DC centre-negative (supplied)
CONTACT: TC Electronic
Build quality
Build quality rating: ★★★★½
The build quality of the 2290-P is very good. Because of its unique control interface, which includes keyboard-like buttons and caps, I was initially worried that these might be a weak point. However, they’re inlaid into the front panel, and it doesn’t seem likely they could be easily damaged when gigging.
Still, they wouldn’t take kindly to a pint of beer spilled across the stage, so take that into account when setting up for a show. There’s a magnetic cover in the box, which should keep it safe, but equally seems easy to lose.
Elsewhere, the triple control layout is standard for a high-end delay with two patches accessible in each bank, and the third functioning as a tap.
Usability
Usability rating: ★★★★☆
The laptop connectivity and editing is a useful power-user feature for editing or simply auditioning presets
Like many high-end pedals, the 2290-P is controllable via an app, but other than patch organisation this isn’t a killer feature for me. I want a pedal for its tactility and live utility, otherwise the control surface or plug-in option would be ideal. When writing in the practice space, for example, I'd be unlikely to have it hooked up to a laptop.
That said, if you’re already sold on the 2290-P as a live workhorse, then the laptop connectivity and editing is a useful power-user feature for editing or simply auditioning presets. It’s straightforward to use and can save time versus the pedal user interface.
TC has spent a lot of time and effort on the new presets, and there's one that showcases more or less everything that the unit can do
However, one of the great strengths of the 2290-P is that not much editing is required, providing you enjoy a bit of digging. Of course, all of the presets from the original are represented.
Elsewhere, TC has spent a lot of time and effort on the new presets, and there's one that showcases more or less everything that the unit can do. The only downside is that the preset you want isn’t always paired in its bank with a second preset that is as useful.
In terms of editing on the unit, the rotary control and buttons are straightforward once you get the hang of them. Changing delay times, modulation settings and envelope manipulation is easy.
Sounds
Sounds rating: ★★★★★
To my mind, the 2290 is also the sound of moody leads like that on Chris Isaak’s Wicked Game, so that's the first lick we gravitate to
Though the 2290 is associated with players as diverse as David Gilmour and John Petrucci, and played a major role in the Edge’s sound on U2’s Joshua Tree album, it can also be a subtle effect. To my mind, the 2290 is also the sound of moody leads like that on Chris Isaak’s Wicked Game, so that's the first lick we gravitate to.
As luck would have it, one of the first presets nails this tone, and after that we find preset after preset to get stuck into. The 2290-P is equally at home with single coils and humbuckers, and we get lost for a while in Edge-like stereo dotted eighth delays with a neck single coil.
One of the key features of the original 2290 is replicated here – modulation and stereo panning on the delays. For power or studio users, the ability to control effects on the delays is augmented by the 2290-P's loop, where inserted effects apply to the feedback. There are three options for panning available, with the whole signal being affected, just delays or just original signal.
The only issue with these options is that of course technology has moved on. These features are no longer as unique as they once were, and if the voicing and unique control layout of this pedal do not appeal, then many other delay units will scratch the same stereo itch.
These features are no longer as unique as they once were, and if the voicing and unique control layout of this pedal do not appeal, then many other delay units will scratch the same stereo itch
Additionally, granular control of effected delay trails is no longer the preserve of rack gear. It exists on pedals at various price points, not to mention as plug-ins.
Of course, in stereo is where the 2290 shines, which is why it’s usually described as a piece of ‘studio-only’ kit. Even in the 2290-P’s convenient form factor, there’s still some truth in this definition.
Should you be lucky enough to have a stereo setup, it’s still hard to make the effect translate live, so the biggest bang for buck here is still as a studio tool that also happens to sound good live. That’s unless you are already playing large venues – in which case, what are you waiting for?
Verdict
The 2290’s greatest strength is in a sense its weakness – that it really comes alive in stereo. It’s inspiring, sounds massive and is a rare unit with mojo that makes you want to play and play. Units this inspirational are rare, and perhaps as a writing tool, that vibe alone makes the 2290 worth it.
You have to wonder whether for most practical applications a smaller, cheaper unit would work for mono use
However, you have to wonder whether for most practical applications a smaller, cheaper unit would work for mono use. The TC Flashback 2, for example, has not one but three 2290 modes.
There’s a clean, a ducking delay and a modulated delay too. Add to that a competitive price, stereo out for when you are in the studio and the expressive MASH switch, and it’s hard to say the 2290-P is the better choice for some players.
MusicRadar verdict: The 2290-P is an impressively featured unit that sounds fantastic. For all its versatility, however, it is fundamentally based around one voicing, making it a one-trick beast in spite of all the features. If, however, that voicing appeals to you, it’s an inspiring, tactile and excellent-sounding piece of kit.
Also try
($119/£99)
The Flashback 2 is compact, affordable, has excellent delay modes including three 2290 emulations, an expression footswitch and stereo output.
Read our review: TC Electronic Flashback 2 review
$349/£389
The 2290-P is in the ballpark of the price of a flagship delay. The BOSS DD-500 has studio-quality sound and A/D/A, parallel and series operation, and an emulation of 2290 competitor, the Roland SDE-3000.
Read more: Boss DD-500 Digital Delay review
$179/£119
This desk controller comes bundled with TC's 2290 plugin and is an excellent way of getting the authentic 2290 sound in studio, especially for sound sources other than guitar.
Read more: TC Electronic TC2290-DT review
