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G•MAJOR 2GUITAR EFFECTS PROCESSOR

User’s Manual

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IMPORTANT SAFETY INSTRUCTIONS

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1 Read these instructions.2 Keep these instructions.3 Heed all warnings.4 Follow all instructions.5 Do not use this apparatus near water.6 Clean only with dry cloth.7 Do not block any ventilation openings. Install

in accordance with the manufacturer’sinstructions.

8 Do not install near heat sources such asradiators, heat registers, stoves, or otherapparatus (including amplifiers) that produceheat.

9 Do not defeat the safety purpose of thepolarized or grounding-type plug. A polarizedplug has two blades with one wider than theother. A grounding type plug has two bladesand a third grounding prong. The wide bladeor the third prong are provided for your safety.If the provided plug does not fit into youroutlet, consult an electrician for replacementof the obsolete outlet.

10 Protect the power cord from being walked onor pinched particularly at plugs, conveniencereceptacles, and the point where they exitfrom the apparatus.

11 Only use attachments/accessories specifiedby the manufacturer.

12 Use only with the cart, stand, tripod,bracket, or table specified by themanufacturer, or sold with theapparatus. When a cart is used, usecaution when moving thecart/apparatus combination to avoid

injury from tip-over.13 Unplug this apparatus during lightning storms

or when unused for long periods of time.14 Refer all servicing to qualified service

personnel. Servicing is required when theapparatus has been damaged in any way,such as power-supply cord or plug isdamaged, liquid has been spilled or objectshave fallen into the apparatus, the apparatushas been exposed to rain or moisture, doesnot operate normally, or has been dropped.

Warning!• To reduce the risk of fire or electrical shock,

do not expose this equipment to dripping orsplashing and ensure that no objects filledwith liquids, such as vases, are placed on theequipment.

• This apparatus must be earthed.• Use a three wire grounding type line cord like

the one supplied with the product.• Be advised that different operating voltages

require the use of different types of line cordand attachment plugs.

• Check the voltage in your area and use thecorrect type. See table below:

The lightning flash with an arrowheadsymbol within an equilateral triangle isintended to alert the user to the presenceof uninsulated “dangerous voltage” withinthe product’s enclosure that may be ofsufficient magnitude to constitute a riskof electric shock to persons.

The exclamation point within anequilateral triangle is intended to alertthe user to the presence of importantoperating and maintenance (servicing)instructions in the literatureaccompanying the product.

Voltage Line plug according tostandard

110 to 125V220 to 230V

UL817 and CSA C22.2 no 42.CEE 7 page VII, SR section107-2-D1/IEC 83 page C4.

240V BS 1363 of 1984. Specificationfor 13A fused plugs andswitched and unswitchedsocket outlets.

• This equipment should be installed near thesocket outlet. Disconnection of the deviceshould be easily possible at any time.

• To completely disconnect this apparatus fromAC mains, disconnect the power supply cordfrom the AC receptacle.

• The mains plug of the power supply shallremain readily operable.

• Do not install in a confined space.• Do not open the unit – risk of electric shock

inside.

Caution:You are cautioned that any change or

modifications not expressly approved in thismanual could void your authority to operatethis equipment.

Service• There are no user-serviceable parts inside.• All service must be performed by qualified

personnel.

EMC & CERTIFICATE OF CONFORMITY

Certificate of ConformityTC Electronic A/S, Sindalsvej 34, 8240Risskov, Denmark, hereby declares on ownresponsibility that the following product:

G-Major 2 – Guitar Effects Processor

– that is covered by this certificate andmarked with CE-label conforms withfollowing standards:EN 60065 Safety requirements for mains(IEC 60065) operated electronic and

related apparatus forhousehold and similar generaluse

EN 55103-1 Product family standard foraudio, video, audio-visual andentertainment lighting controlapparatus for professionaluse. Part 1: Emission.

EN 55103-2 Product family standard foraudio, video, audio-visual andentertainment lighting controlapparatus for professionaluse. Part 2: Immunity.

With reference to regulations in followingdirectives:

73/23/EEC, 89/336/EECIssued in Risskov, January 2009

Anders FauerskovChief Executive Officer

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EMC/EMIThis equipment has been tested and found tocomply with the limits for a Class B Digitaldevice, pursuant to part 15 of the FCC rules.These limits are designed to providereasonable protection against harmfulinterference in residential installations. Thisequipment generates, uses and can radiateradio frequency energy and – if not installedand used in accordance with the instructions –may cause harmful interference to radiocommunications. However, there is noguarantee that interference will not occur in aparticular installation. If this equipment doescause harmful interference to radio or televisionreception – which can be determined by turningthe equipment off and on –, the user isencouraged to try correcting the interference byone or more of the following measures:• Reorient or relocate the receiving antenna.• Increase the separation between the

equipment and the receiver.• Connect the equipment to an outlet on a

circuit different from the one to which thereceiver is connected.

• Consult the dealer or an experiencedradio/TV technician for help.

For the customers in Canada:This Class B digital apparatus complies withCanadian ICES-003. Cet appareil numériquede la classe B est conforme à la norme NMB-003 du Canada.

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TABLE OF CONTENTS

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INTRODUCTIONImportant Safety Instructions . . . . . . . .a-bTable of Contents . . . . . . . . . . . . . . . . . .3Introduction . . . . . . . . . . . . . . . . . . . . . . .4Front Panel Overview . . . . . . . . . . . . . . .6Rear Panel Overview . . . . . . . . . . . . . . .8Signal Flow Diagram . . . . . . . . . . . . . . . .9Basic Setups . . . . . . . . . . . . . . . . . . . . .10

OPERATIONThe Display . . . . . . . . . . . . . . . . . . . . . .12

Recall . . . . . . . . . . . . . . . . . . . . . . . . . .13Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . .13Store . . . . . . . . . . . . . . . . . . . . . . . . . . .13Preset Backup via MIDI . . . . . . . . . . . .14Global Menu . . . . . . . . . . . . . . . . . . . . .15MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . .18MOD Menu . . . . . . . . . . . . . . . . . . . . . .19External Control . . . . . . . . . . . . . . . . . .20External Control Using Modifiers . . . . .20The Tuner . . . . . . . . . . . . . . . . . . . . . . .22Relays . . . . . . . . . . . . . . . . . . . . . . . . . .24Routings . . . . . . . . . . . . . . . . . . . . . . . .26Getting Started / “How to…” . . . . . . . . .27

EFFECT BLOCKSIntroduction . . . . . . . . . . . . . . . . . . . . . .29Effects Menu – Basic operation . . . . . .29

Gate & EQNoise Gate . . . . . . . . . . . . . . . . . . . . . .30EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

FilterWahWah . . . . . . . . . . . . . . . . . . . . . . . .31TouchWah . . . . . . . . . . . . . . . . . . . . . . .31Auto wah . . . . . . . . . . . . . . . . . . . . . . . .32Resonance Filter . . . . . . . . . . . . . . . . . .32Touch Resonance Filter . . . . . . . . . . . .33Tremolo . . . . . . . . . . . . . . . . . . . . . . . . .33Panner . . . . . . . . . . . . . . . . . . . . . . . . .34

CompressorCompressor . . . . . . . . . . . . . . . . . . . . .35

PitchDetune . . . . . . . . . . . . . . . . . . . . . . . . .36Whammy . . . . . . . . . . . . . . . . . . . . . . . .36Octaver . . . . . . . . . . . . . . . . . . . . . . . . .37Pitch Shifter . . . . . . . . . . . . . . . . . . . . . .38Intelligent Pitch Shifter . . . . . . . . . . . . .39

ModulationClassic Chorus . . . . . . . . . . . . . . . . . . .40Advanced Chorus . . . . . . . . . . . . . . . . .40Tri-Chorus Normal . . . . . . . . . . . . . . . . .41Tri-Chorus Asymmetric . . . . . . . . . . . . .41Classic Flanger . . . . . . . . . . . . . . . . . . .42Advanced Flanger . . . . . . . . . . . . . . . . .43Through Zero Flanger negative . . . . . .43Through Zero Flanger positive . . . . . . .43Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . .44Vintage Phaser . . . . . . . . . . . . . . . . . . .45Smooth Phaser . . . . . . . . . . . . . . . . . . .45Vintage Univibe . . . . . . . . . . . . . . . . . . .46Modern Univibe . . . . . . . . . . . . . . . . . . .46

DelayPing pong . . . . . . . . . . . . . . . . . . . . . . .47Dynamic . . . . . . . . . . . . . . . . . . . . . . . .48Dual . . . . . . . . . . . . . . . . . . . . . . . . . . . .48Reverse . . . . . . . . . . . . . . . . . . . . . . . . .48

ReverbSpring . . . . . . . . . . . . . . . . . . . . . . . . . .49Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . .49Room . . . . . . . . . . . . . . . . . . . . . . . . . .49Plate . . . . . . . . . . . . . . . . . . . . . . . . . . .49

APPENDIXMIDI Implementation . . . . . . . . . . . . . . .51Technical Specifications . . . . . . . . . . . .52Frequently Asked Questions . . . . . . . . .53

TC Electronic, Sindalsvej 34, DK-8240 Risskov Rev 1 – SW – V 1Multilingual VersionProd. No: E60511011

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INTRODUCTIONCongratulations on the purchase of your G-Major 2 Effects Processor.Maybe you have never used a multi-effects processor with your guitar rig before. In this case youmight be wondering whether you now have days of work ahead of you until G-Major 2 finallybehaves as expected and adds to your creativity. But there’s really no need to panic!With the presets that come with G-Major 2, your basic needs are most likely covered, and you willbe set to go within minutes.But chances are that you’ll want to go beyond Factory presets and customize G-Major 2 to yourneeds – and that won’t be a hassle either.

“Stomp Box” SetupIf you are used to working with several serially connected pedal effects (“stomp boxes”), you mightwant to use G-Major 2 for a similar setup and enjoy its high quality effects. To do so, simply connecta MIDI pedal capable of sending MIDI Control Change messages to G-Major 2. Make some basicsettings, and you can use this setup just like a bunch of regular stomp boxes where you simply turneffects on and off as required.

Preset Setup – for ultimate changes in soundsAnother approach would be to create unique presets for each sound, which you can then access bysimply pressing a button on a MIDI foot-controller.Or you could combine this preset approach with the on/off stomp box setup mentioned above.

Channel SwitchingChanging your sound from a crisp, dry rhythm sound to an overdriven lead sound will (in addition tochanging your effects preset) often involve switching your preamp’s or combo’s channels. If youwant to switch amp channels via MIDI, you will normally need to purchase a separate MIDIswitching system. Not so with G-Major 2. With G-Major 2’s built-in Relay Switch, you can switchbetween up to four channels on your preamp/combo.

Modifiers – Instant Parameter ControlIf the methods outlined above still don’t give you the flexibility you are looking for, instant parametercontrol via G-Major 2’s Modifier section is probably the answer. Many algorithm parameters can beassigned to external MIDI controllers or an expression pedal. The possibilities here are endless.With an expression pedal, you cannot only control your effects’ level settings, you could alsochange e.g. the Panning Speed. Or how about using the expression pedal as a customizedWhammy pedal?

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INTRODUCTION

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G-Major vs. G-Major 2 – what’s the deal?Well – why not make a great product even better? With an even easier to operate front panel and abunch of new effects, it made good sense for TC to relaunch one of our most successful productsas G-Major 2. Just check out these features:

• Univibe • Tri-Chorus• Through-Zero Flanger• Retuned TC Electronic reverbs• New filter/Wah block ported 1:1 from the G-System• Reverse Delay• Intelligent pitch shifting• Modulated delays• PC/Mac editor• Relay switching

About this manualYou can always download the latest revision of this manual in several languages from our websitewww.tcelectronic.com.If you need additional information and support, be sure to visit TC Support Interactive – this servicecan also be accessed via www.tcelectronic.com.

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FRONT PANEL OVERVIEW

1 – POWER buttonOn/off switch for the unit.

2 – INPUT LEVEL knobAdjusts the input level.

3 – OUTPUT LEVEL knobAdjusts the output level.

4 – INPUT metersPeak meter showing the inputlevel. The meter range is: 0, -3, -6 , -12, -18, -24, -40 dB.

5 – INPUT OVERLOAD LEDsThe OVERLOAD LEDs indicateone of two situations: Either theinput level is too hot (andtherefore overloading the inputstage), or there is an internalDSP overflow. When theseLEDs light up, reduce the inputlevel slightly.

8 – TUNERThe tuner of G-Major 2 is alwaysactive. When the played note isin tune, both arrows will be lit.

9 – THE MATRIXYou can route G-Major 2’s effectblocks in four different ways:Serial, Seria l2, Semi Paralleland Parallel. The Matrixillustrates the structure of thecurrently used routing.

10 – LEVELS sectionThese Peak Program Meters(PPM) indicate the in/out levelsof the effect block you arecurrently editing, as well as thecurrent mix level of the effect.

IN Meter:Indicates the signal level at theeffect block’s input.

OUT Meter:Indicates the signal level at theeffect block’s output.

MIX MeterIndicates the mix setting of theeffect block being edited.

11 – DAMPWhen both the Noise Gate andthe Compressor are in use, theDAMP indicator will indicate theNoise Gate attenuation when noinput signal is present and theapplied compression when aninput signal is present.

12 – PRESET NUMBERWhen the digits are lit steadily,they represent the currentlyrecalled preset. Whenpreviewing/scrolling throughpresets, the digits will blink untilyou recall the preset by pressingthe RECALL key.

13 – EDITEDWhen this LED is lit, thecurrently recalled preset hasbeen edited but not yet stored.

14 – FACTORY/USERIndicates whether you areoperating in the Factorybank or in the User bank.

15 – MIDI INIndicates incoming MIDIinformation.

16 – MIX TOGGLE wheelTurn this wheel to scrollthrough the mix values ofthe individual effects.

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FRONT PANEL OVERVIEW

Effect Block Keys – General informationPressing an Effect Block keyonce will activate/deactivatethe effect. By pressing a keytwice in short succession(“double-clicking”), you enterthe Edit menu for the effect.When the LED of a key is lit,this particular effect block isactive.

17 to 24 – EFFECT ON/OFF& ACCESS keysOn/off and access keys for theeffect blocks. Press a key onceto activate/deactivate an effectand double-click it to edit thateffect’s parameters.

25 – GLOBAL keyPress to access globalparameters and functions suchas Kill-dry, Pedal Calibration,Tuner Reference, FX MuteMode and more.

26 – MOD keyPress to access the Modifiersection. This is where you setup external control ofparameters.

27 – MIDI keyPress to access all MIDIparameters.

28 – BYPASS keyPress to bypass all effects.Press and hold forapproximately one second tomute outputs, e.g. for silenttuning.

29/30 – UP/DOWN keysUp/down keys for navigation inthe display menus.

31 – ADJUST & ENTERWheelUse this wheel to set the valueof the currently selectedparameter.When pushed, the wheel actsas an “Enter” key.

32 – RECALL keyPress RECALL to initiate apreset recall operation. Turnthe ADJUST wheel to select apreset. Then press theADJUST wheel (pressing thewheel acts as “Enter”) or pressthe RECALL key to confirmyour selection.

33 – STORE keyPress the STORE key once tobegin storing a preset.First select a storage locationusing the ADJUST wheel.Then press the ADJUST wheeltwice to finish the storageprocedure (pressing the wheelacts as “Enter”).You can change the name ofthe preset before storing it. Todo so, use the UP/DOWN keyto select characters. Use theADJUST wheel to select thecharacter you want to change.When you have set the name,press the ADJUST wheel twiceto finish the storage procedure.

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REAR PANEL

BalancedJackAnaloginputs

BalancedJackAnalogoutputs

ExternalControl

MIDIIn, Out, Thru

SwitchOutRelayJack

Powerinput100 to 240V

Relay Jack Cable– Y-Splitter Type

Jack Cable Stereo to Mono

Jack CableMono to Mono

TIPRINGGND

GNDTIP

GNDTIP

MIDI Cable

DIN CONNECTOR5POLE – MALE45 degrees

DIN CONNECTOR5POLE – MALE45 degrees

max. 10m

SHIELDED CABLE (3 or 5 wires + screen)

Balanced vs. regular Audio CablesThe analog input and output connectorson G-Major 2 are balanced ¼" jacks. Toachieve the best possible connection tobalanced equipment, use balanced cables.However, most guitar equipment is NOTbalanced, and you will generally have noproblems when using standard mono-to-mono cables as illustrated below.

TIPRINGGND

GNDTIP

GNDTIP

TIPGND

TIPRINGGND

GNDRINGTIP

Relay Jack Cable– Stereo Jack Type

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SIGNAL FLOW DIAGRAM

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BASIC SETUPS

Connecting and setting up G-Major 2

There are numerous ways of hooking up guitar rigs. On the following pages, we present some ofthe most commonly used setups. We recommend using serial setups, where the entire signalpasses through G-Major 2. This will give you the maximum benefit from all effect algorithms.

Serial setup with preamp and power amp• Connect the output of your preamp to the

input of G-Major 2.• Connect the output of G-Major 2 to the input

of your power amp.• If you want to switch preamp channels with

G-Major 2, connect the SWITCH OUT jack onG-Major 2 to the channel switching jacks onyour preamp. This is not required for MIDI-controllable preamps.

Serial setup with a preamp and one or twocombo amps• Connect the output of your preamp to the

input of G-Major 2.• Connect the output of G-Major 2 to either the

input or the Loop Return of the combo orcombos.*

• If you want to switch preamp channels withG-Major 2, connect the SWITCH OUT jack onG-Major 2 to the channel switching jacks onyour preamp. This is not required for MIDI-controllable preamps.

* Using the return jack of the combo’s effectloop will in most cases give you a setupsimilar to the power-amp setup describedabove.Using the regular input on the combo givesyou a “double-preamp” setup, where you canuse the tone controls on the combo to coloryour sound. This introduces more noise thanwhen using the Loop Return connection, buthas become a popular setup with amplifierslike Vox AC 30, Fender Bassman etc.

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BASIC SETUPS

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Connecting and setting up G-Major 2

Parallel setup using a line mixer• Connect the output of your preamp to an

input on the line mixer.• If you want to switch preamp channels with

G-Major 2, connect the SWITCH OUT jackon G-Major 2 to the channel switching jackson your preamp. This is not required forMIDI-controllable preamps.

• Connect the send jacks of your line mixer’seffect loop to the inputs of G-Major 2.Connect the outputs of G-Major 2 to thereturn jacks of your line mixer’s effect loop.

• Connect the line mixer’s main outputs toyour amplification system.

This illustration shows combo amplifiers – butof course, you could also use a power amphere. Likewise, the preamp shown in theillustration could easily be the preamp sectionof a combo amplifier.

Combined setup with regular effectpedals, a G-Major 2 and a MIDI pedal• Connect the send jack of the combo’s effect

loop to the input of G-Major 2.• Connect the output of G-Major 2 to the

return jack of the combo’s effect loop.• Connect your guitar to the input of your

(first) effect pedal. Connect the output of the(last) effect pedal to the input of the comboas usual.

• If you wish to switch presets on G-Major 2(which may include switching the channelsof your preamp/combo), you should alsoconnect a MIDI pedal to G-Major 2 and usethe Relay Switching function.

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THE DISPLAY

Input meter

OverloadLEDs

Matrix – indication ofcurrently used Routing

Block levels –In/Out and Mix

DampCompression/Noise Gate

Preset Number

Indicatorsfor:ReceivedMIDI dataFactory/Userpreset bankEditedTunerDetected input pitch

Input MetersThese are peak meters showing the currentinput level. The meter range is: 0, -3, -6, -12, -18, -24, -40 dB.

To set the correct input level:• Select the “loudest” sound – i.e., the sound

containing the most dynamic content on theequipment you are feeding G-Major 2 with,e.g. your preamp. This will probably be aclean sound.

• Adjust the input level on G-Major 2 so thatthe -3 dB LED flashes frequently and the -0dB LED flashes only at the very highestlevels.

Input Overload LEDsThe OVERLOAD LEDs light up in twosituations:Either the input level is too hot and thereforeoverloading the input stage, or there is aninternal DSP overflow. Reduce either the outputof the device feeding G-Major 2 or reduce theinput gain on G-Major 2 using the IN LEVELknob.

The TunerG-Major 2 is equipped with a tuner, which isalways active. When both horizontal arrows arelit, the played string is in tune.

The MatrixG-Major 2 gives you four different options forrouting its effect blocks: Serial, Serial 2, SemiParallel and Parallel. The Matrix indicates whichof the three routings is currently being used.

Serial Serial 2

Semi Parallel Parallel

Levels Section – In/Out/MixThese readouts refer only to the block currentlybeing edited.

PPM – Peak Program Meter:Indicates the level of the block currently beingedited.

In Meter:Indicates the signal level at the input of theblock currently being edited.

Out Meter:Indicates the signal level at the output of theblock currently being edited.

Mix Meter:Indicates the level of the mixed signal (dry andedited signal) within the block currently beingedited.

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THE DISPLAY

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DampWhen both the Noise Gate and the Compressorare in use, the DAMP indicator will indicate theNoise Gate attenuation while no input signal ispresent and the applied compression when aninput signal is present.

Preset NumberWhen the digits are lit steadily, they representthe number of the currently recalled preset.When you scroll through G-Major 2’s presets(called “previewing”) by using the ADJUSTwheel, the digits will blink until you recall apreset by pressing the RECALL key.

EditedWhen the “Edited” indicator is lit, the currentlyrecalled preset has been edited, but not yetstored.

Factory/UserThese indicators show whether you areoperating in the Factory preset bank or in theUser preset bank.

Preset typesUser presets (RAM)User presets can be edited and stored in any ofthe 100 User locations.

Factory Presets (ROM)G-Major 2 holds 100 Factory presets. Factorypresets can be edited and stored in any Userlocation. You cannot store presets to theFactory preset bank, as it is “read only”memory.

Recalling presetsRecalling a preset means loading/activating apreset.• Press the RECALL key to enter the RECALL

menu.• Use the ADJUST wheel to preview presets. A

blinking preset number indicates that youhave not actually recalled the preset yet.

• Press ENTER or RECALL to recall/activatethe preset.

Press any other key at any time duringpreviewing to “abort mission” and return to thecurrently recalled preset.

Previewing and routings:When previewing a preset with a routingthat is different from the routing currentlyused, the Routing/Matrix LEDs blink.

Editing presetsTo edit preset parameters:• Double-click the key of the effect block that

you would like to edit.• Select the parameter to edit using the arrow

UP/DOWN keys. Change parameter valuesusing the ADJUST wheel.

• See the following section for instructions onhow to store a preset.

Storing presetsStoring a preset without changing its name:• Press the STORE key.

If the preset you are about to store is aFactory preset, G-Major 2 will suggest thefirst available User preset location, but youcan select any of the 100 User presetlocations using the ADJUST wheel. If thepreset you are about to store is a Userpreset, G-Major 2 suggests the currentlocation of the preset. You can, however,

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PRESET HANDLINGstore the preset at any of the 100 Userlocations. Select the location to store thepreset to by using the ADJUST wheel.

• Press ENTER twice to confirm the storageoperation.

Renaming a preset while storing:• Press the STORE key.

If the preset you are about to store is aFactory preset, G-Major 2 will suggest thefirst available User preset location, but youcan select any of the 100 User presetlocations using the ADJUST wheel. Selectthe location to store the preset to and pressENTER once.

• To change the preset name: Use the UP/DOWN keys to move the cursorin the display. Use the ADJUST wheel toselect the character at the current cursorposition.

• Once you have renamed the preset, pressENTER twice to store the preset with thenew name.

Backing up presets via MIDIFor backup purposes, the User bank can bedumped via MIDI to either a sequencer or toanother G-Major 2. This is how to do it:• Connect the MIDI OUT jack of your

G-Major 2 to the MIDI IN jack of eitheranother G-Major 2 or a sequencer (this mayalso be the MIDI interface of a digital audioworkstation).

• Press the MIDI key and select the “BulkDump” function using the UP/DOWN keys.

• When you have connected your G-Major 2 toanother G-Major 2, simply press ENTER.The entire User bank will be copied to thesecond G-Major 2.

• When you have connected your G-Major 2 toa sequencer, let the sequencer record inOMNI mode (all channels) and press ENTERon G-Major 2.

G-Major 2 is always ready to receive a MIDIbulk dump.Simply connect the MIDI OUT jack of the deviceyou are dumping from to the MIDI IN jack ofyour G-Major 2. If you want to use a User bankthat you have previously dumped to asequencer as described above, simply playback the sequence containing the bulk dump. Ifdumping from another G-Major 2 – see above!

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GLOBAL MENU

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Momentary type pedals are similar to the holdpedals typically used with keyboards (wherethere is only a connection between tip andground when the pedal is pressed). Alternatingpedal types “stay connected” when pressedand must be pressed again to be deactivated.Use the default setting “Exp/Vol” when workingwith an Expression pedal.

Pedal CalibrateTo use an expression pedal for controlling G-Major 2 parameters, G-Major 2 must becalibrated to that specific pedal. This is howyou calibrate G-Major 2:1. Connect your pedal and select the

appropriate pedal type (see parameter PedalType).

2. Select “Pedal Calibrate” and press ENTER.3. Move the pedal to its maximum position (“toe

down”) and press ENTER.4. Move the pedal to its minimum position (“toe

up”) and press ENTER.Your pedal has been calibrated.

Depending on the pedal type you areusing, you may be asked to repeat steps3 and 4.

IntroductionIn the Global menu you will find a lot ofimportant parameters, such as Input Type,Clock, Input/Output Range. These parametersmust be set correctly to ensure you get themost out of G-Major 2!All parameters in the I/O menu are “general”parameters that are not stored as part of G-Major 2 presets.

Basic operation• Press the GLOBAL key.• Select parameters using the UP/DOWN keys

and change parameter values using theADJUST wheel.

Kill DrySettings: On/OffWe always recommend using G-Major 2 in aserial or loop setup as this will allow you tobenefit from all the unit’s effects and features.If, however, you intend to use G-Major 2 in aparallel setup or in a parallel loop, its Kill Dryfunction will come in handy.With Kill Dry activated, no direct signal ispassed to the outputs of G-Major 2.

A few comments regarding the Kill Dry functionand a parallel setup:First of all:• In such a setup, we recommend using the

Parallel routing.• When the Kill Dry parameter is set to “On”, no

clean signal is passed to the outputs, and the“Mix” parameter changes to “Wet” in allalgorithms.

You should also be aware that the way thesignal is routed in a parallel loop is similar to thesignal path within a mixer. The signal is split:One part runs unprocessed to the output andnever passes the actual effects processor. Theother part of the signal is processed within G-Major 2 and summed with the unprocessedsignal. Therefore, you will not get to enjoy thebenefits from all effects when running a parallelsetup. This goes especially for level-basedeffects such as Tremolo and Panner, but theChorus/Flanger/ Phaser/Vibrato and Pitchblocks will be affected as well.

Pedal typeDefines up the pedal type used on the Ext.Control ¼" jack. Select between Momentary,Alternating or Expression/Volume pedal types.

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GLOBAL MENUTuner ModeThe Tuner can operate with two differentaccuracies.

Fine TuneFine Tune provides maximum accuracy. Usethis mode when fine-tuning your guitar.

CoarseThis is a slightly less accurate mode, allowingfor fast results in a live situation.

Tuner RangeDefines the range of the Tuner. Select between“Guitar”, “Bass” and “7-string Guitar”. Theaccuracy of the Tuner depends on the TunerRange. Therefore, it is important to set thisparameter according to the instrument you wishto tune.

Tap MasterPreset: The tempo will be set to the value

stored as part of each G-Major 2preset.

Tap: The tempo will follow the Globaltapped tempo.

Tap UnitThis parameter determines whether the tappedtempo in the Tap Menu should be displayed inmilliseconds (“ms”) or in beats per minute(“BPM”).

FX MuteSettings: Hard/SoftThis parameter determines how delay and reverbeffects should be handled during preset changes.

Hard: Effects are muted when a presetchange occurs.

Soft: Delays will “spill over”, and reverbparameters glide smoothly to thesettings in the new preset.

MOD MasterSettings: Preset / ModIf you are not acquainted with Modifiers, youcan read about them in the “Modifiers” sectionof this manual. In short: Parameter values canbe controlled using an external controller, suchas a MIDI expression pedal. If you have set upthis external controller to control e.g. the PresetOut level, you must decide how you would likeG-Major 2 to respond to the position of theexpression pedal when you are recallinganother preset. This is the purpose of the MODMaster parameter. Setting this option correctlydepends very much on what parameter yourModifier is controlling.

PresetIf MOD Master is set to “Preset”, G-Major willignore the position of the connected externalcontroller and load the Modifier value stored aspart of the preset.

ModIf MOD Master is set to “Mod”, G-Major willalways check the position of the connectedexternal controller when a preset changeoccurs. G-Major will then respond to thisposition and ignore the Modifier value for therelevant parameter.

Please note that when you are using the“Mod” option with an expression pedalthat is controlling a level parameter, theparameter will jump to the valueequivalent to the pedal position next timeyou move the pedal. This could result inconsiderable level jumps.

Tuner Ref.Range: 420 to 460 HzDefines the master tune frequency of the built-in tuner. The standard setting is 440 Hz.

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View AngleAdjusts the LCD display backlight for betterviewing comfort.

Input RangeSettings: Pro/ConsumerDefines the sensitivity of G-Major 2 input.The default setting is “Pro”, which will matchmost preamps.

Output RangeSettings: 2 dBu, 8 dBu, 14 dBu, 20 dBuDefines the maximum gain range of the analogoutput stage.

MIDI MENU

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In the MIDI menu, you will find all globalMIDI-related parameters of G-Major 2.

MIDI ChannelSettings: Off / 1 to 16 / OmniDefines the responding MIDI channel of G-Major 2. If you select “Omni”, G-Major 2 willrespond to MIDI messages received on anychannel.

MIDI Program ChangeSettings: On/OffThis parameter determines whether G-Major 2should respond to received MIDI programchanges or not.

Bulk DumpPress ENTER to perform a total Bulk dump ofall presets to an external MIDI device (such asa MIDI sequencer).G-Major 2 is always ready to receive MIDI Bulkdump information. For more information on thistopic, see the section “Presets Backup viaMIDI”. Single presets and current settings canbe sent and received via Sysex.

The Send Tuner parameter MUST beset to “Off” when performing a bulkdump. The Send Tuner parameter islocated in the Global menu.

Program BankThis parameter determines which bank anexternal MIDI device will address in G-Major 2when a program change message is received.The options are “External”, “Factory”, “User” or“Custom”.When “External” is selected, Controller #0 canbe used to address either the Factory or theUser bank.To access the Factory bank, set Controller #0to “0”. To access the User bank, set Controller#0 to “1”.

SysEx IDThis parameter determines the SysEx IDnumber of G-Major 2.

MIDI ClockSettings: On/OffThe Global Tap Tempo can be synchronized toan incoming MIDI clock, e.g. from a MIDIsequencer.Use this feature e.g. to keep a delay in syncwith the tempo of the song.

MIDI MAPPINGWhat is MIDI Mapping?With G-Major 2 it is possible to use anincoming MIDI program change message (witha value from 1 to 128) to recall any Factory orUser preset. This feature is called MIDIMapping.

Example: You send program change #1 to bothyour G-Major 2 and your MIDI preamp (oranother MIDI device). However, you would likeG-Major 2 to recall another preset instead of#1. This is exactly what MIDI mapping can do.To enter the MIDI Mapping functions:• Press the MIDI key.• Select the Prg Bank parameter and set it to

“Custom” using the ADJUST wheel. PressENTER.

The display now reads:

• This is the incoming preset number you areabout to map. Select a value between 1 and128.

• Now select “Map To” by pressing theARROW DOWN key.

• Use the ADJUST wheel to select whichpreset you want to map this incoming presetnumber to. In the above example, a receivedprogram change #1 would be mapped toFactory preset #7.

• Repeat these steps for all the programs youwish to map.

The User bank is located after theFactory Bank. You can also choose tomap an incoming preset number to“None” if you wish to let G-Major 2 ignorethe incoming program change.

Reset MIDI MapBy resetting the MIDI map, incoming programchange message #1 will be mapped to Factorybank preset #1, program change #2 will bemapped to Factory bank preset #2 and so forth.• Select “Reset Map” using the ADJUST wheel.• Press ENTER to reset the entire MIDI Map.

IntroductionAfter you have experimented with G-Major 2 fora while and maybe programmed a few presets,you are probably anxious to start controlling theunit from your MIDI board and expressionpedals.If you are new to the “world of 19 inchwonders”, this section may startle you at first.But once you get a grip of the basics, you willsee how easy it is to gain full control of G-Major2 and appreciate these possibilities. Asdescribed below, we have even implemented a“Learn” function that makes setting up externalcontrol of various parameters very easy.

The MOD MenuFirst, let’s take a look at the parameters in theMOD menu – then let’s see how they should beset up.

Parameters in the MOD menu:Mod 1 to 4The four Modifiers are interfaces betweenexternal controlling devices (such as anexpression pedal) and specific effectparameters (e.g. Delay Time, Vibrato Speedetc.). To learn more about setting up Modifiers1 to 4, please refer to page 21.

Bypass AllUsed to remote control the overall Bypassfunction of G-Major 2.

Tuner MuteUse this setting to mute the outputs of G-Major2 while tuning your guitar.

Global In Level *Use this setting to remote control the Global Inlevel.

Preset Out Level *Use this setting to remote control the PresetOut level. With this parameter you can boost apreset to solo level.

PresetBoostThis is an excellent feature allowing you toboost any preset for fills etc. You can boost thepreset from its current preset level (as set in theLevels All menu) to 0 dB by using any MIDI CCmessage or a pedal connected to the PEDALinput of G-Major 2. A MIDI CC value above 64will set the current preset to 0 dB. A MIDI CCvalue below 64 will set the current preset backto the preset level.

When another preset is recalled, thePresetBoost controller is reset (i.e., a valuebelow 64 is sent out). This will allow for anupdate of the LED status on your foot controller(given that the MIDI Out jack of G-Major 2 isconnected to the MIDI In jack on your footcontroller). Please note that if the Preset Levelparameter in the Levels All menu is already setto 0 dB, boosting the signal will not be possible.For further instructions on how to set up thePresetBoost function, please refer to theexample on page 24.

Global Out Level *Use this setting to remote control the GlobalOut level.

Relay 1 & Relay 2Use these settings to remote control Relays 1and 2.

Comp On/OffUse this setting to toggle the Compressor of G-Major 2 on or off remotely (using an externalcontroller).

Filter On/OffUse this setting to toggle the Filter block of G-Major 2 on or off remotely (using an externalcontroller).

Pitch On/OffUse this setting to toggle the Pitch block of G-Major 2 on or off remotely (using an externalcontroller).

Cho/Flg On/OffUse this setting to toggle the Chorus/Flanger ofG-Major 2 on or off remotely (using an externalcontroller).

Delay On/OffUse this setting to toggle the Delay of G-Major2 on or off remotely (using an externalcontroller).

Reverb On/OffUse this setting to toggle the Reverb of G-Major2 on or off remotely (using an externalcontroller).

Noise Gate On/OffUse this setting to toggle the Noise Gate of G-Major 2 on or off remotely (using an externalcontroller).

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MOD MENUEQ On/OffUse this setting to toggle the EQ of G-Major 2on or off remotely (using an external controller).

* You will find that (depending on theexpression pedal type you are using),different settings are required to achievedifferent effects. Therefore, G-Major 2 allowsyou to set dedicated response curves foreach of the level-related parameters in theMOD menu.These response curves are set by enteringminimum, medium and maximum values. Youcan enter these values by first selecting theparameter (e.g. Preset Out Level) and thenpressing ENTER.For a more detailed explanation on how toset a Modifier response curve, please refer tothe following page.

External ControlWe will now take a look at how externalcontrollers can be assigned to G-Major 2parameters in the MOD menu.• Press MOD (in the Setup section) and select

a parameter using the UP/DOWN keys.• For each parameter, you can configure how it

should be controlled. Use the ADJUST wheelto select between the following options:- Off- Learn- Pedal- CC 1 to 128.

Off“Off” means: This particular Modifier will not becontrolled externally at all.

LearnThis option makes setting up externalcontrollers a breeze.• While “Learn” is selected, press ENTER. The

display will blink “>>>Learning<<<”, showingthat you are now in Learn mode.

• Now you must show G-Major 2 which of theconnected external devices you will use tocontrol this particular Modifier. Either send aCC (by pressing one of your MIDI pedal’s CCbuttons), or move the connected Expressionpedal.

• “>>>Learning<<<” will stop blinking,indicating that G-Major 2 has recognizedyour external controller.

PedalWhen “Pedal” is selected, only the pedalconnected to the EXT. CONTROL jack on therear panel can control the Modifier.

CC 0-127This is where you can directly specify which CCnumber the Modifier should respond to.

The “natural choice” for switchingeffect blocks on or off (or for mutingthe Tuner) would be MIDI CCs(Control Change messages) sent fromyour MIDI pedal. The “natural choice”for controlling any Level, Speed orPitch parameter would be using anexpression Pedal.

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External control using ModifiersThere are two steps required for assigning anexternal controller to a specific parameter.

Step 1: Assigning Modifiers to External ControlsThis step is described on the previous page.

Step 2: Assigning parameters to Modifiers• Press MOD to enter the MOD menu. Then

select Mod 1, 2, 3 or 4. Then press ENTER.• Now you can select the parameter you would

like to control using the UP/DOWN keys.Note that in this list you will only findparameters from the effect blocks that areused in the current preset.The parameter name is shown on the left-hand side of the display, and the assignedModifier is shown on the right-hand side.

• Use the ADJUST wheel to assign theparameters to one of the four modifiers.Press ENTER and set the Response Curvefor the modifier.

Setting the Modifier Response CurveThe Modifier Response Curve determines howthe Modifier responds e.g. to the movement ofan expression pedal. There are threeparameters to be set.

MinOutThis parameter determines the Out level of theModifier when the expression pedal/Modifierinput is at the minimum position.

MidOutThis parameter determines the Out level of theModifier when the expression pedal/Modifierinput is at the medium position.

MaxOutThis parameter determines the Out level of theModifier when the expression pedal/Modifierinput is at the maximum position.

Example:

Assigning an expression pedal as a WhammyThis example requires that you have assignedan expression pedal to Modifier 1 using e.g. thelearning function as previously described.

Algorithm Parameter AssignedModifier

Example• Connect your expression pedal to either the

EXT. CONTROL jack on the back of G-Major2 or to the jack for expression pedals on yourMIDI pedal board.(Please see the GLOBAL section on how tocalibrate your expression pedal if you haven’tcalibrated yet).

• Select the “Whammy” effect type for the Pitchblock.

• Press the MOD key to access the MODmenu.

• Press ENTER.• Select the Pitch parameter using the

UP/DOWN keys and select MOD 1 using theADJUST wheel.

G-Major 2 must be calibrated to theconnected expression pedal. This isdone in the Global menu. Please referto the section “Pedal Calibrate” onpage 15 of this manual.

Which parameters can be assigned?The parameters you can assign to Modifiers arelocated at the bottom of the MOD menu. Theparameter list will vary depending on thealgorithms used in the various effect blocks.

MOD MENU

The Tuner is always on. It is displayed in theLC display.

The following Tuner parameters are set inthe Global menu.• Press GLOBAL to access the menu.• Use the UP/DOWN keys to select

parameters.• Use the ADJUST wheel to set values.

Tuner ModeDefines the mode of the Tuner. Choosebetween two modes:

Fine TuneThis mode offers maximum accuracy. Use thismode when fine-tuning your guitar.

CoarseThis is a slightly less accurate mode, allowingfor fast results in a live situation.

Tuner RangeDefines the range of the Tuner. Select between“Bass”, “7-string” Guitar and “Guitar” (six-string). The accuracy of the Tuner depends onthe set Tuner range. Therefore, it is importantto set this parameter according to theinstrument you wish to tune.

Tuner FrequencyYou can set the master tuning reference in theGlobal menu. The range is from 420 Hertz to460 Hertz. Standard tuning is 440 Hz, butespecially when playing with classicalinstruments, frequencies from 438 to 442 Hzare used as tuning reference.

Tuner MuteIt is often a good idea to mute the output ofyour G-Major 2 when tuning your guitar. Tocontrol the Mute function, you can set up eithera MIDI pedal sending a MIDI CC, a (momentaryor alternating) switch or even an expressionpedal. This is set up in the MOD menu.

ExampleSetting up G-Major 2 to mute for tuning whenreceiving a MIDI Control Change from yourMIDI pedal.• Connect your MIDI pedal to G-Major 2.• Press MOD and select the Tuner Mute

parameter using the UP/DOWN keys.• Turn the ADJUST wheel to select “Learn” and

press ENTER. “>>>Learning<<<” is nowblinking.

• Now press the control change button on yourMIDI pedal that you would like to use formuting the tuner.

That’s it – whenever you press this button infuture, you will be able to tune withoutdisturbing your fellow musicians.

THE TUNER

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LEVELS ALL AND RELAY 1+2Basic Operation• Press the LEVELS/ROUTING key to enter

this menu.• Use the UP/DOWN keys and the ADJUST

wheel to select and edit parameters andvalues.

Preset Out Level Range: Off (-100 dB) to 0 dB.Defines the output level of the current preset.With this parameter you can set individuallevels for each preset. Maybe you want adifferent level for rhythm and lead presets.The Preset Out level is stored as part of eachpreset.

Please note that all Factory presets areset to -6 dB, leaving headroom forboosting a preset when it is required. Anexample on how to setup a solo level isgiven in the “How To” section of this

manual.

Global In LevelRange: Off (-100 dB) to 0 dBDefines the overall input level of G-Major 2.As the name implies, this input level setting isglobal and therefore not stored as part ofpresets.

If you are using an expression pedal tocontrol your overall volume (i.e., making“volume swells”), you should assign thisparameter to the expression/volumepedal. This way, long delays andreverbs will ring out naturally even afterthe pedal is turned down.

Global Out LevelRange: Off (-100 dB) to 0 dBDefines the overall output level of G-Major 2.As the name implies, this output level setting isglobal and therefore not stored as part ofpresets.Other than the Global In Level parameterdescribed above, you can use the Global Outlevel parameter as an overall volume control foryour guitar setup (this includes the delay,reverb and other signal processing in the G-Major 2).

Kill DrySettings: On/OffWe always recommend using G-Major 2 in aserial or loop setup as this will allow you tobenefit from all the unit’s effects and features.If, however, you intend to use G-Major 2 in aparallel setup or a parallel loop, its Kill Dryfunction will come in handy.With Kill Dry activated, no direct signal ispassed to the outputs of G-Major 2.

A few comments regarding the Kill Dry functionand a parallel setup:First of all:• In such a setup, we recommend using the

Parallel routing.• When the Kill Dry parameter is set to “On”,

no clean signal is passed to the outputs, andthe “Mix” parameter changes to “Wet” in allalgorithms.

You should also be aware that the way thesignal is routed in a parallel loop is similar tothe signal path within a mixer. The signal issplit: One part runs unprocessed to the outputand never passes the actual effects processor.The other part of the signal is processed withinG-Major 2 and summed with the unprocessedsignal.Therefore, you will not get to enjoy the benefitsfrom all effects when running a parallel setup.This goes especially for level-based effectssuch as Tremolo and Panner, but theChorus/Flanger/ Phaser/Vibrato and Pitchblocks will be affected as well.

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Channel switching on an externalpreamp using Relay 1 & 2G-Major 2 has two built-in switching relays thatallow you to switch the channels of analogpreamps – either when changing presets orwhen triggering this function by means of aMIDI CC message coming from your MIDIpedal. In other words:• With each preset, you can decide whether

your preamp or combo should use the cleanor overdriven channel.

• Or you could switch the relays/preamp-channels by sending a MIDI CC message toG-Major 2 from your MIDI board.

Depending on the channel switching connectionon your preamp/combo, you must use either• a “Y-Splitter” cable for splitting a stereo ¼"

jack to two mono jacks (tip-to-tip and tip-to-ring) or

• a standard “Stereo jack to Stereo jack” cable.

– Relay 1 shorts the tip of the switching ¼" jackwith the sleeve/GND when set to “On”. “Off”means that the relay is open.

– Relay 2 shorts the ring of the switching ¼"jack with the sleeve/GND when set to “On”.“Off” means that the relay is open.

Depending on the complexity of thechannel switching system on yourguitar amp, you may need to contactthe manufacturer of your guitar ampand/or a technician to get solderingadvice for the optimum channelswitching setup. In the “Support”section of www.tcelectronic.com, youwill find various channel switchingschematics for some of the mostcommon amplifiers on the market. Ifyou are not sure how to setup yoursystem, consult this section of our website first.

These parameters can be remotely controlledvia MIDI or using the SWITCH OUT jack on G-Major 2. This is set up in the MOD menu.

You configure the Relays in theLevels/Routing menu.• Press the LEVELS/ROUTING key and select

Relay 1 or Relay 2 using the UP/DOWNkeys.

• Turn the ADJUST wheel to selectopen/closed position.

ExampleLet us assume you have hooked G-Major 2 upwith either a three-channel combo or preamp.

• First of all, check whether your amp uses twomono connectors or one stereo connector forchannel switching. Use a matching cable.

• Connect the stereo jack of your cable to theSWITCH OUT jack on G-Major 2 rear panel.

• Connect the two mono jacks (or the stereojack, depending on the cable used) to thechannel switching connectors on the comboor preamp.

• Recall G-Major 2 preset that you want to usefor channel switching.

• Press the LEVELS/ROUTING key.• Now select Relay 1 (“Rly1”) or Relay 2

(“Rly2”) using the UP/DOWN keys and usethe ADJUST wheel to open or close the tworelays.

By doing this, you are switching the channelson your preamp. Exactly which setting willactivate the Clean, Crunch and Distortedchannels we can not tell as this varies from amp

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to amp. Experiment and note down the settingsthat apply to your particular amp.

• Store the preset by pressing the STORE keytwice (see the section “Preset Handling” formore info on storing presets).

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ROUTINGS

Routing menuYou can route the effect blocks of G-Major 2 infour different ways: Serial, Serial 2, SemiParallel and Parallel.Routing effects is similar to the way you wouldconnect your stomp boxes on a regular pedalboard.The selected routing can be stored as a part ofeach preset. However, you can also choose tokeep your favorite routing when switchingpresets by utilizing the Routing Lock function.

Operation• Press the LEVELS/ROUTING key.• Select a routing using the UP/DOWN keys.• Now select between Serial, Serial 2, Semi-

Parallel and Parallel routing.

SerialThe Serial routing connects all seven effectblocks of G-Major 2 in a straight line,connecting each effect’s output to the input ofthe following effect – comparable to a typical“daisy chain” of guitar stomp boxes. Thismeans that each effect block affects thesubsequent block in the signal chain.

When you are using long delay times,you might find the reverb added to thedelay repeats a bit disturbing. Shouldthat be the case, use either the SemiParallel or Parallel routing.

Semi ParallelThe Semi Parallel routing still connects the firstfive effect blocks serially, but the Reverb andDelay blocks are now connected in parallel.Consequently, the Delay and Reverb effects donot affect each other. This means that therepeats of the delay are not reverberated andvice versa.When you find your sound becomes toocomplex, the parallel connection of the Reverband the Delay in the Semi Parallel routing mayhelp to “clear the picture”.

Parallel The Parallel routing still allows effects such asNoise Gate, Compressor and Tremolo to beconnected serially, while the Pitch, Chorus,Delay and Reverb blocks are connected inparallel.

Routing LockRoutings are stored at preset level and cantherefore change when a new preset is recalled.When two presets use different routings, therouting change may be audible. To avoiddisruptions between two different routings, youcan use the Routing Lock function. RoutingLock prevents rerouting when a preset isrecalled: The currently selected routing remainslocked. Consequently, only effect parametersare changed by a preset change, not the waythe effect blocks are connected.Press LEVELS/ROUTING and select theRouting Lock parameter using the UP/DOWNkeys.

For smoothest preset changes andgeneral ease of programming, it isadvisable to stick with the same routing(if possible). Simply select your desiredrouting and activate Routing Lock.

Serial 2The Serial 2 routing is a variation of the Serialrouting that allows you to apply modulationeffects to the delay repeats only.

The advantage of the Serial 2 routing isthat with longer delay times, you canuse rather extreme modulation effectswithout blurring the dry signal.

Getting Started• Connect G-Major 2 according to your setup

as described on pages 10/11 and power on.• Find the “loudest” sound from your preamp

or effect pedals with the most dynamics andset the input level so that peaks are atapproximately -3 dB. The sound with themost dynamics is most likely to be a cleansound, as overdriven sounds are morecompressed.

• Set the output level to match the equipmentyou feed G-Major 2’s output to. As the “right”setting could be about anything, you willhave to experiment.

How to bypass an Effect Block in a PresetSimply press the key corresponding to theeffect block you wish to (temporarily) disable.The effect block is then bypassed, but itssettings are not deleted.The preset can now be stored by pressingSTORE once, followed by pressing ENTERtwice for confirmation. You can re-activate ablock at any time simply by pressing its key.This will restore the previous setting.Remember that a bypassed block does notinterfere with the sound: It does not add noiseor other unwanted artifacts to the signal.

How to set up a Boost function for a PresetAll Factory presets in G-Major 2 are saved at -6dB, leaving headroom for boosting any presetto a “solo level”. We suggest that you keep aminimum of 6 dB headroom in all User presetsas well. To do so, set the Preset Out Levelparameter in the Levels menu.You will appreciate this Preset Boost functionas it allows you to easily boost the currentpreset for fills, themes etc. that otherwise mightnot be heard.In the following example we assume that youhave stored all your presets at -6 dB.• Select the preset on you wish to use the

Boost function.• Set the Preset Out Level via the Levels menu

to e.g. -6 dB.• Press the MOD key and select the Preset

Boost parameter using the UP/DOWN keys.• Select “Learn” using the ADJUST wheel.

Press ENTER and press the switch on yourMIDI board sending a CC value that youwant to use as the “boost pedal”. Instead,you can also use a simple momentary or

latching switch connected to the PEDAL INjack.

• The display now shows either “Pedal” (if thatwas the used controller device), or it showsthe CC value received from your MIDI board.

• Store the preset.Now every time you call up that specific preset,it will start out at the -6 dB specified in theLevels menu – but you can boost the preset by6 dB to 0 dBFS. To do so, hit the control youhave assigned to this function.

How to mute the outputs of G-Major 2 whentuning your guitarWe assume that you are using G-Major 2 in aserial setup, where the entire signal is routedthrough G-Major 2.

Muting G-Major 2 outputs via G-Major 2 frontpanel:• Press and hold the BYPASS key for

approximately one second.• To un-mute G-Major 2, press BYPASS again.

Muting G-Major 2 outputs using ControlChange messages (e.g. from a MIDI pedal)• Press MOD and use the UP/DOWN keys to

select Tuner Mute.• Press ENTER to activate the Learn function.

The display will start blinking.• Press the switch on your MIDI board sending

a CC value you want to use for muting.Instead, you can also use a momentary oralternating pedal connected to the PEDAL INjack.

G-Major 2 has now “learned” what controlleryou are using to mute the outputs when you aretuning your instrument.

How to let a delay “spill over” whenchanging presetsSpill-over what?To obtain the spill-over effect, set the FX Muteparameter in the GLOBAL menu to “Soft”.Delay repeats will then naturally continue/finisheven when changing to a preset that has noactive delay or a shorter delay.Reverbs will glide smoothly to the settings inthe new preset.

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GETTING STARTEDHow to match the speed of a RhythmicTremolo or Vibrato to a MIDI sequence• Connect the MIDI OUT jack of your

sequencer (or another device sending out theMIDI Clock you wish to use as a temporeference for G-Major 2) to the MIDI IN jackof G-Major 2.

• Press the MIDI key to enter the MIDI menu.Use the UP/DOWN keys to select the MIDIClock parameter.

• Set MIDI Clock to “On”.G-Major 2 will now use the incoming MIDI clocktempo as its Global Tempo. Subdivisions canbe set using the Tempo parameter in eachtempo-aware block/algorithm.

How to switch preamp channels using theSWITCH OUT jack of G-Major 2 and a MIDIboard sending MIDI CCs• Connect the SWITCH OUT jack on G-Major

2 to your preamp’s/combo’s channelswitching jacks.

• Press MOD and select Relay 1 or 2 using theUP/DOWN keys.

• Select Learn and press ENTER to activatethe Learn function.

• Press a MIDI CC switch on your MIDI board.This MIDI CC switch will now switchchannels on your amp.

Repeat the steps above for Relay 2 if you havemore than two channels to switch between.

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IntroductionBasic Operation of the Effect MenusThe six (or seven including the Noise gate)effect keys on the front panel all work asfollows:• Press a key once to toggles this effect block

on or off.• Press a key twice in short succession (i.e.,

double-click) to edit the settings for this effectblock.

To navigate the effect edit pages, use theUP/DOWN keys and ADJUST wheel. Some ofthe effect blocks contain several effectalgorithms. For example, the Filter blockcontains Phaser, Tremolo, Panner, ResonanceFilter etc. Where it is available, the Algorithmchoice is the first parameter of an effect’s editpage.As all the effect blocks are always present, theycan be activated or accessed at any time bysimply using the single or double-clickfunctions. Bypassing an effect block removes itfrom the effects setup, meaning that althoughthe block is still present in the routing, it doesnot affect the audio signal in any way.The settings of all blocks – even the bypassedones –are stored with every preset. Therefore,you can reactivate a bypassed block any timeand find that all settings are still intact.Consider this feature a modern equivalent toturning stomp-box pedals on and off.

Mix/Wet parameterWhen the Kill Dry parameter found in theLevels All menu is set to “On”, no clean signalis passed to the outputs, and the “Mix”parameter changes to “Wet” in all algorithms.

IntroductionA Noise Gate is generally used to attenuate thesignal when you don’t play your guitar. Thisway, you can avoid hearing the entire hiss, humand other noises that various components ofyour setup or external factors might introduce.Of course, a Noise Gate is not the solution toany noise problem. You should try to avoidnoise in the first place. Problems with noise canbe introduced by a number of different factors.Poor cables, poorly shielded single coil pickupsand power supplies placed close to signalcables are common problems that you canwork your way out of by experimenting.There will, however, always be a certainamount of noise in any guitar setup. The NoiseGate can help attenuating the noise when youare not playing. Be careful when setting theThreshold and Release Rate parameters.Setting the Threshold too high might keep theGate from opening when you play your guitarsoftly. Setting the Release time too slow mayaudibly cut the attacks of the notes you areplaying.Optimum settings will vary depending on thesignal present on the input of G-Major 2, so youwill most likely need different settings for Cleanand Overdrive sounds.

ModeSettings: Off/Hard/SoftGeneral overall mode that determines how fastthe Noise Gate should attenuate/dampen thesignal when it falls below the Threshold.

ThresholdRange: Off, -60 dB to 0 dBThe Threshold determines the point where theNoise Gate should start to dampen the signal.To set this parameter properly, you should turnup the volume using your guitar’s volumepotentiometer but not play. Then start turningup the Threshold value from -60 dB to the pointwhere desired dampening is actually achieved.This little experiment requires setting the MaxDamping parameter (see below) to a valuehigher than 0 dB, as 0 dB means: no damping.

Max. DampingRange: 0 dB to 90 dBThis parameter determines how hard the signalshould be attenuated when it falls below the setThreshold. Now you might think that a noisegate should always have a maximum effect

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NOISE GATE & EQFreq – FrequencyRange: 40.97 Hz to 20 kHz, OffDefines the operating frequency for the selectedEQ band.

GainRange: -12 dB to +12 dBGains or attenuates the selected frequencyarea.

WidthRange: 0.2 oct to 4 octDefines the size of the area around the basefrequency (which you have set with the Freqparameter) that the EQ will amplify or attenuate.

Example: Working with the EQ• Decide whether you need a little extra in the

treble, medium or bass frequency ranges andstart out working with only one area at a time.

• Boost or attenuate the selected frequencyarea using the Gain parameter for that band.

• Now that you have set the gain at e.g. +6 dB,try changing the frequency (with the Freqparameter) to check if you are really adjustingthe right frequencies.

Repeat the steps above for the other two bandsif required.

Extreme settings may cause internaloverloads, resulting in clicks. If you feel that you need to makeextreme settings to get the sound youwant, you might want to evaluate otherparts of the signal chain.

when triggered – but consider that there shouldbe a smooth transition between the“gated/attenuated” stage and the “open” stage.The more dBs must be released, the moreobvious the effect of the Noise Gate will be.Experiment with each of the sounds you use asthere is no general setting that will alwayssound right.

ReleaseRange: 3 dB/sec to 200 dB/secThe Release parameter determines how fastthe signal is released when the input signalrises above the Threshold point. As a rule ofthumb, this parameter should be set fairly high.Illustration

EQTo access the EQ parameters, double-click the GATE/EQ key and use theUP/DOWN keys to navigate to the EQparameters.

The EQ of G-Major 2 is a three-bandparametric equalizer. We have predefined threefrequency areas that we find excellent asstarting points for EQing a guitar setup, but youcan use the “Freq” parameter to specify exactlyat which frequencies you wish the EQ tooperate.The following parameters are available for eachof the three EQ bands (EQ1, EQ2 and EQ3).

EQ ActiveRange: On/OffActivate/deactivates the EQ. Please note thatthe EQ and Noise Gate share a commonbutton, but the LED of this button shows onlythe state (On/Off) for the Noise Gate. TheOn/Off state of the EQ is completelyindependent from the key’s LED – it iscontrolled ONLY by the EQ Active parameter.

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Wah WahWith this effect type, you can create the sameeffect as with a dedicated Wah pedal, whichyou can control manually. All you need to do isassign an expression pedal to control the WahWah’s Sweep parameter.When you select a Factory preset that employsthe Wah Wah effect, an expression pedalconnected to the PEDAL IN jack isautomatically assigned to control thisparameter.

Sweep (Freq)Range: 0 to 100 %With an expression pedal set up to control thisparameter, you have created a Wah pedal.

RangeSettings: Low/HighThis parameter determines which frequencyareas should primarily be emphasized.

MixRange: 0 to 100 %This parameter sets the relationship betweenthe level of the dry signal and the level of theeffect in this block.

OutLev – Out LevelRange: -100 to 0 dBThis parameter sets the overall output level forthis effect.

Touch WahThe Wah effect occurs when a relatively narrowfrequency area is boosted and swept through afrequency range. The sweep is controlled bythe input dynamics. This means: The harderyou hit the strings, the higher the boostedfrequency will be.

Sense – SensitivityRange: 0 to 10Adjust the sensitivity according to the levelpresent on the input. Be aware that changingany level parameter on devices prior to theTouch Wah effect will require a differentsensitivity setting to get the same Touch Wah“feel”.

Resp – ResponseSettings: Slow/Medium/FastThis parameter determines the speed of thesweep.

RangeSettings: Low/HighThis parameter determines whether the TouchWah is particularly sensitive to high or low inputfrequencies.



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Auto WahThe Wah effect occurs when a relatively narrowfrequency area is boosted and swept through afrequency range. The sweep is controlled by alow frequency oscillator (LFO).

SpeedRange: 0.050 Hz to 19.95 HzThis parameter sets the speed of the effect.

TempoRange: Ignore, 1 to 1/32T (T= Triplet & D=Dotted)When set to any value between 2 and 1/32T,the Global Tempo is subdivided according tothis setting. When set to “Ignore”, the speed setusing the Speed parameter is used instead.

ShapeSettings: Triangle/SineDefines the shape of the waveform used formodulating the signal.

RangeSettings: Low/HighDefines whether the Auto Wah is particularlysensitive to low or high input frequencies.



Resonance FilterThe Resonance filter is basically a high-cut filterwith adjustable Q-factor (Resonance).With increased Resonance values, the filterpeak at the cutoff frequency gets very narrowand steep. This phenomenon is the very core ofthe characteristic sound of resonance filters.

StyleSettings: 2nd / 4thThe Style parameter changes the steepness ofthe filters. 2nd order filters are 12 dB perOctave, while 4th order filters are 24 dB perOctave. 4th order filters will “ring” or resonatemore than 2nd order filters.

Hi-CutRange: 160 Hz to 14 kHzThis parameter determines the frequency abovewhich the high-cut filter will attenuate the high-end frequencies of the generated effect.

Resnce – ResonanceRange: 0 to 100 %Defines the amount of resonance on the high-cut filter.


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Touch Res Filter– Additional ParametersThe Touch Resonance filter creates an effectsimilar to a Touch Wah. The sweep through afrequency range is controlled via the dynamicsof the input signal.

Sense – SensitivityRange: 0 to 10The sensitivity should be set according to theInput level on the Filter block. The lower thesetting, the harder the effect section should behit to create the “whack” effect.

ResponseSettings: Slow/FastThis parameter sets the response time, i.e. howfast the “quack” should occur when you hit thestrings.

Fmax – Frequency MaxRange: 1 to 10 kHzThis parameter can limit range of the sweep.Most likely you will find a full range soundingtoo harsh and bright.You will probably find settings between 2 kHzand 4 kHz to give excellent results.

TremoloIntroductionA Tremolo is basically a change of the signallevel controlled by an LFO. G-Major 2 offersseveral variations of this effect; ranging fromsoft and smooth to hard and aggressive.

SpeedRange: 0.050 Hz to 20 HzThis parameter sets the speed of the effect.


The Tap Master parameter – located inthe Global menu – specifies whetherthe Global tempo or the tempo set bythe Speed parameter in each presetshould be used at preset change.

DepthRange: 0 to 100 %This parameter sets the intensity of the effect. A100 % setting means that the signal iscompletely muted between signal peaks.

TypeSettings: Soft/Hard (Sinus or Square)Two waveforms are available as modulationsources for the Tremolo effect. Setting thisparameter to “Hard” results in a steeper,recognizable effect. Listen and choose theappropriate option.

Sine

Square

PulseWidthRange: 0 to 100 %If you set this parameter e.g. to 20 % with theType parameter set to Hard, the signal will beheard in one channel for 20 % of the time andin the other one for 80 % of the time. With aType setting of Soft, a 50 % setting would yield

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PannerIntroductionThe Panner simply pans the signal between theleft and the right channel. Use this for extremestereo perspective effects.

SpeedRange: 0.050 to 20 HzDefines the speed of the effect.



WidthRange: 0 to 100 %When you set this parameter to 100 %, thesignal will sweep fully from the left to right. Youwill find, however, that for most applications, amore subtle setting gives better results, as itblends in more elegantly with the overall sound.


a full sine wave, whilst 0 % and 100 % wouldyield a crest-to-peak and peak-to crest curve,respectively.

Pulsewidth

Hi-CutRange: 20 Hz to 20 kHzThis parameter attenuates the high frequenciesof the Tremolo effect. Use the high-cut filter tocreate a less dominant Tremolo effect withoutchanging the effect’s Depth.


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IntroductionA compressor is used to reduce the dynamiccontent of a signal. How can this improve yourguitar’s appearance in the overall sound? Nowthere are situations where a compressor shouldnot be applied – and there are definitelysituations when it is the key to letting yourguitar stand out and appear rock solid. Hereare a few examples.Let’s say your aim is playing a steady cleanrhythm guitar figure at the same level all thetime. As we are all only human, this is virtuallyimpossible: You cannot avoid playing a fewstrokes too hard once in while. This will mostlikely result in the sound engineer backing off abit on the guitar channels in live situations toavoid harsh sounding peaks. At this “lower”overall level (that neither you nor the soundengineer intended in the first place), yourweakest strokes in the guitar rhythm figure willnow disappear completely. The best approachin this situation is using a compressor. Whenset correctly, it will reduce the highest peaks,giving you and the sound engineer a muchmore homogeneous guitar level to work with.You can also apply compression to a leadsound to “even out” level variations. Combine alow threshold setting (which allows thecompressor to operate constantly) with a highratio setting to achieve a very audiblecompression effect.However, if your personal style of playing, thegenre or a certain song requires a greatdynamic range, you might not want to applyany compression at all.When applied correctly, you will clearly benefitfrom this effect, but you might also ruin yoursound by overdoing it. This is true for manyeffects, but it is especially relevant for dynamicsprocessing.To find out what compression can do for you,try out G-Major 2 presets that employ theCompressor block both with lead and rhythmsounds. Experiment and adapt theCompressor’s settings to your needs andplaying style.

Illustration

ThresholdRange: -30 dB to 0 dBWhen the signal is above the set Thresholdpoint, the Compressor is activated and the gainof any signal above the Threshold point isprocessed according to the settings of theRatio, Attack and Release parameters.

RatioRange: Off to Infinite: 1The Ratio setting determines how hard thesignal is compressed (see illustration above).Example: With a Ratio setting of 2:1, an inputsignal at 4 dB above Threshold is reduced toonly 2 dB on the output side. The “Infinite”setting gives you a Limiter function.

AttackRange: 0 to 200 msThe Attack time is the response time of theCompressor. The shorter the Attack time, thesooner the Compressor will reach the specifiedRatio after the signal rises above the Thresholdpoint.

ReleaseRange: 0 to 200 msThe Release time is the time it takes for theCompressor to release the gain reduction of thesignal after the input signal drops below theThreshold point again.

GainRange: -6 to +6 dBUse this Gain parameter to compensate for thelevel changes caused by the appliedcompression.

COMPRESSOR

DetuneA Detune effect is similar to the classic Choruseffect: The source signal is split, and aspecified amount of the signal is detuned by acertain, customizable amount. The maindifference between the Detune effect and theChorus effect is that the Detune amount doesnot change. It is achieved simply by offsettingthe original signal’s pitch.The Detune algorithm in the Pitch blockgenerates two voices. If you think your sound issimply too direct and clean, try out a setting inwhich both voices are detuned just by a fewCents; e.g. +2 Cents on Voice 1 and -3 Centson Voice 2 (100 Cents = 1 semitone).A Delay can be applied to each voice, e.g. togenerate a “Slapback” effect.

Voice LRange: -100 to 100 CentsOffsets the first Voice in the Detune block.

Voice RRange: -100 to 100 CentsOffsets the second Voice in the Detune block.

Delay LRange: 0 to 50 msSpecifies the delay on the first Voice.

Delay RRange: 0 to 50 msSpecifies the delay on the second Voice.



WhammyThe Whammy effect gives you the opportunityto control the pitch of an added voice with anexternal MIDI expression pedal.

PitchRange: 0 to 100 %This parameter sets the mix between the dryand processed signal. If e.g. set to 100 %, nodirect guitar tone will be heard – only theprocessed “pitched” tone (this applies only forthe Serial and the Semi parallel mode).

DirectionSettings: Up/DownThis parameter determines whether theattached expression pedal should increase ordecrease Pitch when moved in either direction.

RangeRange: 1-Oct/2-OctSelects how far the Whammy block will pitchyour tone. Select “2-Oct” for the extreme and“1-Oct” for the more commonly used Whammyeffects.


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OctaverThe Octaver gives you an additional voice witha fixed pitch distance of either one or twooctaves above or below the Input note.

Dir – DirectionSettings: Up/DownThis parameter sets whether the added voiceshould be above or below the input note.

RangeSettings: 1 Octaves / 2 OctavesThis parameter sets the interval of the addedvoice. Use the Direct parameter to determinewhether the added voice should be above orbelow the pitch of the input signal.


OutLev – Out-levelRange: -100 to 0 dBThis parameter sets the overall output level forthis effect.

PITCH

Pitch ShifterWith the Pitch Shifter of G-Major 2, you canadd two voices, each with a fixed pitch within ±one octave from the input note. G-Major 2detects and processes signals so quickly thatyou will never notice any “searching” for thenotes (as with many older octaver units oroctaver stomp boxes). Try lowering the singleVoice to -1200 Cents (100 Cents = 1 semitone).With a Mix level of 100 %, you will be able toget at pretty good bass-simulation.

Voice 1Range: -2400 to 2400Specifies the Pitch of the first voice. As 100Cents equal 1 semitone, you can select anyinterval between two octaves below the inputsignal’s pitch to two octaves above it.

Voice 2Range: -2400 to 2400Specifies the Pitch of the second voice. As 100Cents equal 1 semitone, you can select anyinterval between one octave below the inputsignal’s pitch to one octave above it.

Pan 1Range: 50L to 50RPan parameter for the first voice.

Pan 2Range: 50L to 50RPan parameter for the second voice.

Dly 1Range: 0 to 350 msDefines the delay time for the first voice.

Dly 2Range: 0 to 350 msDefines the delay time for the second voice.

FB 1Range: 0 to 100 %This parameter determines how manyrepetitions there will be on the delay of the firstvoice.

FB 2Range: 0 to 100 %This parameter determines how manyrepetitions there will be on the delay of thesecond voice.

Level 1Range: -100 to 0 dBDefines the level for voice 1.

Level 2Range: -100 to 0 dBDefines the level for voice 2.


OutLev – Out-levelRange: -100 to 0 dBThis parameter sets the overall output level forthis effect.

PITCH

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Intelligent Pitch ShifterThe Intelligent Pitch Shifter is a 2-voice pitchshifter that allows you to play harmonies withina variety of scales in any key. The range of thevoices range from minus 13 scale steps belowto 13 scale steps above, which equals ± oneoctave plus a diatonic sixth.

KeyTo allow the intelligent pitch shifter to generatethe correct voices, you must specify which keyyou are playing in. Keys are listed as: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B.

ScaleWith the scale parameter, you set the type ofscale you intend to play. The Intelligent PitchShifter covers the following scale types:

Label Full name Scale stepsIonian Ionian 1,2,3,4,5,6,7Dorian Dorian 1,2,b3,4,5,6,b7Phrygi Phrygian 1,b2,b3,4,5,b6,b7Lydian Lydian 1,2,3,#4,5,6,7Mixoly Mixolydian 1,2,3,4,5,6,b7Aeolia Aeolian 1,2,b3,4,5,b6,b7Locria Locrian 1,b2,b3,4,b5,b6,b7PntMin Pentatonic minor 1,b3,4,5,b7PntMaj Pentatonic major 1,2,3,5,6Blues Blues 1,b3,4,b5,5,b7DimHlf Diminished half 1,b2,b3,3,b5,5,6,b7DimWhl Diminished whole 1,2,b3,4,b5,b6,6,7Whole Wholetone 1,2,3,#4,#5,b7MelMin Melodic minor 1,2,b3,4,5,6,7HrmMin Harmonic minor 1,2,b3,4,5,b6,7SupLoc Super Locrian 1,b2,b3,b4,b5,b6,b7Lyd b7 Lydian b7 1,2,3,#4,5,6,b7PhryMa Phrygian major 1,b2,3,4,5,b6,b7

Voice 1 / Voice 2Range: -13 to Unison to 13The Intelligent Pitch Shifter can add two voiceswithin the selected scale. It automaticallycalculates the correct interval according to theplayed note, selected scale type and key.

Level 1 / Level 2Range: -100 to 0 dBDefines the individual levels of the two voices.

Pan Position 1 / Pan Position 2Range: -50 to +50Controls the panning position of each of the twovoices. “0” represents the center position. Bypanning the voices, you can achieve a verywidespread sound.

Delay 1 / Delay 2Delay range: 0 to 50 msOne of the interesting aspects of a Pitch Shifteris that the pitched voices can sound as if one ortwo other guitarists were playing along withyou. But obviously, even two very goodmusicians would not play all notes at exactlythe same time. So to achieve a rich, naturalsound, you can slightly delay the harmonyvoices. Just 10 to 20 ms of delay will produce asmooth effect.



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ChorusTwo types of Chorus are available: the simpleClassic Chorus and the Advanced type thatincludes a couple of extra parameters.The basic idea of a chorus effect is to split thesignal and pitch modulate one of the signalsslightly, and then mix the two signals again.

Classic ChorusSpeedRange: 0.050 Hz to 20 HzThis parameter sets the speed of the effect.

DepthRange: 0 to 100 %The Depth parameter specifies the intensity ofthe effect. The value represents the amplitudeof the modulating waveform.

TempoRange: Ignore, 2 to 1/32T (T= Triplet & D=Dotted)When set to any value between 2 and 1/32T,the Global Tempo is subdivided according tothis setting. When set to “Ignore”, the speed setby the Speed parameter is used instead.


Hi-CutRange: 20 Hz to 20 kHzThis parameter reduces the high-endfrequencies in the Chorus effect. Try using thisparameter if you feel the Chorus effect is toodominant in your sound and turning down theMix or Out level doesn’t give you thedampening of the Chorus effect you are lookingfor.



Advanced ChorusIn additional to the parameters of the ClassicChorus, the Advanced Chorus offers thefollowing settings:

Cho Dl – Chorus DelayRange: 0 to 50 msAs described earlier, a Chorus/Flanger isbasically a delay being modulated by an LFO.This parameter allows you to change the lengthof that delay.A typical Chorus uses delay times around 10ms, while a Flanger uses delays around 5 ms.

Although this not how a chorus isnormally used, you may enjoy the“slap-back” resulting from longer Delaytimes such as 30 to 50 ms.

Gold – Golden RatioSettings: Off/OnTC research has shown that when the speed ofa modulation effect is increased, its depthshould be decreased accordingly to achieve thesame amount of perceived modulation. Whenthe Golden Ratio parameter is set to “On”, thisvalue is automatically calculated. Golden Ratiois a feature inherited from the classic TC 2290processor.

Phase ReverseSettings: Off/OnSetting this parameter to “On” reverses thephase of the processed signal in the rightchannel. This gives a very wide Flange effectsand a less defined sound.

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Tri-Chorus Norm/AsymThe Tri-Chorus is a variation of the regularChorus that uses three stereo chorus moduleswith various offsets for the Depth, Speed,Phase and Chorus Delay time parameters. Theresult is a unique, very broad and lush sound.Speed, Depth and Time parameters areidentical to those in the standard Chorus.

Normal & AsymmetricalNormal:The “Normal” variation produces a moretraditional Chorus sound, where the phases ofthe three Choruses are tilted by 90, 180 and270 degrees respectively.

Asymmetric:With the “Asymmetrical” variation, the phaseand depth parameters are tuned to produce awilder and “less controlled” Chorus effect.

SpeedRange: 0.050 Hz to 20 HzThis parameter sets the speed of the effect.




WidthRange: 0 % to 100 %The higher the range, the more spacious theeffect appears. In a stereo setup you will reallyhear the difference. From very narrow at 0 % tovery wide at 100 %.

Phase ReverseSettings: Off/OnSetting this parameter to “On” reverses thephase of the processed signal in the rightchannel. This gives a very wide-soundingChorus effect and a less defined sound.



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Flanger – IntroductionThe Flanger belongs to the same “family” ofmodulation effects as the Chorus effect. Thesignal is split, and one of the signals is pitchmodulated.The characteristic “flanging” sound occurswhen part of the signal is slightly delayed andfed back to the input of the effect algorithm.Experiment with the Feedback parameter to geta feeling for the achievable effects.

Classic FlangerSpeedRange: 0.050 Hz to 20 HzThis parameter sets the speed of the effect.




Hi-CutRange: 20 Hz to 20 kHzThis parameter reduces the high-endfrequencies in the Flanger effect. Try using thisparameter if you feel the Flanger effect is toodominant in your sound and turning down theMix or Out level does not dampen the Flangereffect as needed.

FeedB – FeedBackRange: -100 to 100This parameter controls the amount offeedback (Resonance) of the short modulateddelay that causes the Flanging effect. When theFeedback is set too high (approximately above90 % to 95 %), this might introduce internal

feedback, resulting in a squealing noise that inmost cases is unwanted in flanging effects. Beaware of this side-effect when experimenting athigh volumes. Negative values inverse thephase of the signal that is fed back to thealgorithm’s input.

FB Cut – Feedback hi-cutRange: 20 Hz to 20 kHzA parameter that can attenuate the high-endfrequencies of the resonance created with theFeedback parameter.



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Advanced FlangerIn addition to the parameters of the ClassicFlanger, the Advanced Flanger offers thefollowing settings:

Fla Dl – Flanger DelayRange: 0 to 50 msTypically, Delay values around 5 ms are usedfor Flanging effects, whereas Chorus effectsoccur with Delay times around 10 ms. You arefree, however, to choose Delay times from 0 to50 ms.

Gold – Golden RatioSettings: Off/OnTC research has shown that when the speed ofa modulation effect is increased, its depthshould be decreased accordingly to achieve thesame amount of perceived modulation. Whenthe Golden Ratio parameter is set to “On”, thisvalue is automatically calculated. Golden Ratiois a feature inherited from the classic TC 2290processor.

PhaRev – Phase ReverseSettings: Off/OnSetting this parameter to “On” reverses thephase of the processed signal in the rightchannel. This gives a very wide Flange effectand a less defined sound.

Through Zero Flanger –Negative/PositiveThe TZF Mode Flanger emulates the originalway of creating a flange effect where twoidentical pieces of audio material were playedback simultaneously on two tape decks andthen mixed on a third deck. The flanging effectwas achieved by slowing down and speedingup the two decks at different times. An essentialpart of the special effect created this way is theunique phase cancellation occurring when thetwo signals pass each other in time (the zeropoint). A conventional Flanger pedal/algorithmtries to emulate this effect, but because the twosignals will never cross each other in time, untilnow, phase cancellation wasn’t possible.

Parameters: For a TZF Flanger to be truly"through-zero" the mix -setting must be50/50%. Therefore the TZF Flanger has all thesame parameters as the Classic Flanger but noadjustable Mix.

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VibratoA Vibrato effect modulates the pitch of theincoming signal.The result is similar to the vibrato techniqueused by vocalists. As opposed to a choruseffect, no direct signal is combined with thispitch-modulated signal.

SpeedRange: 0.050 Hz to 19.95 HzThe speed of the Vibrato, also known as Rate.

The speed of this effect is definedeither by this parameter or by theTempo parameter, which sets the speedaccording to the globally tapped tempo.This Speed parameter is onlyactive/valid if the Tempo parameter isset to “Ignore”.

DepthRange: 0 to 100 %The amount of Pitch modulation applied.

TempoRange: 1/32T to 1 Bar or IgnoredThe Tempo parameter sets the relationship tothe global Tempo.

When set to any value between 1 and1/32T, the Global Tempo is subdividedaccording to this setting. When set to“Ignored”, the speed set using theSpeed parameter is used instead.

Hi CutRange: 19.95 Hz to 20 kHzThis parameter determines the frequencyabove which the High-cut filter will attenuatethe high-end frequencies of the generatedeffect. High-cut filters can be used to give aless dominant effect even at high mix levels.


Speed

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Vintage Phaser & Smooth PhaserThese are two effective types of Phaser thatsound just great. The Vintage Phaser will giveyou a phasing effect similar to the one found inold stomp boxes. The Smooth Phaser is a bitmore subtle – excellent for a less dominanteffect. The Vintage Phaser utilizes four All-passfilters. These filters create a comb-lookingcharacteristic. When the filtered sound is mixedwith the direct sound, the “phasing sound”occurs.The Smooth Phaser utilizes twelve All-passfilters. Due to the higher number of filters in theSmooth Phaser (compared to the VintagePhaser), the Smooth Phaser creates a moresubtle, smooth effect than the Vintage type.

SpeedRange: 0.050 Hz to 19.95 HzControls the speed of the Phaser.

DepthRange: 0 to 100 %Controls the depth (intensity) of the Phasereffect.

TempoRange: 1/32T to 1 Bar or IgnoredThe Tempo parameter sets the relationship tothe global Tempo.

When set to any value between 1 and1/32T, the Global Tempo is subdividedaccording to this setting. When set to“Ignored”, the speed set using theSpeed parameter is used instead.

FeedbackRange: -100 to 100Controls the amount of feedback in the Phaser.Setting this parameter to “-100” reverses thephase of the signal that is fed back to thealgorithm’s input.

RangeRange: Low to HighThis parameter determines whether the phasingeffect should be mainly on the high-end or low-end frequencies.

Phase ReverseSettings: On/OffWhen set to “On”, this parameter introduces asmall delay in one of the waveform startingpoints, resulting in an LFO phase change.Having an offset between the modulatingwaveforms in the left and right channels willcreate a more dramatic, widespread phasingeffect. You should definitely try this!



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Vintage Univibe The Vintage Univibe is an emulation of theclassic rotary speaker effect. The effects thatcan be achieved with it range from a “phasey”,thick chorus to lush vibrato. By switchingbetween the two Speed settings, you willachieve a noticeable speed change similar tothe effect you hear when the rotary speaker ina Leslie is turned on and off. As you willdiscover though, Univibe is not a Leslie, butrather has a character of its own.

Speed 1 & Speed 2Range: 150 Hz to 10 kHzTwo speed settings can be set. By assigning anexternal controller to switch between the twospeeds, you can “shift gears”. The greater thedifference between the two settings, the morenoticeable the speed change will be.

DepthRange: 0 to 100 %Defines the intensity of the pitch modulation.

Tempo 1 & Tempo 2Range: Ignored, 1 to 1/32T (T= Triplet & D= Dotted)When set to any value between 1 and 1/32T,the Global Tempo is subdivided according tothis setting. When set to “Ignored”, the speedset using the Speed parameter is used instead.


AttackRange: 0.05 to 5 secThe attack parameter defines the time it takesfor the effect to go from slow to fast. Beware that the parameters; Speed 1 andSpeed 2, have the same range and it is up toyou whether Speed 1 or Speed 2 is theslowest/fastest.

ReleaseRange: 0.05 to 5 secOpposite to the Attack parameter, Releasedefines the time that the effect takes to switchfrom the faster Speed setting to the slower one.

SelectSettings: Speed 1 / Speed 2Use this parameter to specify whether Speed 1or Speed 2 is the default setting for the effect. Ifyou assign a Modifier to this parameter, you canswitch between the two speeds e.g. by using aMIDI pedal to send a MIDI CC message.

BpModeSettings: Direct/DelayedThis parameter defines how the effect behaveswhen the effect is bypassed and when switchingbetween Speed 1 and Speed 2 within the samepreset. When "Direct" is selected, Univibe isswitched off immediately. When "Delayed" isselected, you will hear that the speed slowsdown gradually according to the setting of the"Release" parameter.

PhaseReverseSettings: Off/OnBy turning the phase 180°, you will get a veryintense effect. Just try it!



Modern UnivibeAlthough it is equipped with the sameparameters as the Classic Univibe, the Modernvariation sounds quite different – slightly less“swirley”, more radical and with more phasing.

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DELAYThe Feedback High-Cut parameter attenuatesthe frequencies over the set frequency,resulting in a more “analog” sound that in manycases that will blend in better with the overallsound.

Fblcut – Feedback LoCutRange: 20 Hz to 20 kHzUse this parameter to attenuate the frequenciesbelow a given frequency.As with the Feedback High-Cut parameter, thedelays may blend in more nicely with theoverall sound if you “thin out” the effect at thelow end.



Ping PongThe Ping Pong delay causes the delay toalternate between the left and right channels,resulting in a very nice stereo feel. Use theWidth parameter to determine how “stereo” youwant this effect to be.In addition to the “common” parametersdescribed in the introduction of the delaysection, this delay has the followingparameters:

WidthRange: 0 to 100 %The Width parameter determines how far theleft and right repetitions should spread from thecenter.

Common Parameters – DelayThe following parameters are identical for allDelay types. Parameters specific to certaindelays are described in the relevant sections.

DelayRange: 0 to 1800 msThis parameter sets the time between thedelay repeats. This is also known as the“length” of the delay.

TempoRange: Ignored, 1 to 1/32T (T= Triplet & D= Dotted)When set to any value between 2 and 1/32T,the Global Tempo is subdivided according tothis setting. When set to “Ignored”, the speedset using the Speed parameter is used instead.


Fb – FeedbackRange: 0 to 120 %This parameter sets the amount of feedbackfrom the output of the effect back to its input.Use the Feedback parameter to set how manyrepeats of the signal you would like to have.

Please use high settings with extremecaution. Due to the Spillover feature,there is no way to immediately cut offthe delay when you get an internalfeedback at settings above 100 %. Ifyou do get internal feedback, eitherswitch to a different Delay Type or to adifferent preset that uses the Delay,two times in succession.

Fbhcut – Feedback High-CutRange: 20 Hz to 20 kHzWith digital technology, every delay can be aprecise reproduction of the input signal. Butespecially with long Delay times, this is notalways desirable, as these pristine delays maydisturb the original signal, resulting in a“washed-out” sound. To compensate for this,use the high-cut filter, thereby emulating analogor tape style delay units.

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Dynamic DelayThe Dynamic Delay is a feature that wasinitially introduced in the well-recognized TC2290. It allows the dynamics of the Input levelto actively alter the Delay Output level, whichleaves the source signal clear and undisturbedwhile you play. The Dynamic Delay delicatelycomplements your performance.Use the Sense parameter to determine whenthe delays should “re-surface”. Use the Offsetparameter to widen the stereo image.In addition to the “common” parametersdescribed in the introduction of the delaysection, this delay has the followingparameters:

OffsetRange: 0 to 200This parameter offsets the Delay repeats in theright channel only. For a “wide” stereo effect,the delay in the two channels should not occurat exactly the same time. For a “wide” effect, afew milliseconds should do the trick. Usingmore than that will give you anything from agenerous slap-back effect on the repeats tomore extreme effects.

Sense – SensitivityRange: -50 to 0 dBThe sensitivity parameter determines how soonthe delay repeats should become audible inrelation to the Input signal level. This parameteracts a threshold between your guitar signal andthe delay repeats.

DampRange: 0 to 100 dBAs explained in the introduction, the DynamicDelay attenuates the delay repeats level basedon the current level of the input signal. TheDamp parameter sets the amount ofattenuation.

Rel – ReleaseRange: 20 to 1000 msThis parameter determines how fast theattenuation of the delay repeats is released.

Dual DelayThis true Dual Delay lets you set twoindependent delay taps, each with its ownTempo parameter, High and Low cut filter, aswell as a “Pan” knob.

In addition to the “common” parametersdescribed in the introduction of the delaysection, this delay has the followingparameters:

Pan1 & Pan2Range: 50L to 50RDefines the panning position of the delayrepeats for delay lines 1 and 2.

ReverseThe Reverse delay is a great effect when amore mysterious, exotic delay style is required.Use the Feedback High-Cut parameter to softenthe delay.

All common parametersPlease refer to the section “Delay –Introduction” for a description of this Delay’sparameters.The range of the Delay time for this delay typeis 50 ms to 800 ms.

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Reverb TypesG-Major 2 features four different Reverbclassics. All types have the same editableparameters, but the reverbs’ characteristicsvary.

SpringThe Spring algorithm is designed to reproducethe sound of old spring reverbs, such as theones used in vintage guitar amps.

HallThe Hall algorithm simulates a rather large halland preserves the natural characteristics of thesource material. Excellent when you strive for adiscrete Reverb with medium to long Decaytimes.

RoomThe Living Room type simulates a relativelysmall, well furnished room. In such a room,many reflections are absorbed by softmaterials, and the source signal is reflectedand sustained mainly from the walls.

PlateBefore the digital era, either reverberatingsprings or large metallic plates were used tocreate reverb effects. Plate reverbs sounddiffuse and bright. They can be used to makethe processed signal “stand out”, rather thanblend naturally.These brief introductions should only give you ahint in terms of choosing the right one for agiven application. Take some time to listen tothe different types, experiment and don’t beafraid to be innovative!

Common Reverb ParametersDecayRange: 0.1 to 20 secondsThe Decay parameter determines the length ofthe Reverb’s so-called diffuse field. The lengthis defined as the time it takes for the diffusefield to decay approximately by 60 dB.

PreDly – Pre DelayRange: 0 to 100 msThis parameter defines a short Delay placedbetween the direct signal and the Reverb’sdiffuse field. Use Pre Delay to keep the sourcematerial clear and undisturbed from thescattered diffuse field of the Reverb arrivingshortly after.

ShapeSettings: Round/Square/CurvedThe shape of the simulated room is of greatimportance to the reverb characteristics. Try thevarious shapes.

SizeSettings: Small/Medium/LargeThough the Decay time can be set between 0.1and 20 seconds on all reverb types, selecting apredefined (room) size may get you closer tothe sound you desire. To achieve a naturalsounding emulation of a big room with longdecay, select “Large”. Accordingly, use the“Medium” and “Small” settings for simulations ofsmaller rooms.Again: Building the perfect guitar sound is notalways about doing the most obvious. You mayfind cool settings by swimming against thestream…

Hi ColorSettings:Wool/Warm/Real/Clear/Bright/Crisp/Glass

Lo ColorSettings:Thick/Round/Real/Light/Tight/Thin/NoBassThese parameters give you six variations of thereverb’s low and high frequency ranges.The two Color parameters can really changethe characteristics and style of the reverb –from “dark” and “ambient” to “crisp” and“bright”.

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HiFact & LoFact – (High Factor/Low Factor)Range: -25 to 25Use these parameters to emphasize orattenuate the selected Hi and Lo Color types.

RoomLv – Room Level Range: -100 to 0 dBThis parameter sets the level of the reverb’sinitial reflections (early reflections). Thesereflections define the actual sound of the effect.

RevLev – Reverb LevelRange: -100 to 0 dBThis parameter sets the level of the reverb’sdiffuse field.

Diff – DiffuseRange: -25 to 25With this parameter, you can fine-tune thedensity of the reverb’s diffuse field. It is setautomatically when you select a Decay timeand allows you to reduce flutter in the diffusefield to an absolute minimum.


OutLev – Output LevelRange: -100 to 0 dBThis parameter sets the overall output level forthis effect Block.

REVERB

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MIDI IMPLEMENTATION CHARTGuitar Effects Processor G-Major 2 – February 2009

Function Transmitted Recognized RemarksBasic Channel Default 1 1

Changed 1 to 16 1 to 16Mode Default

Messages X XAltered

Note Number X XTrue Voice X X

Velocity Note ON X XNote OFF X X

After Touch Keys X XCh’s X X

Pitch Bend X XControl Change 0 to 127 0 to 127

Prog Change O O

System Excl. O OCommon Song Pos X X

Song Sel X XTune X X

System real time Clock X OCommands X X

Aux Messages Local ON/OFF X XAll Notes OFF X XActive Sense X XReset X X

O:YES Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONOX:NO Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO

TECHNICAL SPECIFICATIONS

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Analog inputsConnectors:Impedance, Bal./Unbal.:Max. Input Level:Min. Input Level for 0 dBFS:Sensitivity:A to D Conversion:A to D Delay:Dynamic Range:THD:Frequency Response:Crosstalk:

Analog outputsConnectors:Impedance Balanced /Unbalanced:Max. Output Level:Output Ranges:D to A Conversion:D to A Delay:Dynamic Range:THD:

Frequency Response:Crosstalk:

EMCComplies with:Certified to:

EnvironmentOperating Temperature:Storage Temperature:Humidity:

Control interfaceMIDI:Pedal:Relay closure (separate tipand ring connection tosleeve):

GeneralFinish:

Display:Dimensions:Weight:Mains Voltage:Power Consumption:Warranty (Parts and Labor):

¼" phone jack, balanced21 kOhm / 13 kOhm+24 dBu0 dBu@ 12 dB headroom: -12 dBu to +12 dBu24 Bit, 128 x oversampling bitstream0.70ms @ 48 kHz100 dB typ., 20 Hz to 20 kHztyp. < 92 dB (0,0025 %) @ 1 kHz+0/-0.1 dB @ 48 kHz, 20 Hz to 20 kHz<-95 dB, 20 Hz to 20 kHz

¼" phone jack, balanced40 Ohm+20 dBu (balanced)Balanced: 20/14/8/2 dBuUnbalanced: 14/8/2 dBu24 Bit, 128 x oversampling bitstream0.68 ms @ 48 kHz104 dB typ., 20 Hz to 20 kHztyp. <-94 dB (0.002 %) @ 1 kHz,+20 dBu output+0/-0.5 dB @ 48 kHz, 20 Hz to 20 kHz<-100 dB, 20 Hz to 20 kHz

EN 55103-1 and EN 55103-2FCC part 15, Class B, CISPR 22, Class BIEC 65, EN 60065, UL6500 and CSA E65

32° F to 122° F (0° C to 50° C)-22° F to 167° F (-30° C to 70° C)Max. 90 % non-condensing

In/Out/Thru: 5 Pin DIN¼" phone jack

¼" phone jack

Anodized aluminum frontPlated and painted steel chassis23 character / 280 icon STN-LCD display19" x 1.75" x 8.2" (483 x 44 x 195 mm)4.1 lb. (1.85 kg)100 to 240 VAC, 50 to 60 Hz (auto-select)<15 W1 year

Due continuous development these specifications are subjectto change without notice.

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FREQUENTLY ASKED QUESTIONSThis section answers some of the mostfrequently asked questions regarding G-Major 2. If you need additional informationand support, be sure to visit TC SupportInteractive – this service can also beaccessed via www.tcelectronic.com.

Which MIDI foot controller is the mostsuitable for G-Major 2?There are many foot controllers that work finewith G-Major 2. However, to fully utilize themany features of G-Major 2, you should look fora controller capable of sending both MIDIProgram change messages and MIDI ControlChange messages (CC) with values alternatingbetween 0 and 127.Control changes are used for bypassing effects,tapping tempo etc. Program changes are usedfor recalling/loading presets.

How do I adjust the input level on G-Major 2effectively?Play with a high level clean sound. Though,generally speaking, distorted sounds may seemlouder than clean sounds, the highest dynamicrange is typically found in clean sounds. Theinput meter should show -3 dB at peaks and -12 dB to -6 dB in average.If you cannot get the desired input level rangeby adjusting the output level of your preamp (orother device placed just before G-Major 2 in thesignal path) or by adjusting the input level onthe front panel of G-Major 2, you shouldchange the Input Range parameter of G-Major2. You will find this parameter in the I/O menu.

How do I set up a G-Major 2 with a MIDI-controllable preamp?G-Major 2 is easily set up for usage with a MIDIpreamp.• Connect the MIDI OUT jack of your MIDI

board to the MIDI IN jack on your preamp.• Connect the MIDI THRU/OUT jack on your

preamp to the MIDI IN jack on G-Major 2.G-Major 2 has a MIDI mapping function thatallows you to use incoming program changes torecall any preset. See page 18 for moreinformation.

How do I reset G-Major 2?• Power off G-Major 2 on the front panel.• Press and hold the RECALL key and power

G-Major 2 on again.

• A menu is shown. Select either “Reset SysParam” to reset all system parameters whilekeeping your programmed User presets or“Clear all Presets” to clear the User bank.The Factory preset cannot be changed ordeleted.

How do I switch the channels on my analogpreamp?Contact the amplifier’s manufacturer and askfor the schematics for your preamp. Page 19 ofthis manual explains how the relays of G-Major2 operate.

Why did I lose the current preset when Ipowered off G-Major 2?If you power off G-Major 2 using the rear panelmains switch while a preset is being edited,changes to that specific preset will be lost. Youwill not lose your edits if you switch off G-Major2 using the front panel POWER key.However, as a rule of thumb, it is always agood idea to save an edited preset beforepowering off G-Major 2, because you mightsimply forget to do so when you return to yoursetup later.

How can I update the software (firmware) inmy G-Major 2?From time to time, new system software willbecome available for G-Major 2. To upload thissoftware to G-Major 2, you will need a PC orMac computer with a standard MIDI interfaceinstalled. The software can be downloaded fromwww.tcelectronic.com/G-major2. Follow theinstructions provided with the uploadapplication.

I could not update the software of G-Major 2– what should I do?Depending on the MIDI interface you are using,the software update procedure may be abortedby a “download error”. Retry once or twice, andthe software should update correctly.

How can I use G-Major 2 in a combo’s effectloop?Many combo amplifiers have an effect loop.However, there are no standards for theseloops. At times, it can be hard to even find out ifit is a serial or a parallel loop.A serial loop interrupts the signal path betweenthe preamp and the power amp – just as if theywere two physically separate units. This means

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FREQUENTLY ASKED QUESTIONSthe entire signal from the preamp travelsthrough the external processor (in this case, G-Major 2) and re-enters the power stage. It isbasically a one-way/one-lane road for yoursignal.

Parallel loops offer two paths from the preampto the power amp. The first path is a directconnection from the preamp to the power amp– connecting them as if the amp had no loop atall. The second path sends the preamp signalto the effect processor (via the loop) and thenroutes it back to the power amp, mixing it withthe direct (dry) signal. Most amps that offer aparallel effects loop have a “mix” knob, allowingyou to control how much of the effect you wantmixed in with the dry signal.In a parallel loop setup, no direct signal shouldpass through G-Major 2. Therefore, use the KillDry parameter in the Levels All menu of G-Major 2 to suppress the direct signal andcontrol the effect amount using the outputparameter in each effect block.

Serial or parallel – what’s better?G-Major 2 will give you optimal performancewhen used in a serial loop. With a serial loop,you will get the best especially out of level-changing effects such as Tremolo andCompression, but also from the Chorus andEQ. And you don’t need to worry about signalquality: As previously mentioned in this manual,the high quality AD/DA converters used in G-Major 2 ensure the sound quality will not bedegraded.The parallel loop is preferable when usingeffects that don’t have any kind of mix functionand/or vintage effects that sometimes sufferfrom bad signal-to-noise-ratios. Lately it seemsvintage effects and stomp boxes areexperiencing a kind of renaissance, which mayexplain the interest in parallel loop setups.However, as mentioned above, a parallel loopdoes not work well when you are using effectsthat change the volume of the signal (such astremolo, compression, or noise gates).Sometimes, mixing the wet and dry signals onthese loops can cause an “out of phasesituation” due to the delay caused by AD/DAconversion (which is less than 1 ms with G-Major 2).

Theoretically, if you turn the mix to 100 % on aparallel effect loop, it should operate exactly asa serial loop – however, this is not the case withall amplifiers on the market.To sum it up: G-Major 2 will work with bothserial and parallel loops, but for the reasonsmentioned above, we recommend using G-Major 2 in a true serial loop/setup if technicallypossible.To find out what type of loop your current ampis equipped with, please contact themanufacturer of your amp.

About this manualWe reserve the rights to change the contents ofthis manual at any time. The latest manualrevision can always be downloaded fromwww.tcelectronic.com in several languages. Ifyou need additional information and support, besure to visit TC Support Interactive – thisservice can also be accessed viawww.tcelectronic.com.

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