Roland FC-200 User`s manual

Roland FC-200 User`s manual
USER’S MANUAL
G-Force
GUITAR EFFECTS PROCESSOR
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TABLE OF CONTENTS
About this Manual
WELCOME
Foreword by Palle Schultz
FROM THE USERS POINT OF VIEW
Buttons, Knobs, Controllers and other functions
QUICK REFERENCE
THE FRONT PANEL
Inputs, Outputs
THE REAR PANEL
THE SIGNAL FLOW
HOW TO…
build a User Preset, connect the Modifiers, setup an Expression Pedal etc.
SETUPS
RECALL
Recalling a Preset, Factory/User presets, Memory card
Store a new preset, The Letterbox
STORE
EFFECTS
I/O MENU
I/O, Input selector, Sample Rate, Mix, MIDI setup
MODIFIERS
UTILITY
System parameters, Billboard settings
TEMPO
TUNER
THE BLOCKS
THE RESET PAGE
TECHNICAL SPECIFICATIONS
TROUBLE SHOOTING
MIDI IMPLEMENTATION CHART
SELF TEST
PRESET LIST
TC Electronic, Sindalsvej 34, DK-8240 Risskov - [email protected]
Rev 1.01 - SW - V 1.14
Prod No: 606055011
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WELCOME
Congratulations
Congratulations on the purchase of your new G-Force.
We hope that you have as much pleasure using it as
we had making it.
The G-Force is carefully designed to produce the ultimate guitar
effects. To achieve this, we supplied you with eight
un-compromised, simultaneous effects. This means that the
G-Force has the power to run all eight effects without losing
sound quality. You can route the effect blocks in any combination
you like, and the 24 bit resolution converters make it possible to
run your guitar straight through without a line-mixer, while
preserving your original guitar tone. Check out the Modifier
Matrix and discover a powerful tool for real-time external and
internal control of the many parameters of the G-Force.
About this Manual
Many people in the music business (and elsewhere) have an
aversion to reading manuals. We understand that. So if you feel
like starting without reading the whole manual, simply get going.
You can always use the manual for checking out areas that you
have questions about, or if you want to dig deeper into the unit.
Refer to the Table of Contents for further information.
On the other hand, you might want to know a little more about
the G-Force before you start pressing keys. The manual will take
you step by step through all of the G-Force functions. If you
want to read about a specific function, please refer to the Table
of Contents.
5
FROM A USERS POINT OF VIEW
Foreword by Palle Schultz, a guitar player with 10 years experience.
From a users point of view
If you ditch your beloved stomp boxes and invest your money in a multieffects unit, you'll most likely lose the simplicity and flexibility of your pedal
arrangement. You'll often have to deal with phone book sized manuals and
interfaces made by and for computer experts. These circumstances often drive
creative people and musicians away from such space-age machinery.
I've owned several different effect units, that each had their own version of a
hostile user interface so I've been waiting a long time for someone to develop
a multi-effect that doesn't clash with ones creative state of mind. The fact that
those "someone" are the people of TC Electronic guaranties the quality of the
entire product.
The G-FORCE is a very flexible machine which is very easy to approach. You
have the choice of simply using it as a linear chain of effects or you can go
beyond the use of any known multi-effect unit, and explore the countless
combinations and control possibilities within the G-FORCE.
After a short while of using the G-Force, I changed my whole approach
towards the creation of effects for my guitar. From simple use of standard
effects like delay, chorus and reverb connected in a straight line, I now find
myself thinking up a non-existing effect like say; a tremolo that only kicks in
when you play on the high notes, while the level of a phased distorted dark
delay is controlled by your old volume pedal that you calibrated for use with
your G-FORCE.
If you are totally new to digital machinery like the G-FORCE, and are a hardcore knob turner but get frustrated dealing with scroll bars, LCD-displays and
strange technical terms, then you have ended up buying the right product. The
TC Electronic G-FORCE is so easy to use that it’s a bit ridiculous that this
manual even exists. When you cruise around the G-FORCE, and want a
certain thing to happen and have a feeling that this particular parameter is the
right one to adjust, then you're most probably right. The way you learn this
machine is by using it, don't be afraid of tweaking anything to its maximum,
the edges are the learning spot and from there you either take a fall or a step
back. The cool thing about the G-FORCE is that you won't hurt yourself, if
you go over the edge, but you might end up with the strangest or coolest new
effect you ever heard.
One very pleasing side effect of owning a G-FORCE is the dramatically
lighter rack you'll end up with. Mine certainly slimmed down to a tiny
Formula One sized powerhouse.
Palle Schultz
6
QUICK REFERENCE
General Control
General control of the G-Force is accomplished by dialing the Parameter wheel to
change parameters, and the Value wheel to change values. In many of the displays
you can select different menus by pressing the < > Arrow keys e.g., in the Effects
display you can select between Mix, Edit, Routing and Layout. Press Enter to carry
out an action (for example, when recalling a preset).
Recall
Press Recall (if you are not already there). Be sure that the cursor is placed on
“Preset”, and dial the Value wheel to scroll through the presets. Press Enter to load
the new preset.
Quick Store
If you want to store a preset with the same name, press Store to access the Store
menu, and press Enter to confirm. The G-Force will now automatically store your
preset in the first free User space, using the current name. When you try to restore
an existing User preset, the G-Force will default to the same User preset number.
Editing
Press Effects and select the Edit display using the < > Arrow keys. Double click the
bypass key of the block you want to edit.
Setting up your MIDI board
Press I/O Setup and select MIDI using the < > Arrow keys. Adjust the MIDI basic
channel so it matches the one of your foot controller. Be sure that Program Change
is enabled. Your foot controller should now be able to change presets on the GForce. If you want to recall User presets via MIDI, scroll down to Mapping Mode
and select “into User bank” by turning the Value wheel.
Setting up an Expression Pedal
Connect your pedal with a mono guitar cable to the External Control In. Press I/O
Setup and select Control using the < > Arrow keys.
In this list there are a number of things that can be controlled by an Expression
pedal. Let’s set up control of the Main volume. Place the cursor on “Main Vol” Press Enter (for Learning) and move your pedal. The G-Force will now
automatically detect your pedal.
The functions of Ext. 1-8 are set up in the Modifiers Matrix.
Input/Output
Use the Input/Output knobs in the upper left corner of the front panel to adjust the
levels of the G-Force. If you are using the G-Force in a mono setup, you should
select L-only in the I/O setup, Audio menu. This menu will also provide I/O gain
information.
The Killdry function should be On if you are using the G-Force in a parallel setup
i.e. in combination with a line mixer.
7
THE FRONT PANEL
POWER
Press and hold the Power
switch for about 3 seconds,
then release to power off.
METERS
These meters indicate the
level of Left and Right
inputs.
IN/OUT KNOBS
The overall Input level is
adjusted via the knob in the
upper left corner of the GForce. The Input should
average approx. -3 to -6 dB
on the Input meters.
Set your output level using the
Output knob.
The Input level of the GForce automatically
optimizes the signal to
noise ratio via a small
relay in the input section.
You will see a prompt on
the display and may hear
a small click when the
input gain range is
changed.
CARD SLOT
The PCMCIA slot can be used
for storing and loading presets.
Use Type 1 PC Cards with a
minimum 64 KBytes of SRAM.
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BILLBOARD
The Billboard of the G-Force is capable of
showing preset number and name, Tempo
and a global message that you can write
into the G-Force (refer to Billboard in the
Utility section). Both Tuner and Tempo use
the Billboard to display information as well.
Beneath the Billboard you will find four
indicators, displaying: Preset Edited,
incoming MIDI information, incoming Pedal
information and internal Overflow.
The two lower meters will indicate gain
reduction in the Compressor and Noise
Gate, but are also used as tuner indicators
when Tuner is active.
OVERALL BYPASS
The Bypass key in the upper
left corner is the overall
bypass. With this key you can
bypass all effects in the
G-Force simultaneously.
Note: If the Killdry function (in
the I/O Setup Audio menu) is
active, the G-Force will be
muted. This means that no
sound will pass through.
TUNER
Press this key to enter Tuner
mode.
TEMPO
Tap the global tempo using
the Tempo key. Note: this
may affect the current preset.
Pressing the Tempo key will
enable the Tempo pop-up
menu. This menu will
disappear after a few
seconds.
The Tempo key will indicate
the global tempo by blinking.
EFFECT BYPASS
The nine effect keys are
dedicated to bypassing
any of the eight effects
and the Noise Gate.
These keys can bypass
an effect block at any
time, no matter what
display you are working in.
When you are in the
Effects Edit display,
double click for fast
access to the Edit
parameter menu
ARROW KEYS
In many of the displays you can select
different menus by pressing the Arrow
keys, i.e. in the Effects display you can
select between Mix, Edit, Routing, and
Layout.
THE PARAMETER WHEEL
Use the Parameter wheel to change
position of the cursor in the display
THE VALUE WHEEL
Use the Value wheel to change the
values of a parameter.
ENTER, EXIT
The Enter key is used to confirm actions,
or for accessing into a block. The Enter
key will blink when the G-Force needs
you to confirm. The Exit key is normally
used to exit a menu, or to cancel an
action.
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THE REAR PANEL
Main
Power
Switch
Hi-Z
Balanced Serial no.
Unbalanced Outputs
Inputs
S/PDIF
Digital
In/Out
MIDI
In,Thru,Out
External
Control
Input
Notes:
The G-Force Input jacks are unbalanced. The Output jacks are balanced.
If you are connecting the Outputs via stereo jacks to unbalanced equipment, you must tie ring and sleeve
together in the cable ends away from the G-Force.
You can always use standard mono guitar cables to connect G-Force.
External control input can use momentary, alternating and continuous type pedals.
The G-Force power supply is capable of operating at any line voltage from 100-240 Volts, 50-60Hz.
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THE SIGNAL FLOW
Input
gain
Input
selector
Bypass
Analog
input
Digital
input
Output
gain
Analog
output
(balanced)
Digital
output
Notes regarding the signal flow:
Signal is always present at both the Analog and Digital outputs.
G-Force is limited to 44.1kHz sample rate at both Analog and Digital inputs.
The Input level of the G-Force automatically optimizes the signal to noise ratio via a small relay in the input
section. You will see a prompt on the display and may hear a small click when the input gain range is
changed.
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HOW TO
How to build a User preset
This is a step by step guide to some of the main functions used
when building your own presets.
Start by Recalling factory preset #225 called “Empty Routing”:
- Press Recall.
- Dial the Value wheel until you see preset 225.
- Press Enter to recall the current preset.
Setting up an Effect
There are two ways of inserting an effect. Let’s start by setting
up a Reverb.
- Press the Effects key.
- Use the < > Arrow keys to select the Routing display.
- Use the Parameter wheel to place the cursor in
the third position of the first column.
- Double click on the Reverb bypass key to insert
the Reverb.
And the other way:
- Press the Effects key.
- Use the < > Arrow keys to select the Routing display.
- Dial the Value wheel until you see “REV” and
press Enter to insert the Reverb in the Routing.
Editing an effect
There are two ways of getting into the Edit parameter display.
Here is the first and easiest - after pressing the Effects key:
- Use the < > Arrow keys to access the Edit display.
- Double click on the Reverb bypass key.
- Use the Parameter wheel to scroll up and down,
and the Value wheel to change values.
And the other way - after pressing the Effects key:
- Use the < > Arrow keys to access the Edit display.
- Dial the Parameter wheel to move the cursor to
the Reverb block.
- Press Enter to access the Edit parameter display.
- Use the Parameter wheel to scroll up and down,
and the Value wheel to change values.
- Press Exit to leave the Edit parameter display
or double click the Reverb bypass key again.
If you want to Edit another effect you can just double
click the current block bypass key right away, and the
G-Force will exit the first and then open the second.
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How to set the level of a preset:
There are a couple of different ways to set the level of a preset,
but in any case you should consider reserving a bit of headroom
for the preset you want to be the loudest. One method is to lower
the Input (or Output) level of the last block in the routing. That
means that if you have blocks in a parallel combination, you will
have to change the level equally to keep the same relationship
between the current effects.
Another way is to use the Level in the In section. That particular
level is placed after the Noise Gate but before anything else. This
In Level is also present in the Modifier Matrix which means that
you can control it via an expression pedal.
How to add a block to the Routing
Now we have a Reverb, but we would like a Delay as well. You
need to decide whether you want the Delay in parallel or series
as opposed to the Reverb. Let’s try parallel, from the Routing
menu:
- Place the cursor in the second position, first
column, using the Parameter wheel.
- Double click on the Delay bypass key to insert the
Delay block.
If you run blocks in parallel, you should consider your mix
strategy. It may be wise to run all effects but one at 100% mix
and use the In/Outlevel to balance the level of the effects relative
to each other.
How to change a sub-algorithm
The Delay that you just inserted is a Stereo Delay that uses the
same delay time in both left and right channels. Let’s try to find a
delay with different times in left and right:
- Move the cursor to the Delay block using the
parameter wheel.
- Press Enter to dive into the Edit parameter display.
- Use the < Arrow left key to step to the sub-algo list.
- Dial the cursor to “Dual” using the Parameter
wheel and press Enter to change the subalgorithm.
You now have a Dual delay algorithm, where you are able to set
different delay times in left and right channels (remember to set
the panning of the two delay times).
Moving all blocks using the Layout
It suddenly comes to my mind that we need a Compressor in
front of the Delay and Reverb. Let’s try to move the Delay and
HOW TO
Reverb block:
- Press the > Arrow right to move to the Layout display.
- Dial the Value wheel to “Move R”.
- Dial the Parameter wheel fully counter clockwise
and press Enter to move the two blocks to the
right.
- Press the < Arrow left key once to select the Routing
display.
- Place the cursor in the second position, first
column and double click the Compressor bypass
key.
There you go, a Compressor in front of the Delay and Reverb
blocks.
How to Delete or Replace a block
If you want to remove a block from a routing or just want to
replace it e.g. change the Reverb into a Chorus, here is what you
do:
- Press the Effects key.
- Press > Arrow right key to access the Routing display.
- Move the cursor to the block you want to remove,
using the Parameter wheel.
- Dial the Value wheel counter clockwise until the block
is black or until you see the new block you want, and
press Enter. You could also just double click on the
desired block.
The Block is now removed or replaced.
How to Store your new preset
Now that we built a preset with Compressor, Delay and Reverb,
it is time to Store. You can store very quickly using the same
name or Store with a new name. This is the fast way:
- Press the Store key.
- Dial the Value wheel to select a storing space
(G-Force defaults to the first empty User preset).
- Press Enter to Store with the same name.
Here is what you should do after you found the right storing
space, if you want to it store with a new name:
- Dial the Parameter wheel to the name line.
- Dial the Value wheel and press Enter to select a letter.
- When you finish the name, go to “Done” using the
Value wheel and press Enter to Store.
How to obtain spillover at preset change
Spillover from one preset to another can be obtained by using the
same sub-algorithm and the right Mute mode in two following
presets.
Example: You want the tail Delay from one preset to ring out
when you change to a none Delay preset, here is what you do:
- Enter the Edit Parameter display of the Delay in the
first preset.
- Scroll down to “Mute mode” and select “FX In”.
- Store that as preset 1.
- Use the exact same Delay setting and Mute mode in
the next preset, but bypass the Delay block.
- Store that as preset 2.
You are now able to change from preset 1 to preset 2 with the
Delay ringing out.
How to connect the Modifiers
The G-Force has a number of extra internal modifiers that can
create extra functions and make your presets play along with you,
e.g. Envelope follower, ADSR, Pitch detector, etc. Here are a
couple of examples and how to set them up. The starting point is
the preset we just built in the above, or ROM preset #21.
Creating a ducking Delay
Right now you have a constant level of Delay, wouldn’t it be nice
if the Delay only popped up in pauses where you do not play.
Let’s try that:
- Press the Mod key to select the Matrix display.
- Scroll horizontal using the Value wheel until you see
“ENV” (Envelope) in the top line.
- Scroll vertical using the Parameter wheel until you hit
the point where “ENV” and Delay Outlevel meets.
- Press Enter to link the two parameters.
Now you will hear the Delay follow the level of the Input, i.e.
when you play, the Delay plays. But it would be more usable if
the Delay played when you didn’t play, so let’s do that:
- Place the cursor on the connection spot (if it is not
already there) and press Enter to dive into the link
display.
- Change the curve by setting the three input
parameters. If you want the Delay to stay down while
you play, Low input should be 100%, and High input
should be 0%. Experiment with these values.
Press Exit to leave the Link display. If you want remove the link
simply press Exit again.
If you want to remove all links of the Matrix, press Exit
twice and you will see a pop up box asking you to
confirm with Enter or abort with Exit.
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HOW TO
Creating an Autopanning Delay via Modifiers
If you want the Delays to autopan you could of course, place the
Pan/Tremolo block after the Delay, but you can also use one of
the extra LFO’s that are in the Modifier Matrix.
- Press the Mod key to select the Matrix.
- Connect the LFO1 output 1 to Delay Pan 1 and Pan 2
by pressing the Enter key.
- Press > Arrow right key to enter the Modifiers display,
scroll down to LFO1 and press Enter to dive into the
settings of the LFO1.
- Set the Speed, Depth, Curve etc. of LFO1 and listen
to your Delay Panning.
Right now the two Delays are panning left and right together, but
it would be nice if they panned opposite of each other.
- Press Exit to leave the LFO edit display.
- Press the left < Arrow key to get back to the Matrix
display.
- Scroll down to the connection between LFO1 and
Delay Pan1 and press Enter to access the link display.
- Change Low input to 100%, and High Input to 0%.
Your delays are now panning opposite of each other.
How to set up an Expression pedal
The G-Force has several control possibilities that can make your
presets a lot more flexible and interesting. These functions can be
realtime controlled by more than eight external pedals or MIDI
controllers.
Connecting
Your Expression pedal can be connected in two ways, either
directly to the “External control” jack on the back panel of the GForce, or via a MIDI board.
How to calibrate and choose Pedal type
The G-Force can be controlled by various types of pedals. The
type of pedal that you are using is set up in the Utility display, by
the “Pedal type” parameter. When you are using Expression
pedals, you should select “Alternating”.
When you connect your expression pedal to the “External
control” jack, you should make sure that the G-Force is calibrated
for that particular pedal. That is done in the Utility display:
- Press Utility.
- Scroll down to “Pedal calibration”, using the
Parameter wheel.
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- Press Enter and follow the instructions in the display.
You have now calibrated your expression pedal, and are ready to
setup the function of it.
The function of the Pedal
The basic idea is that your pedal should be connected to one of
the eight virtual handles called Ext1-8. That is done in the I/O
Setup, Control display:
- Press the I/O Setup key.
- Press the > Arrow right key to select the Control
display.
- Scroll down to “Ext1” using the Parameter wheel.
- Press Enter to activate the Learn function and move
your pedal to get it detected.
Your pedal should now be detected whether using the 1/4” jack
on the back panel of the G-Force, or a MIDI controller.
The pedal could also control the Main volume, the overall
bypass, the Tuner, the Tempo or one of the other seven external
controllers.
Now that you have your pedal setup for Ext1, we will move on to
getting it connected to a parameter:
- Recall ROM preset #17 “Stereo Harmony C-maj”.
That is a preset that will add a third, and a fifth to
your lead play as long as you stay in C-major.
- Press the Mod key to access the Modifier Matrix.
- Scroll horizontal until you see Ext1 in the top line of
the display, using the Value wheel.
- Scroll vertically using the Parameter wheel until the
cursor is placed on the line where Pitch “In level” and
“Ext1” meet.
- Press Enter to connect the two parameters.
You now have your pedal connected to the In level of the Pitcher,
which means that you can control the amount of pitch with your
foot. The function of the pedal is stored with the preset.
A lot of the ROM presets are setup for various pedal functions,
they are all using Ext1 as Modifier.
How to set up my MIDI board
The G-Force is capable of using a lot of the existing boards on
the market for standard program change. Here is what you do to
set your board up with the G-Force:
- Connect your board to the MIDI In socket on the
back panel of the G-Force.
- Press the I/O Setup key.
- Use the < > Arrow keys to select the MIDI display.
- Set the “Basic channel” to the same as your MIDI
HOW TO
board.
Your board is now be able to change ROM presets on the GForce.
How to change User presets using my MIDI board
If you want to change User presets in the G-Force via your board
this is what you should do:
- Enter the I/O Setup, MIDI display again.
- Scroll down to “Mapping mode” using the
Parameter wheel.
- Select “Into User bank” using the Value wheel.
Your board should now be able to change the User presets (given
that you made some) of the G-Force.
How to use some of the extra functions of my board
with the G-Force
A lot of boards on the market have the possibility of performing
MIDI on/off functions, MIDI bypass etc. The G-Force has a list
of board defaults that makes it possible to setup these boards
really fast. These are the boards in the list:
ART X-15 Ultrafoot
Digital Music Corp. Ground Control
Rocktron All Access
Roland FC-200
Custom Audio Electronics RS-10
If you own one of these boards here is what to do to set it up:
- Enter the I/O Setup, Control display.
- Scroll down to “Model” using the Parameter wheel.
- Select your board and press Enter to load the settings.
The G-Force is now setup to respond to the default settings of the
current board.
If your board is not in the list, here is what to do to setup some of
extra functions anyway:
- Enter the I/O Setup, Control display.
- Scroll down to the function you want to
control.
- Press Enter to activate the Learn function.
- Press the switch or pedal you want to use for the
current function.
You can perform this Learn function on all the parameters in the
Control display.
How to Recall a single block from
an existing preset
The G-Force have a possibility of Recalling a single block from
one preset into another. Try to Recall ROM preset # 23, called
“Stereo Touchwah”. Now we will Recall the Filter block from
ROM preset # 12, called “Mono Farout Phaser”.
- Press Recall.
- Dial the Parameter wheel to place the cursor on “Select”.
- Dial the Value wheel until the matrix cursor is placed
on “FIL”.
- Move the cursor back to “Preset” using the Parameter
wheel.
- Select preset 12 and press Enter to load the Filter
block into the current Routing.
The Filter block of preset 12 is now loaded into preset 23. This
partial Recall function can of course Recall blocks from ROM,
User and Card presets.
15
SETUPS
G-Force Setup
The G-Force is carefully designed to perform all the basic effects needed in a guitar setup.
Because the G-Force can be used in a number of applications we propose a few different setups.
Be sure that your amplifiers are turned off while connecting the G-Force. Turn on the G-Force before your amplifiers.
G-Force
Insert
Pedals
Combo
The Mono Guitar System
In a setup with a Combo amp or a mono stack you must use the Left input and output
(remember to select L-only, in the I/O Setup Audio display) You can either place the
G-Force in the effect loop or after the pre-amp, (this could also mean after your Distortion
stomp box).
Guitar
MIDIBOARD
The Stereo Guitar System
In a setup with a couple of Combo amps or a stereo stack, you get full advantage of the stereo
effects in the G-Force. Place the G-Force after your pre-amp or in the effect loops.
MIDIBOARD
Serial setup
This is the ultimate setup for the G-Force. The high quality 24 bit converters makes it
possible to use the G-Force without a line mixer. The serial setup utilizes the power of the
G-Force to its full extent.
Remember, the G-Force gives you the possibility to make the effect blocks parallel internally.
GUITAR
PREAMP
G-Force
POWERAMP
Cabinet
16
Cabinet
Parallel setup
Using the G-Force in combination with a line mixer.
Remember to use the killdry function, to avoid any direct guitar signal through the G-Force.
The Connections
The G-Force input jacks are unbalanced and the outputs are balanced. This means that you
can use standard guitar cables to connect the G-Force to unbalanced equipment, and stereo
cables to connect the G-Force to balanced equipment.
Input/Output
Set the Input level of the G-Force using the In knob in the upper left corner of the front panel.
To get maximum quality from the 24 bit AD converter, the input meter should show
approximately -6 to -3 dB.
Adjust the output level of the G-Force using the Output knob. In addition to the Output knob
there is a MIDI/Pedal controllable master level placed in the Out section (Effects Edit
display).
RECALL
The Recall Display
The Recall display of the G-Force contains three parameters: Select - Bank - Preset.
Change cursor location by dialing the Parameter wheel. Use the Value wheel to adjust values.
Select
Is used to point to a certain block that you want to recall alone. Should be set to “All” when you want to recall a complete preset.
Bank
Is used to select which bank you would like to recall from, ROM (factory presets), User, or Card (only available when a pc-card is
inserted).
Preset
Dial the Value wheel to preview the presets.
Select which blocks will be
loaded from new preset
Preset number
Preset name
ROM/USER/CARD bank selector
Recalling a preset
When you want to Recall a preset, simply use the
Value wheel to scroll through the presets and press
the Enter button to Recall.
17
RECALL
Preserving the tail of Reverbs and Delays at preset
change
Spillover from one preset to another can be obtained by using the
same sub-algorithm, and combination of Mute mode = “Fx In”
and bypassing the current block.
Example: If you want to leave a Delay tail hanging over a preset
change, you must be sure to keep the same sub-algorithm in both
presets. In addition to that you should select the “Fx In” Mute
mode and just bypass the Delay block in the second preset.
NOTE: Changing parameters like the Feedback or Mix over a
preset change can kill the Delay.
Optimal preset change
Since the change from one preset to another can contain drastic
changes in level and Routing, artifacts may occur if the preset is
changed while playing.
To obtain the best preset change while playing, you should keep
Routings as even as possible.
Example: When changing from a preset containing Reverb and
Delay, to a preset containing only Reverb you should just bypass
the Delay block instead of removing it (that will also enable you
to obtain spillover from the Delay block)
18
Recalling a single effect
It is possible to load a single effect setting into an
existing Routing, e.g. if you are building a new preset
and have come up with a really nice Reverb and Delay
but would like to add that Chorus sound you designed
last week. Here is what you do:
Press Recall, and move the cursor to the Select parameter using
the Parameter wheel.
Now use the Value wheel to point to “CHO” (Chorus). Move the
cursor back to the Preset parameter and use the Value wheel to
scroll through the presets (remember to set the bank, you wish to
Recall from).
NOTE: the G-Force will now scroll through only presets
containing the desired effect.
Press Enter to Recall the desired effect. The G-Force will now
update your current preset with the new effect, and return to the
current preset.
STORE
Store a new User preset
- Press the Store key.
- Select a location for your new preset. (the G-Force can hold 100 User presets).
- Move the cursor to the new name line and dial in the new Preset name (find letter or number with the Value wheel and
confirm with the Enter key).
- Cursor to DONE and press Enter to complete the store operation.
Quick Store with the same name
If you want to store an edited Factory preset with the same name, simply press Store and Enter. The G-Force will automatically store the
preset in the first empty User space.
If you want to store an edited User preset with the same name, simply press Store and Enter. The G-Force will suggest the same User
preset position as the storing space.
Store location
Bank Indicator
New preset name
Letterbox
CAPS lock
indicator
The Letterbox
When you want to change the name of the preset to Store, dial
the Parameter wheel. You are now able to write a new name
using the Letterbox. Simply dial the Value wheel and press Enter
to select new letters or numbers.
Select CAP, by pressing Enter, to change the letter case.
When you have changed the name, select DONE in the Letterbox
and press Enter to Store.
Place cursor here, and
press Enter to complete
Store operation
Using a Memory Card
When inserting a memory card you gain access to the card banks.
The card banks are located immedeately after the User bank.
Depending on the size of the card you can store up 9 banks of
100 user presets.
Card types
S-RAM Type 1 PCMCIA cards, with a minimum of 64Kbytes,
and a maximum of 2Mbytes S-RAM.
Press any key to leave the Store display.
Delete
Use the < > Arrow keys to select Delete. Dial the Value wheel to
select the preset you want deleted, and press Enter to delete.
19
EFFECTS
Selected
Double click on the
block bypass key of
the effect you want
to edit
Select Out and
press Enter to edit
Speaker filters
Select In and
press Enter to edit
Noise Gate
Selected
Double click on the
block bypass key of
the effect you want to
insert or dial Value
wheel to find new
effect and press Enter
to insert.
Dial Parameter wheel
to select effect and
press Enter to edit
right away.
Empty spaces
Selected
Set mix in
each block
Set In Level in
each block
Input meter of
each block
20
Bypassed block
EFFECTS
If you want to Edit one of the eight effects, press the Effects key. In the header of the effects display you can choose
between - Mix, Edit, Routing, and Layout. By using the < > Arrow keys you can step between the four displays. If an
effect is bypassed, it will appear with no bottom line.
Editing an effect
Press the Effects key and select the Edit display (using the < >
Arrow keys). Double click on the block bypass key of the effect
you want to edit, or point the cursor to the block you want to
edit, and press Enter to access the Edit parameter display.
Note that you can also select the In and Out section, e.g. the
Noise Gate is placed in the In-section.
When you are in the Edit parameter display, use the Parameter
wheel to scroll through the parameters and the Value wheel to
change values.
Press Exit or double click the block bypass key to leave the edit
parameter display.
Double clicking another block bypass key will take you
directly to edit parameter display of that particular effect.
Changing the Sub-algorithm
In each effect block you can choose between a couple of
variations of the current effect, for example, in the Chorus block
you can choose between Classic Chorus, Advanced Chorus,
Classic Flanger and Advanced Flanger. To change the Subalgorithm, you enter the Effect Edit parameter display and then
use the < > Arrow keys to jump to the effect Sub-algorithm
(upper left corner of the display). Now use the Parameter wheel
to select the new Sub-algorithm and press Enter to confirm.
Routing
If you want to change the Routing or order of the effect blocks,
use the < > Arrow keys to select the Routing display.
Use the Parameter wheel to select where you want to place an
effect block, and double click the block bypass key of the effect
you want to insert, or scroll through the effects using the Value
wheel, and press Enter to choose the current effect.
If you simply want to lead the sound through a point, you select
the pipeline icon.
The full Routing matrix is 4 high by 8 wide and you can place
any effect (without duplication) anywhere in the matrix.
Editing directly from the Routing display
If you want to edit an effect right away, press Enter to access the
Edit parameter display.
Use the Parameter wheel to scroll up and down, and the Value
wheel to change values.
Press Exit to leave the Edit parameter display again.
Mix
In the Mix display, you are able to balance the mix and the In
Level of the effects in that particular preset. If an effect is
bypassed, it will appear as grayed out, however, you can still
change the level and mix of that particular effect. A small PPM
shows the input level of each block. When two signals are joined
together there may be occasional overshoots. The meters of each
block are therefore placed at the very input of the current block.
This means that in case of overloads you should turn down the
level of the previous blocks.
Use the Parameter wheel to scroll through the parameters and
change values by dialing the Value wheel. Press Enter to activate
the current effect or Exit to bypass it.
Layout
In addition to the Routing display, you have a couple of Layout
tools. The Layout display can make certain actions very much
easier. The functions of the Layout are very much like those of a
spreadsheet.
In the Layout display, you see a miniature version of the Routing.
By turning the Value wheel, you can change the cursor position.
Now dial the Parameter wheel to select the desired function.
Column
Move L - Will move the current Column to the Left.
Move R - Will move the current Column to the Right.
Insert - Will insert a new Column.
Delete - Will delete the current Column.
Row
Move U - Will move the current Row up.
Move D - Will move the current Row down.
Insert - Will Insert a new Row.
Delete - Will delete the current Row.
Press Enter to carry out the selected function.
21
I/O SETUP
Input level indicator
Output level
indicator
Digital clock
indicator
Input
selector
Input
signal
Kills all
dry signal
The parameters in the I/O Setup contain setups of all the G-Force’s external connections: - MIDI, Pedal, Digital and
Analog Audio.
In the I/O Setup display, you can select between MIDI, Control and Audio using the < > Arrow keys.
All settings of the I/O Setup are global, i.e. they do not change with the preset.
Audio
To set up the Audio In/Out parameters, press the I/O
Setup key and use the < > Arrow keys to select Audio.
The Source
With this parameter you can select between the Digital input of
the G-Force, or the Analog input. G-Force is limited to 44.1kHz
sample rate at both Analog and Digital inputs.
The Input
The G-Force can use the Left input only (mono), the sum of left
and right input (LR-sum), or both left and right input (stereo). If
you are only using one input on the G-Force, you should select
L-Only.
If you want to input two mono sources, you can select LR-sum,
this will enable both left and right to be summed together
Killdry
The Killdry function enables you to remove all dry (direct) signal
in the G-Force. This function is very useful when you are
running the G-Force in a parallel setup.
NOTE: When Killdry is active, the overall bypass key will work
as a mute. Since you killed all of the dry signal and are bypassing
the effect there is no output.
The blocks will preserve their internal relationships by keeping
the mix level of the effect.
22
In Level, Out Level, Digital In
These are read-only parameters displaying the Input level
(adjusted with the front panel controls), Output level (adjusted
with the front panel controls), and the Digital input sample rate
(shown only when you are using the digital input).
Note: The input level of the G-Force automatically optimizes the
signal to noise ratio via a small relay in the input section. You
may hear a small click from this relay when the input is being
adjusted.
MIDI
In the MIDI section you set up the parameters of the
global MIDI in the G-Force, meaning program change,
MIDI mapping etc.
Basic Channel
The basic MIDI channel of the G-Force. This is the channel that
you should transmit Prg. changes on to change presets in the GForce.
Note: The G-Force’s Modifiers are configured separately,
meaning that they may refer to other MIDI channels.
Program change
With this parameter you set up how the G-Force should respond
to incoming program changes. There are three possibilities:
I/O SETUP
Disabled - Will cause the G-Force to ignore any incoming
program change.
Preset Recall - Will enable the G-Force to use program changes
sent on the “Basic channel”.
+ Partial Recall - When this value is selected, the G-Force will
still respond to program changes sent on the basic channel, but at
the same time each of the eight effect blocks will have their own
MIDI channels enabling you to recall a single block without
affecting the rest of the preset. The channel numbers of the
blocks are continuous from the Basic channel.
Example: If the basic channel is set to 1, the blocks channels will
be Compress ch. 2, Filters ch. 3, Pan ch. 4 etc.
Bank Selection
This function is a new MIDI standard, making it possible to
Recall presets above #128. The parameter determines whether
the G-Force should respond to this message or not. If your MIDI
device or foot controller is capable of using this function, you
should select Fine or Coarse.
(Please refer to your MIDI device/Foot Controller owners manual
to make sure which type the current product is using).
If set to disabled, the G-Force will act as a standard MIDI
product.
Bank size
The bank size is used to adapt the G-Force to different board
manufacturers when recalling preset above #128. In most cases
this parameter should be set at 128, but in some cases e.g. when
using the Roland FC-200, it should be set at 100.
The bank selection number contained in the program change is
multiplied with this value and the program change number is
added.
Please refer to the manual of the board manufacturer for proper
setting.
Sysex device ID
The Sysex ID of the G-Force.
Program change offset
With this parameter you are able to add or subtract to or from the
incoming Prg. change; e.g. the incoming Prg. change is preset
123, and the offset is set to +1, the Prg. change will now be 124.
The G-Force presets start at #1.
Mapping mode
Adjusts which bank the MIDI mapping should use: ROM,USER,
CARD or Custom. This means that you can guide an incoming
Prg. change to use the USER bank, or you can design your own
MIDI map.
Custom Map
In the Custom Map you can decide what every incoming Prg.
change should map to, using the “Map Program Change No.”
and the “Into Preset” parameters.
Map Program change no.
Use this parameter to select the Prg. change you want to remap.
Into Preset
Use this parameter to set the new destination of the incoming
program change.
Reset Custom Map
Place the cursor on this parameter and press Enter to Reset the
Custom map.
Control
Setup bank
Select setup bank
Board factory defaults
Model
Copy to bank
G-Force control
Main vol.
Bypass
Tuner
Tempo
Press Enter and
move your pedal
for auto-detection
Modifier input
Ext 1 - 8
Effect bypass
Gate
Cpr
Fil
Pan
Pit
Dly
Drv
Cho
Rev
(Gate)
(Compressor)
(Filters)
(Pan+Tremolo)
(Pitch)
(Delay)
(Drive)
(Chorus)
(Reverb)
MIDI
Global MIDI settings
Basic channel
Program change
Bank selection
Bank size
Sysex device ID.
Program change map
Program change offset
Mapping mode
Custom map
Map program ch. no.
Into Preset
Reset Custom Map
23
I/O SETUP
Ext. Controllers
There are two ways to connect an expression pedal to the GForce. One way is to connect it directly to the External Control
jack on the back panel of the G-Force. The other way is to
connect it via a foot-controller, i.e. as a MIDI controller.
To make it easy for you to set up a pedal, we designed
a Learn function. Place the cursor on the parameter you
want to control, press Enter to activate Learn, and press
your pedal. The G-Force will now automatically detect
your pedal, no matter if it is connected to MIDI or to the
pedal jack.
In each of the following parameters, you can setup the input that
the current parameter should be controlled by. In the first column
you set up the source and in the second column you set up the
type of the controller. Here is a description of the possibilities Column 1
Pedal:
MIDI basic:
MIDI Omni:
MIDI 1-16:
The G-Force pedal input (see back
panel).
The parameter will respond to the basic
G-Force MIDI channel (set in MIDI).
The current parameter will respond to
all channels.
The parameter will only respond to this
channel.
Column 2
(please note that this column is only available when col.1 is set to
MIDI).
Pitch bend:
Standard MIDI Pitch bend.
Aftertouch:
Standard MIDI Aftertouch.
Note-on-key:
Standard MIDI Note-on.
Controller 0-127: MIDI standard controllers.
Prg. Change:
The Program Change feature is very
special.
If a parameter is set to a certain Program Change, the
current parameter will be toggled on/off by the current
preset change.
NOTE: If you are using a Program Change on the MIDI basic
channel for controller purposes, the current Program Change will
be ignored and will not perform a program change on the GForce.
24
Setup bank
The G-Force has four banks which you can use for your different
setups. By using the Value wheel, you can change the active bank
from 1 through 4. The banks are instantaneously Stored and
Recalled, meaning that any change you make in the Control
menu is remembered in the current bank, and Recalled next time
you select that particular bank.
Each bank contains every parameter setting in the Control menu.
Board factory defaults
It is possible to set up the Control menu for a number of board
defaults. Dial the Value wheel and confirm with the Enter key to
load the board defaults. Only boards with MIDI On/Off or
Expression possibilities are represented on the list.
The complete list is:
ADA MXC
ART X-15 Ultrafoot
Roland FC-200
Rocktron All Access
DMC Ground Control
Lexicon MPX R1
Custom Audio Electronics RS-10
NOTE: This will change the whole Control setup to the defaults
of the chosen board, meaning that it will override your settings.
G-Force control
Main Vol.- Controls the main output volume of the G-Force.
Tempo - Use this parameter to tap the global tempo via MIDI or
the G-Force pedal input.
Bypass - Controls the overall bypass of the G-Force.
Tuner - Use this parameter to activate the Tuner.
Modifier input
Ext. 1-8 - These eight inputs can control numerous parameters in
the algorithms. Their functions are set up in the Modifier matrix
display. These are the parameters you should set up to be
controlled by your expression pedals.
Effect Bypass
The nine block bypass functions can be externally controlled via
these inputs, meaning that you can bypass each of the nine
effects independently. Some foot controllers on the market have
the capability to send MIDI on/off messages for exactly this
purpose.
If you do not own a board with these features, you can use an
ordinary program change to bypass a block, e.g. You can setup
the Pan section to be bypassed when you send out program
change #10 on MIDI channel 5.
I/O SETUP
How the Modifiers are connected
The basic flow of both the internal and external controllers is explained in this chapter.
In the G-Force you have a number of external controller inputs. These can be MIDI controllers, MIDI program change, the G-Force Ext.
input 1/4” jack etc. These inputs must be connected to eight virtual handles named Ext. 1-8. The eight handles (Ext. 1-8) can be connected to
a large number of algorithm parameters via the Modifier Matrix (see Matrix for further details). The point of the eight handles is that their
connections are stored in the presets of the G-Force, meaning that you can use the same pedal for various purposes just by changing presets.
These parameters status are not stored with the preset: Main vol. Bypass, Tempo and Tuner.
The G-Force also contains several extra internal Modifiers i.e. extra LFOs, ADRs, Envelope follower etc. These internal Modifiers are also
present in the Modifier matrix, and can be connected to the same parameters as Ext. 1-8.
NOTE: The default setting of a Modifier connected parameter is equal to it’s setting in the Edit parameter display.
Example: The Reverb mix level is set up to be controlled by a pedal, and the Mix parameter in the Edit parameter display is set to 15 %.
When this preset is Recalled, the Reverb Mix will be 15%, and at first movement of the pedal, you will be in total control.
Setting up an
Expression pedal
Example:You want to connect an
expression pedal to the input level of
the Delay block:
Connect your expression pedal to
the G-Force external control jack on
the back panel, and Recall a preset
containing a Delay.
Press the I/O Setup key and select
the Control display. Use the
Parameter wheel to scroll down to
the Modifier input section, and place
the cursor on Ext. 1. Dial the Value
wheel to select Pedal.
Now you have hooked up your
expression pedal to one of the eight
handles, so let’s move on to
connecting the handle to a
parameter. Press the MOD key and
use the < > Arrow keys to select the
Matrix. Use the Value wheel to
scroll horizontally, until you see Ext.
1 (your pedal) in the top line. Now
use the Parameter wheel to scroll
vertically until you see the Delay
Inlevel. Press Enter to connect Ext. 1
to Delay In Level.
NOTE: If the parameter does not respond correctly, try to
calibrate your pedal (see Utility, Pedal Calibration).
25
MODIFIER
Selected
External Modifiers
Parameter list
Modifier and Parameter connected
Link
Set lowest value
Set middle value
Set highest value
Change curve
Set reaction time
Transformation
Selected
Dial Parameter wheel
to move Ext. modifier 1
26
Press Enter and dial Value
to change Ext. modifier,
press Exit to dial
Dial Value wheel to
move Ext. modifier 2
MODIFIER
Matrix
The Matrix is where you connect your External pedals
(set up in I/O Setup, Ext. Input) or the internal Modifiers
to the parameters you want to control.
Dial the Parameter wheel to move the cursor vertically and the
Value wheel to move the cursor horizontally. Press Enter to
connect the two lines. Press Exit to remove a connection.
The basic concept is that you have a number of Modifiers (extra
LFOs, ADSRs, ENV and your Ext. Inputs) in the top line of the
Matrix. On the right hand side of the Matrix you have a list of
the parameters available in the current preset. This means that an
effect has to be present in the preset before it can appear in the
parameter list.
NOTE: Not all parameters in an effect are available.
To connect a Modifier to a parameter, you move the cursor to the
point where their two lines meet, and press Enter to connect
them.
Example: You want LFO1 to modulate the speed of a Tremolo
(be sure that the Tremolo is in the current preset). Now move the
cursor horizontally by dialing the Value wheel until you have the
cursor just below LFO1. Next step is to find the Tremolo speed.
Dial the Parameter wheel until you hit the point where Tremolo
speed and LFO1 intersect each other, now press Enter. The small
dot indicates that the LFO and Tremolo speed are connected.
Link
When you have two lines connected, (i.e. Ext.1 connected to
Tremolo speed) it is possible to make a transformation between
the two lines. Move the cursor to the dot connecting the two lines
and press Enter to enter the Link display.
In the Link display, you can change the curve between the
Modifier and the actual movement of the current parameter.
Low input
Use this parameter to adjust the minimum value of the modifier
i.e. when your expression pedal is in the minimum position.
Mid input
Use this parameter to adjust the medium value of the modifier
i.e. when your expression pedal is in the middle position.
High input
Use this parameter to adjust the maximum value of the modifier
i.e. when your expression pedal is in the maximum position.
NOTE: These same transform parameters apply to the other
modulation sources, for example Envelope, Low when the input
signal into the G-Force is at its lowest and High when it is at its
loudest.
Slope
Dial the Slope parameter to change the shape of the curve. Try it
out and watch the curve change.
Glide time
With this parameter you can set a minimum time that the
parameter should use to go from maximum to minimum or vice
versa, meaning that even though you move your expression pedal
from min. to max. in a split second, the current parameter will
still take some time to go through the same range.
Press Exit to leave the Link display.
Each modifier can be connected to several parameters at the
same time but each parameter can have only one source.
The maximum number of connections that can be made on the
matrix is 20.
Default parameter setting
The default setting of a Matrix connected parameter at Recall is
equal to its setting in the Edit parameter display.
Example: The Reverb mix level is set up to be controlled by a
pedal, and the Mix parameter in the Edit parameter display is set
to 15 %. When this preset is Recalled, the Reverb Mix will be
15%, and at first movement of the pedal, you will be in total
control of the parameter.
If you want to remove all links of the Matrix, press Exit
twice and you will see a pop up box asking you to
confirm with Enter or abort with Exit.
27
MODIFIER
Selected
Press Enter to enter
modifier
Dial Value to set On/Off
Modifiers
This is the display where you set up the parameters for the internal modifiers. Use the Parameter wheel to select the
modifier you want to edit and press Enter to access the parameters of the current modifier.
Pressing Enter will enable you to enter into the current selected
Modifier. Here is an explanation of the parameters in the
Modifiers.
Envelope Follower
The Envelope follower is used on effects that you would like to
respond to the input signal like touch-wah or dynamic delay. The
Envelope follower will perform the same dynamic movement as
the input, but you can change the response time by using the
Attack and Release.
Attack - Sets the amount of time before the ENV
reacts to the input signal.
Release - The time that the ENV continues to
work after the input signal stopped.
ADSR 1&2
ADSR’s are used to play short sequences triggered by the audio
input. You set up a number of terms to describe the current
sequence, and a trigger level also known as Threshold.
Attack
The Attack or rise time of the curve i.e. how long it takes to go
from minimum to maximum level.
Decay
Sets how long it takes the curve to fall back from maximum to
Sustain level.
28
Sustain
The amount of time that the ADSR will hold the Sustain level.
Sustain level
The value that will be sent out during the Sustain period.
Release
The amount of time that it takes the ADSR to fall from Sustain
level to zero. Release time will take over when the Sustain time
has expired (depending on the trig mode setting).
Mode
With the mode parameter parameter you can choose the way the
ADSR should respond to trigs. In general the ADSR can only
retrig if the signal falls below threshold and comes back up.
Once Will run the ADSR to the end once, and after
that be ready for a new trig. In “Once” mode
the signal have to drop below threshold after
the ADSR finished to be able to retrig.
Once-Retrig - Will run the ADSR to end once, but are
capable of retriggering during the ADSR
sequence.
Loop Will keep running the ADSR sequence for as
long as the signal stays above threshold.
Loop-Retrig - Will keep running the ADSR sequence for as
long as the signal stays above threshold, but
are capable of retriggering during the ADSR
sequence.
MODIFIER
Sustain -
Will stay at Sustain level for as long as the signal
stays above threshold.
Sust-Retrig - Will stay at Sustain level for as long as the
signal stays above threshold, but is capable of
retriggering during the ADSR sequence.
Threshold
When the input level exceeds this level, the ADSR is triggered.
LFO 1&2
The LFO’s can be used for various purposes, for example you
can connect a balance parameter and create an extra panner or
modulate a filter to create an auto-wah effect.
Both LFO1 & 2 have two outputs, which means that you can use
the same LFO with different phase for different purposes.
Speed The speed of the LFO also known as Rate.
Depth The depth of the LFO also known as Width.
Tempo Sets the LFO speeds relationship to the tapped
tempo
(on the Tempo key). The subdivisions available
are: Ignored1/1, 1/2-1/32, straight, dotted or
triplets.(1/4 equals BPM (beats per minute).
Curve Select the curve that you would like on the current
LFO.Choose between: Square, Sine, and Triangle.
Out2 phase -An LFO phase change causes a small delay in the
second waveform starting point. This means that out 1 and 2 start
the current waveform at two different points.
Example: If Out2 phase is set to 180 degrees, Out 1 and 2 will be
exactly opposite.
Dials
Press the Mod key and use the < > Arrow keys to select the
Dials. (see picture on page 26).
The basic idea with the dials are that you can simulate any of the
eight External controllers using the Parameter and Value wheel.
By dialing, you can test if the links in the Matrix are responding
correctly without having a pedal connected.
If you want to make sure that you expression pedal is
calibrated correctly, you can test it by watching the dials
while moving your pedal from 0-100%.
Press Enter to change the External controllers simulated by the
wheels. Use the Parameter wheel to select between Dial 1 or 2,
and press Exit when you have set the desired external controllers
to be simulated.
Square
Triangle
Sine
Pulsewidth - Controls the division of the upper and lower parts
of the current curve, i.e. if Pulsewidth is set to
75%, the upper half of the curve will be on for
75% of the time.
Pulsewidth
29
UTILITY
In the Utility display, you can choose between Config.
and Billboard. Use the < > Arrow keys to select
between the two displays.
Config.
User Interaction
In the config. display you can set up a number of global
parameters for the G-Force such as memory protect, backup of
the User bank, etc.
Display Viewing Angle
Adjust for best contrast of the LCD display.
Parameter dial direction
FWD - UP/DOWN: Select what direction the parameter wheel
should move the display cursor.
Preset Change
Effect mute On
When set to on, the G-Force will mute the sound for a very short
moment while changing the preset. With this feature you can
avoid any kind of artifacts when changing presets.
Effect mute Off
When effect mute is set to off the G-Force will bypass the effect
blocks according to the Mute mode set in each block, while
changing preset.
Example: Preset 1 contains a Delay. The Mute mode of the Delay
is set to “FX Input”. Since “FX Input” will keep the dry signal at
the level set by the Mix parameter of the block, this preset will
do the same. (The; Mute mode is explained in the “Blocks “
chapter).
To avoid level jumps at preset change, you must carefully
consider the Mute mode of each block. “Mix 0%” will take the
direct signal level up to 100% at the moment of the preset
change. “FX In/Out” will keep the direct signal level set by the
Mix parameter in each block and “Input/Output” will mute the
direct signal at preset change.
Extern Modifier input
This function sets how externally controlled parameters should
react at preset change.
Reset - Will preset the controlled parameter to the value stored in
the preset. At the first movement of the External controller, the
parameter will be captured.
Preserve - Will preserve the value of the external controller,
meaning that the controlled parameter will start this value.
Example: You are about to load a preset with an external
expression pedal controlling the Delay mix parameter. The Delay
mix parameter is stored at 50%. Now you load this preset. If you
30
selected “Reset” in the Ext. modifier input, the Delay mix will be
reset to the preset value=50%
If you selected “Preserve” in the Ext. modifier input, the Delay
mix will preserve the pedal value=100%.
Environment
Pedal Type
Switches between momentary and alternating. This parameter
should be set to alternating if you are using an expression pedal.
Pedal Calibration
Press Enter to enable calibration of the External input jack on the
back panel of the G-Force. Follow the instructions in the display.
Pedal Curve
The response curve of the External 1/4” jack input can be
adjusted. After the External input has been calibrated select
“pedal curve” and press Enter. Dial the Value wheel to change
the response curve. Press Exit to leave the “Pedal Curve” display.
The Pedal curve is global and will not be changed with presets.
User Bank Protect
Protect
Utility
Sets the Protect function On/Off.
User Interaction
Protect Low limit
Display viewing angle
Sets the lower limit of the preset
Jump back to Recall
protect. The current number is
included in the protect.
Environment
Protect High limit
Pedal calibration
Sets the higher limit of the
Pedal type
preset protect. The current
User bank protect
number is included in the
Protect
protect.
Protect Lo-limit
User Bank Backup
Protect Hi-limit
You can backup the User presets
of the G-Force to a card or MIDI
User bank backup
recording device using these
User bank to Card
functions.
Card to User bank
Card type: SRAM PCMCIA,
User bank to MIDI
type 1, min. 64 K byte.
MIDI to User Bank
User Bank to Card
Insert a PC-card in the Card slot and press Enter twice. All User
presets of the G-Force will then be saved to the memory card.
Card to User bank
Insert a PC-card containing your presets and press Enter twice.
All presets will now be stored back into the User bank of the GForce.
WARNING: This action will overwrite ALL existing User presets
UTILITY
User bank to MIDI
Connect your G-Force’s MIDI out to another G-Force, a
sequencer or any other MIDI recordable device. Press Enter
twice and the G-Force will perform a MIDI bulk dump of all
User presets.
MIDI to User bank
Connect the storing device to the G-Force’s MIDI In and press
Enter. The G-Force is now ready to receive a MIDI bulk dump
containing User presets.
WARNING: This action will overwrite ALL existing User presets
in the G-Force.
Billboard
In the Billboard display you can setup a number of
terms for the Billboard.
Scrolling
Billboard
Speed
Sets the scrolling speed of
Scrolling
the Billboard.
Speed
Activity
Activity
Preset change
Activity
Sets the action that the
Preset
change
Billboard will perform at
Always show tuner
preset changes. You can
Run message
choose between sliding and
running the name and the
Message string
number of the current preset. Edit message
Always show Tuner
If this parameter is active,
the Billboard will always show the Tuner note and indicators.
NOTE: This parameter can also be set from the Tuner display.
Run Message
The G-Force contains a global message that can always be shown
or used like a screensaver. This parameter determines how often
Global message is active.
Message String
Edit message
Press Enter when selecting this parameter to change the text of
the global message. Select DONE and press Enter to finalize.
30a
UTILITY
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TEMPO
Tapped or dialed BPM
Set override On/Off
Tapped tempo in ms.
Tempo
Set the global tempo by tapping the Tempo key.
The global tempo can be used as a common tempo
guide in all presets. All Delay algorithms and all
algorithms containing a speed are able to use the
global tempo.
Tapping a tempo into a Delay
All Delay and Speed parameters have links to the Global Tempo
menu. This means that a tapped tempo can be used in any presets
that have these parameters. To make the tempo fit your purpose,
we added a subdivision in all these algorithms. All you have to
do is set up which subdivision parameter you would like the
tempo to divide into.
Example: You want a Delay to perform 1/8 triplets. Go into the
Edit parameter page of the Delay and select 1/8 T. Now you can
just tap the BPM on the Tempo key (or via a pedal), and the
Delay will automatically recalculate into 1/8 triplets in the
current tempo. The same goes for all the algorithms containing
Speeds.
The algorithms able to use the global tempo are:
Delay
Chorus
Flanger
Phaser
Tremolo
Panner
and modifiers
LFO 1
LFO 2
The Tempo display
Tapping the Tempo key will cause the Tempo display to pop up,
and the Billboard will be blinking at the current tempo. Both the
Tempo display and the blinking Billboard will disappear
automatically after a few seconds.
In the Tempo display, you can see the BPM (Beats per minute)
tapped in, or you can dial a BPM placing the cursor on Tempo,
and dialing the Value Wheel.
Maximum tempo - 300 BPM.
Minimum tempo - 20 BPM.
Overide preset tempo at preset change
Controls whether the tempo should be influenced instantaneously
at preset changes or if the new preset should await the next
tapped tempo.
Example: You are using a preset with a straight 1/4 note delay,
and you tapped the tempo into the G-Force, let’s say 120 BPM,
meaning that you have tapped a Global Tempo of 500 ms. Now
you change preset, and the new preset is suppose to use 1/8
triplets. Do you want the preset to use the existing tempo right
away, or do you want the preset to wait for the next tapped
tempo.?
Selecting Yes, will enable the presets to use the tempo
instantaneously at preset changes.
Tempo controlled via pedal/MIDI
The Tempo can be tapped via the External input jack on the back
panel of the G-Force or via a MIDI On/Off switch. That is setup
in the I/O Setup, control display.
31
TUNER
Choose Detect or manual note selection
Master Tune
Billboard is always Tuner
Mute when Tuner is active
The Tuner display
When pressing the Tuner key, you access the Tuner
display. In the Tuner display, you have four setup
parameters. Entering the Tuner display also activates
the Tuner guides on both the Billboard and the Gain
reduction meters.
Tuning Note
With this parameter you can either choose the Detect mode or
you can manually select which note you want to tune. When the
tuner is set to Detect it will automatically sense what note you
are playing. This will be indicated on the Billboard together with
two arrows showing you whether you are a bit flat or sharp. At
the same time the gain reduction meters will indicate how much
you are out of tune. When the two center LEDs are lit, you are in
tune.
Master tune
With the Master tune parameter you can calibrate the tuner.
Note: The Master Tune controls the pitch detector, meaning that
the tuning of the Pitch voices will change with the Master tune.
Show always
When “Show Always” is on, the Billboard will show the Tuner
constantly. This allows you to always be able to turn around and
see if you are in tune. This parameter is also available in Utility.
Mute in Tuner
This parameter enables you to mute the outputs of the G-Force
when the Tuner is activated. This means that you can tune your
guitar on stage with no sound at all. The sound will only be
muted while the tuner display is active.
32
Tuner activated via pedal/MIDI
The Tuner can be activated via the External input jack on the
back panel of the G-Force or via MIDI. That is setup in the I/O
Setup, Control display.
THE BLOCKS
Algorithms
This chapter will go through all Edit parameters in
the eight blocks and the Input and Output sections.
Mute mode
The eight effect blocks all have a number of different Mute
modes. They are located as the last parameter in the Edit list
of each block.
The idea is that you can decide how every single block
should react when you push the current blocks bypass key on
the front panel. Here is the description of what the five
modes will do when bypassed:
Mix 0%: Will mute the output of effect, and take direct
signal level up to 100% dry = 0% effect.
FX Out: Will mute the output of the effect, and
preserve direct signal level, according to Mix.
Output : Will mute both the output of the effect and the
direct signal.
FX In : Will mute the input of the effect, and preserve
the direct signal level. This enables the block
to finish an effect tail after being bypassed,
e.g. using this mute mode on a delay will let
the delay tail ring out even after being
bypassed or at preset change between two
presets with the same settings (only the
Delay, Reverb and Pitch has this mute mode).
Input:
Will mute both the input of the effect and the
direct signal. Same basic function as FX In,
only this mode will also mute the direct
signal. (only the Delay, Reverb and Pitch have
this mute mode).
NOTE: Using the Input/Output mute modes will mean that
no signal passes through the current block when bypassed.
Gate
The basic idea about a Gate is that when the input signal
falls below a threshold set up by you, the Gate turns down
the signal by a certain number of dB’s, also set by you.
Example: You set the Threshold at -25dB and the Max.
damping at 30dB. When playing signal into the G-Force, the
Gate will not do anything, but when the input signal is lower
than -25dB (on the input meter) the Gate will start damping
to a maximum of 30dB (see the Noise Gate meter).
The speed of the damping is set by the Release rate
parameter (Rel.rate).
In the In-section of the G-Force, you find the Noise Gate.
The gain reduction of the Noise Gate is displayed by the
LEDs below the Billboard.
The Noise Gate (including the Level parameter) is not
bypassed by the overall Bypass key. This means that the
Noise Gate will still be active even if you bypass all the
effects of the G-Force.
NOISE GATE
Mode
Using the mode selector, you can choose between Hard and
Soft Gating. Hard damps almost instantaneously when the
Input falls below the Threshold, while Soft damps gradually,
meaning damping very smooth and soft, without destroying
your sustain.
Threshold
When the input level falls below this Threshold, the Noise
Gate is activated.
Max. Damping
The maximum of dB’s that the Noise Gate can damp (also
called gain reduction), meaning if Max. Damping is set to 0
dB, the Noise gate will not damp at all. The damping/Gain
reduction is displayed on the meters below the Billboard.
Release rate
The Release rate sets the speed that the Noise Gate damps
with, meaning if the parameter is set to 100dB pr. second,
the Noise Gate will damp very quickly.
Level
This level control can be used for controlling the In Level of
the different presets. By setting the Level at -6dB, in all your
basic presets, you reserve a little extra level for your lead
presets. The Level parameter is also found in the Modifier
Matrix, and can therefore be controlled via pedal or MIDI.
Compressor
A Compressor is meant to reduce the dynamic content of the
input signal, and thereby keep a more constant level. When
the input signal exceeds the threshold, the Compressor starts
to reduce the signal according to the Ratio. The Ratio
33
THE BLOCKS
describes how much the signal is reduced, e.g. a Ratio at 2:1
means that for every 2 dB the signal exceeds the threshold,
only 1 dB comes out.
When the signal falls below the Threshold, the Compressor
is supposed to stop working, but the Release parameter can
slow that process down. The Release parameter determines
how long the Compressor should continue to work after the
signal dropped below Threshold.
Example: The Compressor is set to a Ratio of 8:1, and the
signal is exceeding the Threshold by 16dB, that will result in
a gain reduction of 14dB (viewed on the Compressor gain
reduction meter). The Release time is set to 28 dB/S. This
means that when the signal falls below the Threshold it will
take the Compressor 0.5 second to fall back to no gain
reduction.
The Compressor in the G-Force comes in both a simple and
an advanced version. The Compressor uses auto-makeupgain. This means that the Compressor automatically
compensates for the loss of level caused by the gain
reduction, by turning the outlevel up i.e. the more you
compress, the higher level you get out.
The Attack time is scaled automatically depending on the
dynamic content of the incoming signal.
Release (only in advanced)
Release sets the fall back time of the Compressor, after the
signal dropped below Threshold, meaning if the Compressor
is reducing the gain by 14dB and the Release is set to
28dB/S, it will take 0.5 second before the Compressor stops
gain reduction.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Compressor block.
Filters
The Filter block contains five different sub-algorithms:
Parametric EQ, Wah Wah, Formant, Resonance and Phaser.
These five algorithms perform several effects in a range
from subtle to wacky.
Parametric Equalizer
The parametric EQ contains two shelving filters (#1 and #5)
and three bell filters (#2, #3, #4).
A low shelving filter is a filter that works from a certain
target frequency and down, meaning everything below the
target frequency will be adjusted. A high shelving filter is
equal to low shelving but now all the frequencies above the
target are adjusted.
A bell filter is a filter that works around a target. This means
that a certain number of the adjacent frequencies are
adjusted. The affected number of adjacent frequencies is
adjusted by the BW (bandwidth) parameter.
COMPRESSOR
Threshold
When the input level exceeds the Threshold, the Compressor
will be activated. This means that the lower the Threshold,
the more compression you will get.
Ratio
Ratio effects the steepness of the Compressor. Example:
When the Ratio is set to 2:1 it means that for every 2db the
input level rises, the output level increases by 1 dB.
Knee Mode (only in advanced)
The Knee Mode parameter sets the bending point of the
compressor to soft knee or hard knee. When soft knee is
selected, the Compressor will gradually reach the ratio,
while hard knee will cause the Compressor to go directly
from no compression to the current ratio.
34
PARAMETRIC EQ
Freq
Use the freq parameter to set the target frequency of the
current band.
Slope/BW (bandwidth)
Use the Slope parameter to adjust the steepness of
the shelving filter. Bandwidth adjusts how broad the bell
filters are.
Gain
Use the gain to boost or cut the target frequency. All filters
can boost or cut +/-12dB.
THE BLOCKS
In Level
Controls the input level of the block.
Out Level
Controls the output level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Out Level
Controls the output level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Wah Wah
Resonance
The Resonance filters are basically a high and low cut filter
that can be swept up and down the frequency range. When
the Resonance (Q-factor) parameter is increased, the filter’s
peak at the cutoff frequency gets very narrow and very steep.
That is at the very core of the characteristic sound of
Resonance filters.
NOTE: The peak of the filters can get very loud and can
easily hit the internal ceiling and thereby cause distortion. To
prevent that, turn down the input level of the Filter block.
RESONANCE
Order
The Order parameter of the resonance filters changes the
steepness of the filters. 2nd order filters are 12dB/Octave
while 4th order are 24dB/Octave. 4th order filters will “ring”
or resonate more than 2nd order filters.
Locut freq
Sets the frequency of the Locut resonance filter.
Hicut Freq
Sets the frequency of the Hicut resonance filter.
Lo Resonance
Sets the amount of resonance on the Locut filter.
Hi Resonance
Sets the amount of resonance on the Hicut filter.
WAH WAH
Freq
The frequency of the Wah Wah. Connect this parameter to an
LFO, ENV or an expression pedal and you will get
Autowah, Touchwah, or Manual Wah.
Instrument mode
This parameter changes the range of the Wah Wah between
guitar and bass ranges.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Formant filters
The Formant filters are somewhat special. They can create a
new sound for you. Imagine a pedal that does not say WAH
WAH, but instead goes OOWEE-OOWEE. Formants are
also known as the vowels of human speech. The basic idea is
that you set three coordinates, Start, Thru and End in a
frequency area, and then move your sound up and down the
curve you created with the coordinates.
Try to connect an LFO or an expression pedal to the
two frequency parameters using the Modifier Matrix.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
FORMANT CURVE
Start
The Starting point of the formant curve.
35
THE BLOCKS
Thru
The Thru point of the curve
End
The End point of the curve
Resonance
Sets the amount of resonance on the Formant filter.
Age/Sex
Is used to change the character of the formant curve. Try to
experiment a bit with this parameter.
Sweep
Dial the Sweep parameter to move up and down the formant
curve. This is the parameter that you should connect to a
pedal or some other modifier.
Try to connect the Sweep parameter to an LFO, ENV
or an expression pedal for realtime parameter
control.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of block.
Out Level
Controls the output level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Phaser
Depth
Adjusts the Depth of the Phaser.
Order
Sets the number of filters used to produce the Phaser. The
three possibilities 4, 8 and 12 are very different sounding.
Check them out.
Feedback Level
Controls the amount of feedback in the Phaser. Note that this
parameter can be negative, meaning feedback in reversed
phase.
Instrument Mode
With the mode parameter you can choose between the guitar
or bass range of the Phaser.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Pan+Trem block
A Panner is basically a change of the level opposite in left
and right channels. An LFO is connected to these levels and
turns them up and down. A Tremolo is also a change of level
controlled by an LFO except the level change in left and
right channels are identical. So the basic difference between
a Panner and a Tremolo is whether the level change of left
and right channels is opposite or identical.
This Panner has a surround range, meaning that it will pan
further than a normal stereo image.
The Tremolo has flexibility that you will not see in any
stomp box.
PHASER
Speed
Controls the speed of the Phaser.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
36
TREMOLO / PAN
Tremolo
Speed
Controls the how fast the Tremolo is pulsing.
THE BLOCKS
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Depth
Will set the intensity of the Tremolo, or how deep it sweeps.
Curve (only in Advanced)
Sets the curve of the LFO. Choose between: Square, Sine, or
Triangle.
The most common LFO curve in Tremolo is Triangle.
Square
Triangle
Sine
Try the Square waveform with 100% Depth, to get
holes in your guitar sound (called Transforming).
Pulsewidth (only in Advanced)
Controls the division of the upper and lower part of the
current waveform, e.g. if Pulsewidth is set to 75%, the upper
half of the waveform will be on for 75% of the time.
Out Level
Controls the output level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Panner
Speed
Controls the speed of the Panner. The simple Panner always
pans fully left and right.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Curve (only in Advanced)
Sets the curve of the LFO. Choose between: Square, Sine, or
Triangle.
The most commonly used curve in Panning is Sine.
Pulsewidth (only in Surround Panner)
Controls the division of the left and right part of the current
waveform, i.e. if Pulsewidth is set to 75%, left channel will
be on for 75% of the time. (see pulsewidth figure in
Tremolo).
LFO Phase (only in Surround Panner)
An LFO phase change causes a small delay in one of the
waveform starting points. This means that left and right
outputs start the current waveform at two different points.
Example: If LFO phase is set 180º, left and right will be
exactly opposite.
Pulsewidth
LFO Phase (only in Advanced)
An LFO phase change causes a small delay in one of the
waveform starting points. This means that left and right
outputs start the current waveform at two different points.
Example: If LFO phase is set 180º, left and right will be
exactly opposite.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
90 phase
change
LFO PHASE
Pan Center
Using this parameter, you can move the center of the Panner.
NOTE: Large increments of the Pan Center, in combination
with a broad Depth will cause the Panner to pan beyond a
normal stereo image.
37
THE BLOCKS
Width (only in Surround Panner)
Controls the Width of the Panner. When Width is set to more
than 100%, the Panner will pan beyond a normal stereo
image. Check it out.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
The Pitch block
In the Pitch block there are two basic Pitch types: Fixed and
Intelligent. The difference between the two types is that
while the Intelligent pitcher is capable of staying inside a
certain key and scale, the Fixed pitch will always add the
exact same amount of pitch no matter the input signal.
The Detune algorithm is used for smaller amounts of pitch,
to create doubling sounds.
The optimal pitch detection is acheived by placing the Pitch
block as close to the Input section as possible. It is very
important to be in tune when playing with the Intelligent
pitcher. Use the Tuner for that purpose.
INTELLIGENT PITCHER
Key
With this parameter you are able to tell the G-Force which
key you are playing in. This is very important information,
because the voices of the intelligent pitcher are generated
from it.
Scale
Sets the scale that the Intelligent Pitcher uses, meaning that
the voices from the G-Force will be within this current scale.
It is recommended that this scale be equal to the scale you
are playing, otherwise you might get some very strange
voicings.
38
Mode
Choose the mode of the Intelligent Pitcher.
Stepped: The Pitcher will only play notes within the current
scale and key no matter what you play.
Smooth: The Pitcher will follow the incoming signal. This
means that you can bend a tone, and the Pitcher will bend
with you.
Voice 1-2
Sets the step in the current scale and key in which you want
the pitcher to play.
Example: You want the G-Force to play the third step in
C-Major. Set the Key to C, and the Scale to Ionian Major.
Now set Voice 1 to step 3. No matter what you play within
C-Major the G-Force will now play/transpose two steps
further up the scale, i.e. if you play a C now, the G-Force
will play an E which is the third step of C-Major.
Max. pitch is +/- one octave.
Detune Voice 1-2
Adjusts the detune of the two Voices. By connecting an LFO
to these parameters you can add a vibrato to the pitch voices.
Delay 1-2
Sets the Delay of the each of the two voices. Max. delay
time per voice is 400 ms.
Pan Position 1-2
Controls the panning of each of the two pitch voices.
Level 1-2
Sets the level of the two pitch voices.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Intelligent Pitcher block.
Mute mode
See Mute mode in the introduction of this chapter.
Custom Scale
The Custom scale enables you to make your own scale, by
specifying the number of notes, the root key and the specific
notes contained in the current scale.
Notes used
Use this parameter to specify the number of notes within
your Custom scale. A Custom scale must contain a minimum
of 4 and maximum of 8 notes.
Tonic
Sets the root key of your Custom Scale.
THE BLOCKS
Note 2 - 8
Use these parameters to specify the notes you want in your
Custom scale. You can only specify the number notes set by
the “Notes Used” parameter. The Custom scale must be
described within an octave.
Fixed 1 & 2 Voice Pitch
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Pitch block.
Mute mode
See Mute mode in the introduction of this chapter.
Voice 1-2
Sets the amount of pitch on each of the two voices.
Maximum pitch is +/- 12 semitones.
Delay 1-2
Sets the Delay of the each of the two voices. Maximum
delay time per voice is 400 ms.
Level 1-2
Sets the level of the two pitch voices.
Pan Position 1-2
Controls the panning of each of the two pitch voices.
Feedback 1-2
Sets the amount of Feedback on the two voices. This can
create really weird effects since the signal will be pitched
over and over meaning that it will rise/fall more and more
over a period of time.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Pitch block.
Mute mode
See Mute mode in the introduction of this chapter
Delay
Detune
Time
Sets the delay time of both Left and Right channel.
Maximum delay time is 740 ms.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Feedback
Adjusts the Feedback of both Left and Right channels.
Voice 1-2
Sets the amount of pitch on each of the two voices.
Maximum pitch is +/- 50 cents.
Delay 1-2
Sets the Delay of the each of the two voices. Maximum
delay time per voice is 400 ms.
Pan Position 1-2
Controls the panning of each of the two detune voices.
Level 1-2
Sets the level of the two detune voices.
Mix
Mix between direct sound and effect.
The Delay block has five different sub-algorithms: Stereo,
Dual, Dual Two-tap, One-tap and Quad-tap.
Effect Spillover from one preset to another can be obtained
by using the same sub-algorithm, and combination of Mute
mode = “Fx In” and bypassing the current block.
Example: If you want to leave a Delay tail hanging over a
preset change, make sure to keep the same sub-algorithm in
both presets. In addition to that you should select the “Fx In”
Mute mode and just bypass the Delay block in the second
preset.
Changing parameters like the Feedback or Mix over a preset
change can kill the Delay.
Stereo Delay
STEREO DELAY
39
THE BLOCKS
If the Feedback parameter is set to 100%, the
G-Force will loop Delay signal. Connect an
Expression pedal and check out preset 174 and 175
for a start.
Lowcut
Cuts off frequencies lower than the selected frequency. The
slope of the filter is 12dB/octave.
Highcut
Cuts off frequencies higher than the selected frequency. So if
you feel that there is too much treble in your signal, you
remove this by adjusting the highcut filter down. The slope
of the filter is 12dB/octave.
Mix
Mix between direct sound and effect.
Connect this parameter (Mix) to the Envelope
follower in the Modifier Matrix to create dynamic
delay.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Delay block.
Mute mode
See Mute mode in the introduction of this chapter.
DUAL DELAY
Time 1
Sets the delay time of the first Delay tap. Maximum delay
time is 740 ms.
Time 2
Sets the delay time of the second Delay tap. Maximum delay
time is 740 ms.
Tempo 1&2
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
40
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Feedback 1 to 1/Feedback 2 to 2
Sets the amount of feedback from Delay 1 to 1 and from
Delay 2 to 2.
NOTE: The sum of the four feedbacks is limited to 100%.
Feedback 1 to 2/ Feedback 2 to 1.
Sets the amount of cross feedback from Delay 1 to 2 and
Delay 2 to 1.
Levels
Sets the level of each of the two delay lines.
Pan 1-2
Controls the panning of the two Delay taps.
Connect a LFO to one or both of these parameters
and you have an extra autopanner.
Lowcut 1-2
Cuts off frequencies lower than the selected frequency. The
slope of the filter is 12dB/octave.
Highcut 1-2
Cuts off frequencies higher than the selected frequency. So if
you feel that there is too much treble in your signal, you
remove this by moving the highcut down. The slope of the
filter is 12dB/octave.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Delay block.
Mute mode
See Mute mode in the introduction of this chapter.
DUAL TWO TAP DELAY
THE BLOCKS
Dual Two Tap Delay
The Dual Two Tap Delay is capable of performing two delay
taps on each of the two delay lines. The two delay lines have
their own Input level, which basically means that they
perform much like two individual delay processors.
Delay line 1&2
Time 1-2
Sets the delay time of the two taps on Delay line 1.
Maximum delay time per tap is 1480 ms.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Feedback 1-2
Sets the amount of feedback on Tap 1 and 2.
NOTE: The sum of the two feedbacks is limited to 100%.
Levels 1-2
Sets the level of each of the two taps.
Pan position 1-2
Controls the panning of the two Delay taps.
Lowcut 1-2
Cuts off frequencies lower than the selected frequency. The
slope of the filter is 12dB/octave.
Highcut 1-2
Cuts off frequencies higher than the selected frequency. So if
you feel that there is too much treble in your signal, you
remove this by adjusting the highcut filter down. The slope
of the filter is 12dB/octave.
Line Level 1-2
Adjusts the input level of the two Delay lines. This enables
you to lower the level of one of the two lines without
affecting the second. The Line level is a percentage
adjustment of the algorithm In Level.
These levels can be used for creating spillover
from a slap back Delay in Line 1 to a slower lead
Delay in Line 2. Turn the level of Line 1 up and the
Level of Line 2 down in Preset 1 and the other way
around in preset 2. The Delays will now ring out
across the preset change.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Delay block.
Mute mode
See Mute mode in the introduction of this chapter.
One Tap Delay
Time
Sets the delay time. Maximum delay time is 1480 ms.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Feedback
Adjusts the amount of Feedback.
Pan position
Controls the panning of the Delay.
Lowcut
Cuts off frequencies lower than the selected. The slope of
the filter is 12dB/octave.
Highcut
Cuts off frequencies higher than the selected frequency. So if
you feel that there is too much treble in your signal, you
remove this by adjusting the highcut filter down. The slope
of the filter is 12dB/octave.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Delay block
Mute mode
See Mute mode in the introduction of this chapter.
41
THE BLOCKS
The Drive
QUAD TAP DELAY
Quad Tap Delay
Tap 1-4
Sets the delay time of the four taps. Maximum delay time
per tap is 1480 ms.
Tempo 1-4
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Feedback 1-4
Adjusts the amount of Feedback from each of the four taps.
NOTE: The sum of the four feedbacks are limited to 100%.
Levels 1-4
Sets the level of each of the four taps.
Pan position 1-4
Controls the panning of the four Delay taps.
Lowcut 1-4
Cuts off frequencies lower than the selected. The slope of
the filter is 12dB/octave.
Highcut 1-4
Cuts off frequencies higher than the selected frequency. So if
you feel that there is too much treble in your signal, you
remove this by adjusting the highcut filter down. The slope
of the filter is 12dB/octave.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Delay block
Mute mode
See Mute mode in the introduction of this chapter.
42
The Drive block
The Drive is a post distortion. It can be used for effects
purposes like overdriving a Delay, a Flanger or a Phaser etc.
or simply to crank the overall sound a bit.
Drive
The Drive parameter is simulating the In-gain of a distortion
device. The extra In-gain is automatically compensated on
the Output level, to avoid any clipping internally.
Brightness
Brightness is used to reduce the amount of high frequency
content in the distorted signal. The Brightness control is flat
when set to 100%.
Body
Body is used to reduce the amount of low frequency content
in the distorted signal. At heavy distortion the Drive will
emphasize a lot of low frequencies, which can be somewhat
annoying. These problems can be reduced by the Body
parameter. A number of preamps and pedals on the market
combine a lowcut filter with their In-gain to compensate for
the exact same problem.
Smasher
The Smasher is used to change the character of the distortion
by emphasizing even order harmonics. Setting this parameter
to a high value, will smash your signal. Try to experiment
with the character of your distortion.
Out Drive
Outdrive is simulating the kind of distortion that you would
get from the output stage of an amplifier.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Drive block.
Connect this parameter to the Envelope follower in
the Modifier Matrix to eliminate noise from the Drive.
Mute mode
See Mute mode in the introduction of this chapter.
THE BLOCKS
The Chorus/Flanger Block
The Chorus block is based on the heritage of the
TC 2290 Dynamic Delay and 1210 Chorus/Flanger.
The Chorus/Flanger block
A Chorus/Flanger is basically a short delay that gets
modulated by an LFO. The difference between Chorus and
Flanging is the Feedback of the Flanger. That is the
parameter that gives you that classic mid-range tone. The
modulation of the short delay gives very small variations in
pitch, these pitch changes blended with the direct sound
gives you the Chorus sound, while the modulated signal
alone will give you a Pitch modulator also known as Vibrato.
CHORUS/FLANGER
Classic Chorus
The Classic Chorus uses a relationship between Speed and
Depth called the Golden Ratio. The G-Force inherited this
feature from the TC 2290.
Speed
The speed of the Chorus, also known as Rate.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Depth
Adjusts the depth of the Chorus, also known as Intensity.
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Advanced Chorus
Advanced Chorus adds some extra parameters like LFO
Phase and Curve.
Speed
The speed of the Chorus, also known as Rate.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Depth
Adjusts the depth of the Chorus, also known as Intensity.
Delay
As described earlier, a Chorus/Flanger is basically a Delay
being modulated by an LFO. This parameter makes it
possible to change the length of that Delay. A typical Chorus
uses delays at approximately 10 ms, while a Flanger uses
delays at around 5 ms.
Golden Ratio
Sets the Golden Ratio between Speed and Depth On/Off. If
you want to create wild Chorus sounds you may want to turn
the Golden Ratio off.
Phase Reversed
Reverses the phase of the right channel, but only on the
effect signal. This function makes the stereo image much
wider.
LFO Curve
Sets the curve of the LFO. Choose between: Sine or
Triangle.
The most commonly used waveform in Chorus is Sine. (see
curve figures in Tremolo)
LFO Phase
An LFO phase change causes a small delay in one of the
waveform starting points. This means that left and right
outputs start the current waveform at two different points.
Example: If LFO phase is set 180º, left and right will be
exactly opposite.
Create a Vibrato by setting the Mix at 100%,
Depth at 5-10% and Speed to 1-2 Hz.
43
THE BLOCKS
90 phase
change
LFO PHASE
Mix
Mix between direct sound and effect.
Inlevel
Controls the input level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Flanger Classic
The Classic Flanger uses a relationship between Speed and
Depth called the Golden Ratio. The G-Force inherited this
from the TC 2290.
FLANGER CLASSIC
Speed
The speed of the Flanger, also known as Rate.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Depth
Adjusts the depth of the Flanger, also known as Intensity.
Feedback
Controls the amount of feedback in the Flanger.
Note that this parameter can be negative, i.e. feedback in
reversed phase.
Mix
Mix between direct sound and effect.
44
In Level
Controls the input level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
Advanced Flanger
Advanced Flanger adds some of extra possibilities like Cross
Feedback, LFO phase and Curve.
Speed
The speed of the Flanger, also known as Rate.
Tempo
The Tempo parameter sets the relationship to the global
Tempo e.g. if you set it to 1/4T you will get quarter note
triplets of the tapped tempo. 1/4 equals the BPM (tapped
Tempo).
If you select “Ignored” the current parameter will use the
Preset value and will not be affected by the Global Tempo.
Depth
Adjust the depth of the Flanger, also known as Intensity.
Delay
As described earlier, a Chorus/Flanger is basically a Delay
being modulated by an LFO. This parameter makes it
possible to change the length of that Delay. A typical Chorus
uses delays at approximately 10 ms, while a Flanger is uses
delays at around 5 ms.
Feedback
Controls the amount of feedback in the Flanger.
Note that this parameter can be negative, i.e. feedback in
reversed phase.
Golden Ratio
Sets the Golden Ratio between Speed and Depth On/Off. If
you want to create wild Flanger sounds,
you may want to turn the Golden Ratio off.
Phase Reversed
Reverses the phase of the right channel, but only on the
effect signal. This function makes the stereo image much
wider.
Cross Feedback
Controls the amount of feedback between the two channels.
Note that the Crossfeed can be negative, i.e. Crossfeed in
reversed phase.
LFO Curve
Sets the curve of the LFO. Choose between: Sine or
Triangle.
The most commonly used waveform in Flanging is Sine.
(see curve figures in Tremolo)
THE BLOCKS
LFO Phase
An LFO phase change causes a small delay in one of the
waveform starting points. This means that left and right
outputs start the current waveform at two different points.
Example: If LFO is set 180º, left and right will be exactly
opposite.
(See the LFO phase figure in the Chorus section).
Mix
Mix between direct sound and effect.
In Level
Controls the input level of the block.
Mute mode
See Mute mode in the introduction of this chapter.
By emulating the initial room reflections the G-Force can
create some very deep and wide stereo images placing the
source or direct signal in the hall/room without using long
decay times which often makes the sound image very
“crowded” and disturbs your playing.
The Reverb Block
You will hear a short spatial reverb which sounds a little like
a “gated “ reverb. Then at last add the decay by turning up
the Decay level in the Decay parameters section and select
the decay time that you prefer.
You will also hear that you are able to create a very spatially
wide and deep stereo reverb, with a relatively short and low
level decay.
REVERB
When listening to the Reverb’s initial reflections alone at a
high level and when selecting Room size XL, Grand or
Huge, you might get a “slapback” effect, but by adding the
right length and amount of decay and by balancing the
Room level you will find that it will be transformed into
width and depth.
The Reverb in the G-Force is based on the heritage of the
M5000 and M2000, and are tuned for guitar use.
The Reverb section of the G-Force can create a variety of
Reverb effects including the feature of emulating the initial
reflections of a room which creates some mind blowing
spatial effects until now only available in the TC M5000.
When using the G-Force reverb, you should see the reverb
as two parts:
1. Initial room reflections
2. The Decay
The initial room reflections are, depending on the size of
the room, the first 50-200ms of the Reverb and it is these
reflections that contains the information of the size and
shape of a room and create the width and most of the depth
experienced in a real hall or room.
The Decay is the later part of a natural reverb which is
experienced as prolonging the sound and creating some
depth behind the source or direct signal, but integrating it in
the spatial characteristics of the hall or room, like you
experience in natural ambience or reverb.
To check out what the initial reflections can do, reduce or
turn down the Decay level in the Decay parameters section
and turn up Room level in the Room parameters section.
Then try to change the Room size and the Room shape in the
Master section and choose the combination that you like.
Then try to change the Color in the Room parameters section
to find the tonal balance that suits you.
Square A typical square room with its defined
reflection patterns.
Round A diffuse room with lively reflections.
Curved A soft, yet still defined set of the reflections.
Room size
Sets the size of the room that the initial room reflections
emulate.
It automatically changes the length of the Predelay (the time
until the first reflection appears) and the Decay start (the
time where the Decay tail of the Reverb starts).
The Predelay and the Decay start can be individually
adjusted to another length in the Room and Decay section of
the algorithm.
Box - Tiny - Small - Medium - Large - XL - Grand - Huge
45
THE BLOCKS
The sizes: Box, Tiny, Grand & Huge are patterns emulating
extreme room sizes.
Reverb level
Adjusts the combined Room level and the Decay level, and
should be seen as a master level.
The Room level and the Decay can individually adjusted to
another relation in the Room and Decay section of the
algorithm. Range +/-50.
High color
Sets the treble color of the decay. When Color in the Room
section of the algorithm is set to Auto, it also controls the
treble factor of the initial room reflections.
Wool - Warm - Real - Clear - Bright - Crisp - Glass
High factor
Emphasizes or reduces the character set by the High color.
Range +/-25.
Low color
Sets the Bass color of the Decay.
Thick - Fat - Round - Natural - Light - Tight - Thin - No
bass.
Low factor
Emphasizes or reduces the character set by the Low color.
Range +/-25.
Room parameters
Adjusts the level of the initial room reflections, which is
master controlled by the Reverb level.
With this control you can emphasize or reduce the initial
room reflection’s influence on the Reverb sound.
Range +/-50.
Color
Sets the tonal color of the initial reflections.
When set to Auto it is linked to High color
Auto - Wool - Warm - Real - Clear - Bright - Crisp - Glass.
Color factor
Emphasizes or reduces the character set by Color.
Range +/-50.
Predelay
Allows adjustment of the predelay (the time until the first
reflection appears) which is automatically set when choosing
the Room size. Range +/-50.
Decay level
Adjusts the level of the decay, which is master controlled by
the reverb level.
With this control you can emphasize or reduce the decay
tail’s influence on the Reverb sound. Range +/-50.
46
Diffuse
Allows fine tuning of the density of the decay tails. Is set
automatically when choosing the desired Decay time. Makes
it possible to reduce flutter in the decay to an absolute
minimum. Range +/-25.
Decay start
Allows adjustment of the decay start (the time where the
Decay tail of the Reverb starts), which is set automatically
when choosing the Room size. Range +/-50.
Mix
This parameter sets the mix relation between the dry (direct)
and the wet signal. If you are using G-Force as an insert
effect this means that your direct signal goes through the
G-Force.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Reverb block.
Mute mode
See Mute mode in the introduction of this chapter.
Simple Reverb
The Simple Reverb is based on the same algorithm as the
Advanced, but the number of parameters are reduced to 5.
This makes it possible for you to set up the Reverb easily
and quickly
Type
Sets the type of the Reverb, meaning the size and
relationship between Predelay, Early reflections and Decay
automatically. (See Advanced Reverb for further
explanation).
Types: Room, Club, Hall, Church, Cathedral, Grand Hall,
Fast Decay, Slow Decay, Plate, Spring.
Decay time
Sets the length of the reverb decay from
0.01 - 20.0 seconds
Predelay
Allows adjustment of the predelay (the time until the first
reflection appears) which is automatically set when choosing
Type. Range +/-50.
Reverb level
Adjusts the combined Room level and the Decay level, and
should be seen as a master level.
The Room level and the Decay can be individually adjusted
to another relation in the Room and Decay section of the
THE BLOCKS
algorithm. Range +/-50
Color
Sets the tonal color of the initial reflections.
When set to Auto it is linked to High color
Wool - Warm - Real - Clear - Bright - Crisp - Glass Extreme.
Mix
This parameter sets the mix relation between the dry (direct)
and the wet signal. If you are using G-Force as an insert
effect this means that your direct signal goes through the GForce.
In Level
Controls the input level of the block.
Out Level
Controls the output level of the Reverb block.
Mute mode
See Mute mode in the introduction of this chapter.
Output
The Output section contains a master output level control
and a set of Speaker Filters. All parameters in the Out
Section are global only, which means that they are not
included when you store a preset.
Level
In the Output block, you will find an overall outlevel in
addition to the potentiometer on the front panel. This
Outlevel can be controlled via MIDI or pedal, set up in the
I/O Setup, Control display via the Main Volume parameter.
The Outlevel is not included in the preset.
Speaker Filters
The Speaker Filters are meant to roll off some high and low
frequencies like a guitar cabinet would do. This will make it
possible to rehearse with the G-Force on your home stereo
using a preamp or pedal and a pair of headphones.
Filters
Sets the Speaker Filter On/Off.
Locut
The Locut filter cutoff frequency can be either 40 or 80Hz.
Hicut
The Hicut cutoff frequency can be 2,5kHz, 3kHz, 3,5kHz,
4kHz, 4,5kHz or 5kHz.
47
THE RESET PAGE
Store and load your own
default settings
Enter User Data page
Reset system parameters
Clear all user presets
Test Programs
Type your name here
and your phone number
How to enter the Reset page
Hold the Overall Bypass key pressed during power-up.
Move the marker using the Parameter wheel and press
Enter to select the RESET type you desire.
Load User Defaults
This will reset all system parameters back to a default setup
made by you (See Store User Def). This reset will NOT delete
the User presets of the G-Force.
Store User Defaults
When you have the perfect setup of your G-Force, you can store
this as your own default setup. This function is very useful for
example when you have finished a special production and want
to go back to normal. When you have the perfect setup of your
G-Force, simply select this parameter and press Enter to store
your default settings.
48
Set User Info
This function makes it possible to store your name and phone
number into the G-Force. Press Enter to access the User data
menu. Use the Value wheel and the Parameter wheel to write
your name and phone number into the G-Force. Press Enter to
accept. Your name and phone number will be displayed during
power-up.
Reset System Setup
This will reset all system parameters back to the factory default.
This reset will NOT delete the User presets of the G-Force.
Clear all Presets
This will delete all User presets.
Run Test Program
See description on page 52
TECHNICAL SPECIFICATIONS
Analog Inputs
Connectors:
Impedance:
Max. Input Level:
Sensitivity:
A to D Conversion:
A to D Delay:
Dynamic Range:
THD:
Frequency Response:
Crosstalk:
1/4" phone jack, unbalanced (Ring: grounded)
1 MOhm
+21 dBu
@ 15 dB headroom: -26 dBu to +6 dBu
24 bit (1 bit, 128 times oversampling)
0,9 ms @ 44.1 kHz
>105 dB
0.003% @ 1 kHz, 6 dB below full scale
+0/-0.5 dB (20 Hz - 20 kHz)
<-60 dB (20 Hz - 20 kHz)
Analog Outputs
Connectors:
Impedance:
Max. Output Level:
Full Scale Output Range:
D to A Conversion:
D to A Delay:
Dynamic Range:
THD:
Frequency Response:
Crosstalk:
1/4" phone jack, balanced
100 Ohm (active transformer)
+22 dBu
-10 dBu to +22 dBu
24 bit (1 bit, 128 times oversampling)
0.6 ms @ 44.1 kHz
>100 dB
0.005% @ 1 kHz, 6 dB below full scale
+0/-0.5 dB (20 Hz - 20 kHz)
<-60 dB (20 Hz - 20 kHz)
Digital Inputs and Outputs
S/PDIF In/Out:
Formats:
Sample Rate:
Coaxial, RCA Type
EIAJ CP-340, IEC 958, S/PDIF (24 bit)
44.1 kHz
PCMCIA Interface
Connector:
Standards:
Card Format:
PCMCIA Type 1 cards
PCMCIA 2.0, JEIDA 4.0
Supports up to 2 MB SRAM
Control Interface
MIDI:
External control:
In/Out/Thru: 5 Pin DIN
1/4" phone jack
General
Finish:
LED:
LCD:
Dimensions:
Weight:
Mains Voltage:
Power Consumption:
Backup Battery Life:
Anodized aluminum face. Plated and painted steel chassis
3 LED meters, 5 x 14 dot LED-matrix
56 x 128 dot graphic LCD-display
19" x 1.75" x 8.2" (483 x 44 x 208 mm)
5.0 lb. (2.25 kg)
100 to 240 VAC, 50 to 60 Hz (auto-select)
<20 W
>10 years
EMC
Complies with:
EN 55103-1, EN 55103-2 and
Class B limits of FCC rules, part 15
Safety
Certified to:
EN 60065, UL 1419
Environment
Operating Temperature:
Storage Temperature:
Humidity:
32 °F to 122 °F (0 °C to 50 °C)
-22 °F to 167 °F (-30 °C to 70 °C)
Max. 90% non-condensing
NOTE: Due to continuous development and standardization all specifications are subject to change without notice
49
TROUBLESHOOTING
You are not getting any sound through the G-Force when you bypass it.
- You selected Killdry ON, in the I/O Setup, Audio menu.
You press Power switch, but there is no reaction.
- The power switch on the rear panel is switched off.
You can not turn the power off.
- Press and hold the Power switch for 3 seconds, then release to power off
No sound through the G-Force.
- You are using Analog input, but the input selector in I/O Setup, Audio menu is set to Digital.
The sound is phasing with your direct signal.
- You are running the G-Force in a parallel setup, but the killdry function in I/O Setup, Audio menu is set to Off.
Right input meter is not showing any signal.
- You selected L-Only in the I/O Setup, Audio menu.
Effects only in the Left Output
- You are only using Left input, but the Input selector in I/O Setup is set to Stereo.
Your Expression pedal does not work properly
- Be sure the G-Force is set to the correct pedal type and the pedal is calibrated correctly in the Utility menu.
50
MIDI IMPLEMENTATION CHART
EFFECTS PROCESSOR G-Force - May 23 th, 1997 Version 1.0
Function
Basic Channel
Mode
Default
Changed
Default
Messages
Altered
Note Number
Velocity
After Touch
True Voice
Note ON
Note OFF
Key’s
Ch’s
Pitch Bend
Control Change
Prog Change
True#
System Exclusive
Common
System real time
Aux Messages
:Song Pos
:Song Sel
:Tune
:Clock
:Commands
:Local ON/OFF
:All Notes OFF
:Active Sense
:Reset
Transmitted
1
1-16
Recognized
1
1-16
X
X
X
X
X
X
X
X
X
0-127
O
X
X
X
O
X
O
0-127
O
0-127
O Bulkdump
X
X
X
X
X
X
X
X
X
O
0-127
O Bulkdump
X
X
X
X
X
X
X
X
X
Remarks
Notes
O:YES
X:NO
51
SELF TEST
PRESS THE BYPASS KEY, WHILE POWERING UP, TO
ACCESS THE SELF-TEST AND SELECT »RUN TEST
PROGRAM«
Turn the Value Wheel to scroll through Self tests
Key test
Select Key test by pressing Enter.
The keys must be pressed in the order they are requested by the
G-Force to pass the test.
Press Exit to leave Key test.
In/Out knobs test
Select In/Out knobs test by pressing Enter.
Turn the In/Out knobs to 30 and back to 0 to pass test.
Press Exit to leave In/Out test.
Parameter + Value Wheel test
Select test by pressing Enter.
Turn the Value and Parameter wheel to 30 and back to 0
to pass test. Press Exit to leave Adjust Wheel test.
LED test
Select LEDs test by pressing Enter.
Turn Adjust Wheel to test the LEDs. The test is “ok” when none
Leds are lit.
Press Exit to leave Led test.
Display test
Select Display test by pressing Enter.
Press Enter to check that all pixels are lit. Press any key to leave
the pixel test.
Press Exit to leave Display test.
Analog I/O test
Select Analog I/O test by pressing Enter.
Connect an Analog Output to the Analog Input, which has to be
tested and press Enter.
PPM must show -12 dB to pass test.
Press Exit to leave Analog I/O test.
Digital I/O test
Select Digital I/O test by pressing Enter.
Connect a Digital Output to the Digital Input, which has to be
tested and press Enter.
The AES/EBU output can also be connected to the S/PDIF input
and vice versa.
PPM must show 0 dB to pass test.
Press Exit to leave Digital I/O test.
MIDI I/O test
Select Midi I/O test by pressing Enter.
Connect Midi Out to Midi In.
Prg change 1-128 is send out on Midi Thru. Connect this socket
52
to a Midi compatible device and confirm the Prg. changes.
Press Exit to leave Midi I/O test.
Pedal socket test
Select Pedal test by pressing Enter.
Connect a momentary pedal to the Pedal socket.
When pressing the Pedal, the Result should be OK.
When released, the Result should be Not OK.
Press Exit to leave Pedal test.
NOTE: Result of test must be OK if no jack is inserted.
PCMCIA test
Select PCMCIA test by pressing Enter.
Insert PCMCIA card. Note that all Data on PCMCIA card will
be destroyed.
Press Enter to test.
Result reads:
Low battery - Time to change battery in your PCMCIA card.
Not OK - Try the test using another PCMCIA card.
Press Exit to leave PCMCIA test.
Battery test
Select Battery test by pressing Enter.
Confirm that Result is OK.
Press Exit to leave Battery test.
System test
Select System test by pressing Enter.
Confirm that Result is OK.
Result reads:
Eeprom Not OK - The unit will most likely work OK, the
message is for service matters only.
DSP Not OK - Contact your local dealer.
Press Exit to leave System test.
Power Off - On to start standard software.
Build in test v.2.07
NOTE
This equipment has been tested and found to comply with the
limits for a Class B digital device, pursuant to part 15 of the FCC
rules.
These limits are designed to provide reasonable protection
against harmful interference in a residential installations.
This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference
will not occur in a particular installation.
If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the
equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different
from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for
help.
The user may find the following booklet, prepared by the Federal
Communications Commission, helpful:
"How to identify and Resolve Radio/TV interference Problems."
This booklet is available from the US. Government Printing
Office, Washington, DC 20402, Stock No. 004-000-0034-4.
Caution:
You are cautioned that any change or modifications not expressly
approved in this manual could void your authority to operate this
equipment.
Certificate Of Conformity
TC Electronic A/S, Sindalsvej 34, 8240 Risskov, Denmark,
hereby declares on own responsibility that following product:
G-Force Digital Signal Processor
That is covered by this certificate and marked with CE-label
conforms with following standards:
EN 60065
Safety requirements for mains
operated Electronic and related
apparatus for household and similar
general use.
EN 55103-1
Product family standard for audio,
video, audio-visual and entertainment
lighting control apparatus for
professional use.
Part 1: Emission.
EN 55103-2
Product family standard for audio,
video, audio-visual and entertainment
lighting control apparatus for
professional use.
Part 2: Immunity.
With reference to regulations in following directives:
73/23/EEC, 89/336/EEC
Issued in Risskov, May 23th 1997
Anders Fauerskov
Managing Director
For the customers in Canada:
This Class B digital apparatus meets all requirements of the
Canadian Interference-Causing Equipment Regulations.
Cet appareil numérique de la classe B respecte toutes les
exigences du Réglement sur le matériel brouilleur du Canada.
53
PRESET LIST
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Mono Reverb
Mono Chorus
Mono Dyn Delay
Mono Harmony C-Maj
Mono Doubler
Mono Tremolo
Mono Touchwah
Mono Phaser
Mono Crank It Up
Mono Pedal Delay
Mono Pedal Pitch
Mono Farout Phaser
Stereo Reverb
Stereo Chorus
Stereo Wide Panner
Stereo Dyn Delay
Stereo Harmony C-Maj
Stereo Doubler
Stereo Light Tremolo
Stereo Summers Strum
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
Stereo Clean Lead
Stereo Crank It Up
Stereo Touchwah
Stereo Pedal Delay
Stereo Pedal Pitch
3-Way Reverb
3-Way Chorus
3-Way Delay Doubler
3-Way Slap+Slow Dly
3-Way Dyn Delay
3-Way Harmony A-maj
3-Way Doubler
3-Way Lead Octave up
3-Way Panner
3-Way LA's Favored
3-Way Pedal Reverb
3-Way Pedal Octaver
Go Direct
Clean Rhythm Room
Clean Notes n Chords
Garden Party
Love and Affection
Arpeggiators Dream
Power Chord
For Acoustic Guitar
Troubadour
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean
Clean
Clean /
None
None
Clean /
Driven
None
None
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
47
48
49
50
51
52
53
54
55
56
57
58
Sunset Groove
Lipstick Color
Nice Chorus
Lush Chorus
Double Jeopardy
Tone Girdle
Phat Chorus
Crowded House
Captain Crunch
Rockabilly Boogie
Thick Ducktape Delay
Slap Back Delay
Driven
Clean/Dirty
Clean / Dirty
Clean
Clean / Dirty
Clean / Dirty
Distorted
Clean / Dirty
Heavy OD
Driven
Clean / Dirty
Clean/Dirty
54
Dirty
X
X
X
X
X
X
X
Dirty
X
A straight Reverb preset suitable for any mono setup.
A straight Chorus preset suitable for any mono setup.
A Dynamic Delay preset suitable for any mono setup. Input level independent.
A preset with Intelligent Pitch-shift in C-major suitable for any mono setup.
A Detuned setting producing a doubler effect suitable for any mono setup.
A straight Tremolo preset suitable for any mono setup.
A straight Touch Wah preset suitable for any mono setup.
A straight Phaser preset suitable for any mono setup.
A slightly cranked setting suitable for any mono setup.
Pedal to toe feeds the Delay input. Suitable for any mono setup.
Pedal adds a lower octave. Suitable for any mono setup.
A Phaser with an LFO controlled speed, really weird. Suitable for any mono setup.
A straight Reverb preset suitable for any stereo setup.
A straight Chorused preset suitable for any stereo setup.
A Panner that pans beyond a normal stereo image.
A Dynamic Delay preset suitable for any stereo setup. Input level independent.
A preset with Intelligent Pitch-shift in A-major suitable for any stereo setup.
A Detuned setting producing a doubler effect suitable for any stereo setup.
A subtle Tremolo preset suitable for any stereo setup.
Great chorused, shimmery doubler, delay and reverb similar to sound used by ex- Police
guitarist.
A clean preset with detuned pitch and chorus.
A slightly cranked setting suitable for any stereo setup.
An input sensitive Wah preset suitable for any stereo setup.
Pedal feeds the Delay input. Suitable for any stereo setup.
Pedal adds a lower octave. Suitable for any mono setup.
A straight Reverb preset suitable for any 3-way or parallel setup.
A straight Chorus preset suitable for any 3-way or parallel setup.
A short delay making a doubler effect suitable for any 3-way or parallel setup.
A simultaneous slapback delay plus long delay suitable for any 3-way or parallel setup.
A Dynamic Delay preset suitable for any 3-way or parallel setup. Input level independent.
A preset with Intelligent Pitch-shift in A-major, suitable for any 3-way or parallel setup.
A Detuned setting producing a doubler effect, suitable for any 3-way or parallel setup.
Adds an octave higher voice to your lead sound. Suitable for any 3-way or parallel setup.
A subtle slow panning effect. Suitable for any 3-way or parallel setup.
An LA like lead sound, suitable for any 3-way or parallel setup.
Pedal controls the level of the Reverb. Suitable for any 3-way or parallel setup.
Pedal adds an octave voice to your sound. Suitable for any 3-way or parallel setup.
EQ & Compression.
Short room and a touch of Chorus.
Rhythm type preset. Pedal is attached to volume.
Dark, earthy, big-bodied acoustic guitar sound.
Lush, compressed, organic sounding and lightly chorused. Plug your acoustic in direct and go.
A Vibrato-like Chorus + Compression, optional Reverb.
Optimized for power chords, with some flanging thrown in. Drive is ready to go.
Set for high-end Acoustic direct into input.
Great solo acoustic sound, very pure, punchy and tight. Great for sitting properly in recorded
tracks.
Out of phase, dominant sound. VERY articulate. Great for muted heavy rhythm/picking style.
A tight, fat effect great for giving space to staccato rhythm guitar.
A straight sine Chorus effect in combination with a hall-like Reverb.
Lush Chorus setting, good for coloring a clean sound.
A slapback Delay and a room Reverb.
Compressor with optional EQ and Doubler.
EQ + Chorus.
A bright rhythm sound with a slap Delay and a reverb.
Death Metal Stereo Detuning with a little slap added. Try this one on Metallica's "Enter Sandman"
Classic 50's echo sound, set to emulate the time delay on a standard reel-to-reel recorder.
Detuned, warm, ducked Delays. Input level dependent.
Pretty much what the tittle says.
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
Stereo
3-Way
3-Way
3-Way
3-Way
3-Way
3-Way
3-Way
3-Way
3-Way
3-Way
3-Way
3-Way
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
PRESET LIST
59
60
61
62
63
64
65
66
67
A Little Bit Country
On The Edge
A Clean Fortress
Gated Delay
60's Flanging
Funky Chorus
Flange Yer Face
Dream Phaser
Churner
Clean
Clean /
Clean
Clean /
Clean /
Clean
Clean /
Driven
Clean
68
69
70
71
72
73
Stereo Tremolo
Beatle Chords
Phased Tremolo
In My Room
Spin Off
Vibropedal Room
Driven
Clean
Clean
Clean
Clean / Dirty
Clean / Dirty
74
75
76
77
Tremolo + Reverb
Day at the Beach
Spinner
Wahble Gatelike
Clean / Dirty
Clean
Clean / Dirty
Clean / Dirty
78
Filterfun Funkypick
Clean
79
80
81
82
Park the Wah Here
Tube Scream
Raunchy Rhythm
Malcolm
Driven
Clean
Clean
Clean
X
X
83
Rubbery Room
Clean
X
Crunch Phasecomp
Fuzzphaser Pedal
A Little Crunch
Loose Tubes
Les is Paul
Yee Ha
Flange Box
Flanger In Verb
Surround Reverb
Guitar Hero
Landau Clean
Ballad Clean
Ed Now and Then
So Stern
LA Studio Rack
Straight Lead
Lead
Westcoast Lead
Fusionlead
Clean Chorused Delay
Clean Ducked Swell
Echocomplex
Pedal Feed Delay
Final Frontier
Wishey Wash Tap
Twang Slap
Answering Echo
Wes M Jazz Lead
Low Note Thicken
Clean
Clean
Clean
Clean
Clean
Clean
Clean/Dirty
Clean/Dirty
Clean
Major OD
Clean
Clean
Heavy OD
Clean
Clean / Dirty
Clean / Dirty
Clean / Dirty
Clean / Dirty
Clean
Clean / Dirty
Clean
Clean / Dirty
Clean / Dirty
Clean
Clean / Dirty
Dirty
Clean / Dirty
Clean
Clean
X
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
Dirty
Dirty
Dirty
Dirty
X
X
X
X
X
X
X
X
X
X
Howdy, check out this preset with a Ultra clean and bright sound.
U2 inspired Delays like on "Where The Streets Have No Name".
Sting's "Fortress Around Your Heart" or Andy Summer's sound on "Every Breath You Take".
The Delay plays with you, but not without you.
Actually Flanges through zero by delaying the straight signal though the Delay block in parallel.
Good for R&B on a clean setting.
All purpose Flanger, great for guitar and vocal effects. Super for acoustic guitar.
Ambient, spacey, stereo Phase-Shifting sound.
Slow sweeping resonant Flanger, Phaser with Chorus, Pitch Detune and slap Delay into small
Room.
A simple Tremolo, but opposite in left and right.
Pedal to heel = Stereo guitar / Pedal to toe = Fast rotating cabinet effect.
Great for folk ballads or Tex-Mex tunes on clean setting. Heavy on Tremolo.
Clean surf guitar sound reminiscent of Beach Boys' ballads, The Surfaris or The Ventures.
Rotary effect. Use Ext. 1 to control the speed.
Fast Vibrato from Chorus with dual detune and room reverb. Pedal slows Vibrato and lowers
Reverb.
Pretty straight preset with a classic Tremolo and a Hall.
Pedal to heel = Surfers dream / Pedal to toe = Tremolo.
Pedal to hell = Direct guitar / Pedal to toe = Spinning guitar.
A fast Wah Filter into a Chorus and Gate-like reverb, good for anything funky. Pedal to heel
lowers Wah.
Envelope controlled fast downward-sliding Wah Filter with slow rise time + some Chorus and a
small Reverb Hall.
A parked Wah effect. Sounds like Dire Strait's "Money for Nothing", or Boston's "Long Time".
Pedal to heel = Clean rhythm sound, Pedal to toe = Vintage Tube screamer + Room.
Basic grunge rhythm guitar patch.
Great rhythm sound, useful with multiple guitar players in one band. Great overall rock/blues
sound.
Smooth Drive fuzz with dynamic Chorus, smooth Phaser, a Detuner and a nice Room. Good for
comping Chord work.
A thick, fuzzed and phased effect, good for choppy comping chords.
Pedal controls the amount of low end. Set pedal to toe for thin fuzzed sound.
Feed the G-Force with a clean setting, and have a little crunch. Good for rhythm.
Gives you that crunch with a loose bottom that you know from older tube amps. Good for rhythm.
Gets that mid-rangy sound. Great rhythm sound.
Compressed Country twang.
Slow semi-resonant Flange in a very small "box" like reverb. Good for distorted chunks.
Slow rolling Flanger with feedback.
Slow moving reverb. Great for clean ballad leads.
Steve Lukather, Mike Landau, Dan Huff. Think big 80's sound. Add major solo overdrive.
LA studio session player's clean sound.
Smooth, pretty, Clean Shaven !!
Van Halen Present = Pitch-shift / Past = Phaser. Select either Pitch or Filter effect button for era.
Inspired by Miles Davis' guitarist Mike Stern. Jazzy Ultra "Womanizer" effect.
A bright "LA-like" lead preset. Optional Pitch octave up.
An all purpose preset ready for pop leadlines.
A nice tail of Delay and Reverb.
A bit of Delay reverb and chorus. Add a crunchy tone and enjoy the California feel.
A Chorused lead sound inspired by guys like Mike Stern.
A Reverb and Chorused Delay that will Chorus only your long notes.
Dynamic Delays.
The classic dull sound of an Echoplex with a slight moving detune to create flutter.
Pedal to heel = no Delay / Pedal to toe = feeds the Delay input.
Good for dream like application on clean sound.
Fast subtle Phaser into detune and Dly/Verb wash + Chorus. Good for clean chords, fuzzed lead.
Feed with a dirty setting. Chorus and a Delay slap makes it wide and full. Good for rhythm.
Bryan May in Brighton Rock or Steve Vai on David Lee Roth's "Skyscraper" album.
For Octave lead jazz lines a la Wes Montgomery.
Pedal to heel = shimmering rhythm guitar / Pedal to toe = Added low octave.
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Rhythm
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
55
PRESET LIST
113
114
115
116
117
118
119
120
121
Pitch -12 and -5
C+W Diaton Solo in A
Eats Your Attack
Pedal Octave Down
Pedal Octave Up
Pitch Dm 5 and 3
Pedal Add Octave Up
Flanger Beautyverb
Verb Morphed to Dly
Dirty
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
122
123
124
125
126
I've Been Drinking
Panner Pedal
Picking Style
Envelope Filter
Nervosa Doubler
Distorted
Clean / Dirty
Clean / Dirty
Clean / Dirty
Clean / Dirty
127
128
129
Blues Room
Hammer to Fall
Iron Man
Clean
Clean
Clean
130
131
132
133
134
135
136
137
138
139
Thick'n Juicy Lead
Smooth Tubedrive
Duckman Lead
Lead Pedal Wah
Touch Wah Driven
Pedal Iiaahh
Driven Lead
Octavia Lead
The Smiths
Cyber Sci-fi Surfer
Clean
Clean
Clean / Dirty
Clean
Clean
Dirty
Clean
Clean
Clean
Clean
140
Steppers in Time
Clean / Dirty
141
142
Spaceyplace
Bluebox Echophased
Clean / Dirty
Clean
143
144
145
146
147
148
149
150
151
152
153
Echoverb
Duality Effects
Bowling Multitaps
Slow Swell Pad
Expandelay
Infinity and Beyond
Deep Bass 9
Flange Pedal Speed
Duck on Crack
Sus4 Dreamscape
Crazy Brown Lead
Clean / Dirty
Clean / Dirty
Clean / Dirty
Clean / Dirty
Clean / Dirty
Clean / Dirty
Clean
Clean / Dirty
Distorted
Clean / Dirty
Clean / Dirty
154
Eastern Ocean
Clean / Dirty
X
155
Skysaw Doubler
Clean
X
156
Synthesized Leads
Clean
157
Sexwah Pedalead Fuzz
Clean
158
159
160
Industrial Mayhem
Electric Church
Trance Yer Ass Off
Clean / Dirty
Clean / Dirty
Clean / Dirty
58
X
/
/
/
/
/
Dirty
Dirty
Dirty
Dirty
Dirty
X
X
X
/ Dirty
X
X
X
X
X
X
X
X
X
X
X
Pedal to heel = Straight clean sound / Pedal to toe = two voice Pitch-shifting -12 and -5.
Play single-note runs for instant twangy Georgian C&W harmonies. Works best on higher strings.
Envelope controlled input volume. Will perform the Volume knob trick automatically.
Pedal performs a Whammy down when set to heel.
Pedal performs a Whammy up when set to toe.
Single note lead. Play in D-minor with a third and a fifth added.
Pedal to heel = crunchy lead sound, Pedal to toe = adds an octave voice.
Dense, thick reverb with medium long decay through a slow flanger. Good for leads and chords.
An Envelope controlled crossfade between Reverb and Delay. Reverb when you play, Delay
when you stop.
Pedal to heel = Phased guitar / Pedal to toe = Room spinning.
Pedal pans from left to right.
Input sensitive parallel Wah Filter, great for picking guitar.
Envelope Filter effect. Input level threshold dependent.
Fluttery Phaser and Panning with Chorus and Pitch-shifter doubles. Good on both lead and
chords.
Nice for blues.
Totally dominant distorted main rhythm guitar sound, inspired by the famed Queen song.
The Ultimate power chord sound. Metallica, saturated, ominous. Check the tittle, need we say
more?
Nice greasy lead.
Gives you that drive with a loose bottom that you know from older tube amps. Good for lead.
Quacks like a duck, thanks to a Wah-Wah. Brings back the 70's.
Feed the G-Force with a clean tone and Wah away with your pedal. Great for leads.
Feed the G-Force with a clean tone and Wah away with your picking power. Great for leads.
Feed the G-Force with a dirty tone and talk away with your pedal. Very special lead sound.
Overdriven lead sound with an octave shifter feed into a big hall.
Works well on distortion setting for wild "Yes" type solos.
Wide tremolo sound on top of a punchy distorted sound. Inspired by .....guess who!
Fast Panning Chorus, sweeping Phaser and Pitch-shifter doubles into filtered slap Delays and
very small Reverb.
Stepped Formant Filter that steps in time with repeating Delays. Play along with Delay time for
best effect.
Slow echoes and a big Reverb. Pedal controls Phaser level.
The kitchen sink, full fuzz, deep Phaser, pitch at -12 and -5, panned echo and Chorus. Good on
leads.
Smooth chorus, echo + a long hall Verb makes you sound like an ECM artist.
Two separate effect chains. Pedal controls the speed and level of the Phaser.
Play melodically in time with the echoes for fun and turn on the Drive for a fuzzed sound.
Dreamy "attack free" sound designed for slow chord or melody passages. Input level dependent
First four repeats become increasingly louder before subsequent repeats decrease in volume.
Long Reverb and Delays.
Highly compressed bass sound, designed for ambient/Techno/TR303 emulation.
Pedal controls the speed of the Flanger.
Pedal to heel = Moderately normal guitar / Pedal to toe = Dynamically contr. duck (1 Octave up).
Dual Shifters add a fourth and a fifth creating a sus4 chord with lots of Chorus, Delay and Reverb
Sounds best on leads. Shifter adds Octave up and down with a crazed Pan and Phaser. Dynamic
Delay.
Dual shifters at a 5th and octave above feed into a chorus + a very wet long Reverb. Good for
slow leads.
Crashy fuzz into dual Pitch-shifters set an octave up with sweeping high feedback Flanger. Great
for leads.
Fuzz, pitched an octave up and down into Compressor with Touchwah and slap Delays. Good on
soft leads.
A complex distorted effect with an octave + a fifth feeding a Chorus and some tap Delays. Pedal
.controls the Formant filters.
Touchwah and a low octave shifter. Input level dependent.
Removes your attack. Sounds very synth-like.
For single note lines. Use Ext. 1 to morph from Flanger to Detuned Octaver to Touchwah and
vice-versa.
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Lead
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
PRESET LIST
161
162
163
164
165
166
167
168
169
170
171
172
173
174
Owner Solo
Double Fridge Solo
Tribute 2 Bootsy
War of the Worlds
Inside Out Dyn Pan
Far Away Vibrato
Dynamic Lesley
Varispeed Phaser
Dark Envelope Filter
Touch Wah + Octave
Who's Next.
Broken Speaker
Touch Res and Delay
Jam With Loop
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
Clean
/ Dirty
/ Dirty
/
/
/
/
/
/
/
/
/
/
/
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
175
176
177
178
Pedal Hold + Reverb
Very Scary Horror
Talking Whales
Flyverb Ducker
Clean
Clean
Clean
Clean
/
/
/
/
Dirty
Dirty
Dirty
Dirty
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
Chord Stabs
Bright Room
Church
Grand Hall
Cathedral
Spring Reverb
Slow Reverb
Chorus Straight
Chorus Straight Fast
Flanger Straight
Flanger Straight Fast
Vibrato
Classic Tremolo
Stereo Tremolo
Square Tremolo
Stereo Pan Tap Tempo
Surround Panner
Straight Delay
Two Delays
Tape Delay
Triplet Ping-Pong
4 Tap Delay Pedal
Dynamic Delay
Soft Compressor
Hard Compressor
Limiter
Dual Detune Pedal
Whammy Down
Whammy Up
G-major Pitch Pedal
D-minor 5 and 3
Octave Dubbing
Phase Off
Phaser Pedal Speed
Clean Wah Pedal
Clean Touch-Wah
Clean Auto Wah
Formant Touch
Formant Pedal
Resonance Pedal
Driven
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
Clean /
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Dirty
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Dirty
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Dirty
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Dirty
Dirty
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Dirty
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Dirty
Dirty
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X
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X
Creates a guitar synth-like texture for over-the-top soloing.
If you weren't using the G-Force, you might need two racks of gear to create this sound.
Funky bass rig.
Play single note melodies to create instant cheesy Sci-fi tones.
Slow Panner speeds up as signal fades.
You're sitting far away with your Vibrato sound.
Spins fast with louder signals.
This Phaser changes speed all the time.
Compressed Envelope-Filtered Reverb. Input level dependent.
Pretty much what the name says. One octave up and a Touchwah.
Square Tremolo and an Autowah.
Transistor radio guitar.
An input level dependent Resonance Filter and some Delay.
Create a 1000ms loop and jam over it. Ext. 1 controls the looping, Ext. 2 controls the adding of
the loop/ playing on top of the loop.
Strike a chord, move the pedal to toe, and you have a nice background to play on.
Push the pedal back and forth while playing, but watch out for the Demons.
Push your pedal gently while playing long sustaining notes and listen to the talking whales.
Heeellllp meee!!. A fly caught in the sound! Chorused doubled sound into long Reverb, shifted an
octave and into Phaser. Good leads.
Pedal to heel = Mono guitar signal / Pedal to toe = Stereo octave up.
A single block with an all-purpose Reverb Room.
A single block with an all-purpose Church Reverb.
A single block with an all-purpose Grand Hall Reverb.
A single block with an all-purpose Cathedral Reverb.
A single block with an all-purpose Spring Reverb.
A single block with an all-purpose slow-reacting Reverb.
A single block with an all-purpose straight Chorus.
A single block with an all-purpose straight Chorus a bit faster.
A single block with an all-purpose straight Flanger.
A single block with an all-purpose straight Flanger a bit faster.
A single block with an all-purpose Vibrato (100% Chorus).
A single block with an all-purpose Classic Tremolo.
A single block with an all-purpose Tremolo, opposite in left and right.
A single block with an all-purpose Square Tremolo also known as transforming.
A single block with an all-purpose Panner. Tap the tempo that you want.
A single block with an all-purpose Panner that pans past normal stereo image.
A single block with an all-purpose 500ms Delay.
A single block with an all-purpose Delay. Left = 500ms / Right = 400ms.
A single block with an all-purpose Highcut Filtered Delay, like an old tape Delay.
A single block with an all-purpose Ping-Pong Delay.
A single block with an all-purpose 4-tap Delay. Pedal controls the mix level of the Delay.
A single block with an all-purpose Delay. Input level dependent, plays when you stop playing.
A single block with an all-purpose Soft Compressor.
A single block with an all-purpose Hard Compressor.
A single block with an all-purpose Limiter.
A single block with an all-purpose Pitch Detune setting. Pedal controls the detuning of Voice 1.
A single block with an all-purpose octave down Pitch-shifter. Pedal controls the pitch.
A single block with an all-purpose octave up Pitch-shifter. Pedal controls the pitch.
A single block with an Intelligent Pitch-shifter set for G-major. Pedal controls the level of the third.
A single block with an Intelligent Pitch-shifter set for D-minor with a fifth and a third added.
A single block with an Octave down Pitch-shift.
A single block with an all-purpose Phaser.
A single block with another all-purpose Phaser. Pedal controls the speed of the Phaser.
A single block with an all-purpose Wah Wah. Pedal controls the Wah frequency.
A single block with an all-purpose Touchwah. Input level dependent.
A single block with an all-purpose Autowah. An external LFO controls the Wah frequency.
A single block with an all-purpose touch-sensitive Formant Filter. Input level dependent.
A single block with an all-purpose Formant Filter. Pedal controls the Formant frequency.
A single block with an all-purpose Resonance Filter. Pedal controls the Resonance frequency.
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
Wacky
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59
PRESET LIST
219
Auto Resonance
Clean / Dirty
220
221
222
223
224
225
Drive 1
Drive 2
Drive 3
Noise Gate Slow
Noise Gate Slow
Empty Routing
Clean
Clean
Clean
Clean
Clean
Clean
60
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Dirty
Dirty
Dirty
Dirty
Dirty
Dirty
A single block with an all-purpose Auto-Resonance Filter. An external LFO controls the
Resonance filter.
A single block with an all-purpose Drive.
A single block with an all-purpose Drive.
A single block with an all-purpose Drive.
Pretty much what the title says.
Pretty much what the title says.
An Empty Routing, good for beginning building your own presets.
Block
Block
Block
Block
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Block
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