G-major manual

Check out the new features and download it! Read more The TC Electronic G-Major 2 rackmountable multi-effects processor combines studio-quality effects with the ease of use you need for on-the-fly stage operation. Packed into a tough single-rackspace chassis, the G-Major 2 sports all the incredible features that made the original G Major so popular, plus a wealth of new effects and functions.

Great Sound!! Condition is Used, but Mint. I just used a couple of times outside. AC adapter included. G-Major 2 is pure guitar magic in a single-space rack unit at a price that lets you ease into greatness.

Studio quality sounds combined with stompbox simplicity geared for even your most heavy-duty performances. No modeling wannabe, but pure undiluted TC Electronic effects in a league of their own. User presets that can be edited and stored in any User location.

Default setting If you are not acquainted with Modifiers you is Expression. Fine Tune Maximum accuracy. First of all: menu. The Routings can be stored with the Tremolo to be connected in serial but preset. However you can also choose to fixate additionally connects the Pitch, Chorus, Delay your favorite routing by utilizing the "Routing and Reverb in a parallel setup. This way The six or seven including Noise gate effect you can avoid hearing the entire hiss, hum and keys on the front panel, all work as follows: other noise you might have on your system.

How can this improve your guitars appearance in the overall sound? There are situations where a compressor should not be applied on the guitar and there are definitely situations where it is the key to letting the guitar stand out and appear rock solid. The difference between Chorus and Flanging is the applied Delay time and the Feedback When set to anything else than Ignored parameter in the Flanger. Speed Range: 0. Feedback parameter.

As opposed to a Chorus Flange effect. The sweep through a With increased Resonance value, the filter peak frequency range is controlled via the dynamics at the cutoff frequency gets very narrow and Two effective good phaser types. The Vintage When applied the left and right Outputs will Phaser will give you the phasing effect similar start the current waveform at two different to the one found in old stomp boxes.

When set to anything else than Ignored the tempo defined by the Speed parameter is ignored. The G Major ships with Factory presets on board, with a further User memory locations. There is no card slot, sodata backup and patch exchange has to be via MIDI.

Some might see user patches as a hint stingy, but it is certainly more than enough for my needs. Actually, 10 would probably be enough for my needs on this unit, because the G Major allows you to remotely punch effect blocks in and out within a preset using MIDI controller data. This means that you can work in 'virtual stomp box' mode all the time, if you wish, without having to save a separate program for every combination and individual effect you might need.

Of course, you'll have to find a MIDI pedal board that will let you transmit the necessary controller data from its footswitches first see 'Remote Possibilities' box. The effect blocks all kick in with fairly sensible default values that you can generally use straight away. However, I think operation of this unit would be considerably enhanced by the ability to store user settings as defaults.

In the case of something like the gate, the default 60dB attenuation is far more fierce than I need with my rig — I generally found I wanted something more like 6dB. Nobody minds a bit of fiddly editing for creative purposes, but when you find yourself resetting the same parameters over and over again, you can't help feeling that the designers have missed a trick. The two inputs and two outputs are electronically balanced, which will certainly be welcomed by those intending to use the unit in the studio or between a sophisticated preamp and a separate power amp, but it all works perfectly well in unbalanced mode too, when standard guitar cables are used.

Mono operation is equally transparent — if you only connect to the left channel, the two sides of the processing will automatically be summed at the output. Although it is always tempting to run through the presets to get an idea of what a new effects box sounds like, this can be somewhat misleading — different amps, different levels through the unit, even just different expectations of what a program should be doing can all serve to undermine the original programmer's work.

What really matters is whether you can get the unit to do what you want it to do, and how easy that process is. With its relatively limited parameter set, programming the G Major from scratch really is a doddle, and most of the classic combinations can be dialled up in no time. You would expect a TC unit to be strong in the chorus area and the G Major duly delivers, with two versions, Classic and Advanced. Advanced allows you to invert the phase of one side, for a wider effect when running in stereo, and also to abandon the fixed, 'Golden Ratio' relationship between speed and depth.

But, again, I'd love to be able to make my reduced bandwidth setting the default TC maintain that they don't see this facility as a necessity at this price point. Seamless patch changing with spillover is no less than we would expect, but it is faultlessly implemented.

As always, the chorus, delay and, particularly, the reverb programs sound far more impressive in stereo, although they still work well in mono. I think it is highly likely that G Major users may well wish to employ the unit for home recording as well in a performance guitar rig.

My studio testing showed the reverbs, in particular, to be comfortably of 'studio quality'; indeed, in many applications, I would be quite happy to use this unit as a dedicated reverb processor on a mix! The obvious workaround is to use the individual block output level parameters to restore the original programmed balance, but it's not elegant.

A proper 'dry kill' function really would significantly enhance this unit's studio functionality. I'm not — I have yet to hear this implemented even half well enough to want to use it in any real application. For most users, this is peripheral stuff, but for what it's worth, this Whammy facility works better than most, though it's more handy for the odd moment of weirdness than as a substitute for its mechanical counterpart, I think.

The detuned signal, however, suffers from an audible momentary glitch on complex sources, when heard in isolation. I feel it is important that I put this apparently rather damning criticism in perspective — If you only ever use detuning at the same time as chorusing and delay, you may not notice this glitching at all.

And it drives me nuts! The compressor is effective, both when providing a small amount of unobtrusive dynamic tightening and as an obvious 'effect compressor'. G Major's 1mS is certainly fast enough. The factory presets, as usual, endeavour to show off the full range of the G Major's versatility.