g major 2 manual

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Make some basic settings, and you can use this setup just like a bunch of regular stomp boxes where you simply turn effects on and off as required. Channel Switching If you want to switch amp channels via MIDI, you will normally need to purchase a separate MIDI switching system.Many algorithm parameters can be assigned to external MIDI controllers or an expression pedal. The possibilities here are endless. The meter range is: 0, -3, - 6, -12, -18, -24, -40 dB. When these LEDs light up, reduce the input level slightly. When the played note is in tune, both arrows will be lit. The Matrix illustrates the structure of the currently used routing. By pressing a key twice in short succession When the LED of a key is lit, this particular effect block is active. This is where you set up external control of parameters. Press and hold for approximately one second to mute outputs, e.g. for silent tuning. Turn the ADJUST wheel to select a preset. Then press the Use the ADJUST wheel to select the character you want to change. When you have set the name, press the ADJUST wheel twice to finish the storage procedure. However, most guitar equipment is NOT balanced, and you will generally have no problems when using standard mono-to- mono cables as illustrated below. On the following pages, we present some of the most commonly used setups. We recommend using serial setups, where the entire signal passes through G-Major 2. This will give you the maximum benefit from all effect algorithms. This is not required for MIDIcontrollable preamps. This is not required for MIDIcontrollable preamps. This introduces more noise than when using the Loop Return connection, but has become a popular setup with amplifiers like Vox AC 30, Fender Bassman etc. This is not required for MIDI-controllable preamps. Likewise, the preamp shown in the illustration could easily be the preamp section of a combo amplifier.

Temps Decompte. TM. unique launch services operator relying on the European and Russian space industry. Spacecraft 2. Interface. Manager. Operations. C. S. G. Arianespace. The Scion tC and subsequent Toyota Zelas, is a sport compact coupe manufactured by Toyota. The team accomplished the impossible, doing a full motor-swap in 2 hours, and putting the car. Vetta II HD is no longer made. De Havilland Gipsy Major 10 Aircraft Maintenance and Overhaul Manual.North American Aviation T-6 G LT-6G Aircraft Maintenance Manual 1T-6G-2 - 1950. Reload to refresh your session. Reload to refresh your session. Please check your inbox, and if you can’t find it, check your spam folder to make sure it didn't end up there. Please also check your spam folder. Install in accordance with the manufacturer’s instructions. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. See table below: However, there is no guarantee that interference will not occur in a particular installation.Cet appareil numerique de la classe B est conforme a la norme NMB- Part 1: Emission. Part 2: Immunity. In this case you might be wondering whether you now have days of work ahead of you until G-Major 2 finally behaves as expected and adds to your creativity. But there’s really no need to panic! To do so, simply connect a MIDI pedal capable of sending MIDI Control Change messages to G-Major 2.

In short: Parameter values can be controlled using an external controller, such as a MIDI expression pedal. If you have set up this external controller to control e.g. the Preset Out level, you must decide how you would like G-Major 2 to respond to the position of the expression pedal when you are recalling another preset. Page 18 View Angle Adjusts the LCD display backlight for better viewing comfort. The default setting is “Pro”, which will match most preamps. Output Range Settings: 2 dBu, 8 dBu, 14 dBu, 20 dBu Defines the maximum gain range of the analog output stage. Page 20 Introduction After you have experimented with G-Major 2 for a while and maybe programmed a few presets, you are probably anxious to start controlling the unit from your MIDI board and expression pedals. If you are new to the “world of 19 inch wonders”, this section may startle you at first. But once you get a grip of the basics, you will see how easy it is to gain full control of G-Major 2 and appreciate these possibilities. Therefore, G-Major 2 allows you to set dedicated response curves for each of the level-related parameters in the MOD menu. These response curves are set by entering minimum, medium and maximum values. Page 22 External control using Modifiers Example: MOD MENU ENGLISH There are two steps required for assigning an external controller to a specific parameter. Step 1: Assigning Modifiers to External Controls This step is described on the previous page. Page 23 THE TUNER The Tuner is always on. It is displayed in the LC display. Tuner Mode Defines the mode of the Tuner. Choose between two modes: Fine Tune This mode offers maximum accuracy. Use this mode when fine-tuning your guitar. Coarse This is a slightly less accurate mode, allowing for fast results in a live situation. Page 24 Preset Out Level Range: Off (-100 dB) to 0 dB. Defines the output level of the current preset. With this parameter you can set individual levels for each preset.

Maybe you want a different level for rhythm and lead presets. The Preset Out level is stored as part of each preset. Please note that all Factory presets are set to -6 dB, leaving headroom for boosting a preset when it is required. An example on how to setup a solo level is given in the “How To” section of this manual. Page 26 to amp. Experiment and note down the settings that apply to your particular amp. Page 27 ROUTINGS Routing menu You can route the effect blocks of G-Major 2 in four different ways: Serial, Serial 2, Semi Parallel and Parallel. Routing effects is similar to the way you would connect your stomp boxes on a regular pedal board. The selected routing can be stored as a part of each preset. However, you can also choose to keep your favorite routing when switching presets by utilizing the Routing Lock function. Page 28 How to bypass an Effect Block in a Preset Simply press the key corresponding to the effect block you wish to (temporarily) disable. The effect block is then bypassed, but its settings are not deleted. The preset can now be stored by pressing STORE once, followed by pressing ENTER twice for confirmation. You can re-activate a block at any time simply by pressing its key. This will restore the previous setting. G-Major 2 will now use the incoming MIDI clock tempo as its Global Tempo. The more dBs must be released, the more obvious the effect of the Noise Gate will be. Experiment with each of the sounds you use as there is no general setting that will always sound right. Page 32 Wah Wah Touch Wah Sweep (Freq) Range: 0 to 100 % With an expression pedal set up to control this parameter, you have created a Wah pedal. Be aware that changing any level parameter on devices prior to the Touch Wah effect will require a different sensitivity setting to get the same Touch Wah “feel”. Page 33 FILTER Auto Wah The Wah effect occurs when a relatively narrow frequency area is boosted and swept through a frequency range.

Connect the output of the The Matrix indicates which Reduce either the output When you scroll through G-Major 2’s presets Factory presets can be edited and stored in any User location. You cannot store presets to the A blinking preset number indicates that you have not actually recalled the preset yet. If the preset you are about to store is a User preset, G-Major 2 suggests the current location of the preset. You can, however, Select the location to store the preset to by using the ADJUST wheel. Select the location to store the preset to and press ENTER once. Use the ADJUST wheel to select the character at the current cursor position. These parameters must be set correctly to ensure you get the most out of G-Major 2! The signal is split: The other part of the signal is processed within G-Major 2 and summed with the unprocessed signal. Therefore, you will not get to enjoy the benefits from all effects when running a parallel setup.Alternating pedal types “stay connected” when pressed and must be pressed again to be deactivated.This is how you calibrate G-Major 2: In short: Parameter values can be controlled using an external controller, such as a MIDI expression pedal. If you have set up this external controller to control e.g. the Preset Out level, you must decide how you would like G-Major 2 to respond to the position of the expression pedal when you are recalling another preset. This is the purpose of the MOD Master parameter. Setting this option correctly depends very much on what parameter your G-Major will then respond to this position and ignore the Modifier value for the relevant parameter. This could result in considerable level jumps. The standard setting is 440 Hz. Select between. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

Do not install near heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. These limits are designed to provide reasonable protection against harmful interference in residential installations. Maybe you have never used a multi-effects processor with your guitar rig before. In this case you might be wondering whether you now have days of work ahead of you until G-Major 2 finally behaves 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 will be set to go within minutes. By pressing a key twice in short succession (“double-clicking”), you enter the Edit menu for the effect. Page 9 REAR PANEL Switch Out Relay Jack Balanced Jack Analog inputs Balanced Jack Analog outputs Balanced vs. However, most guitar equipment is NOT balanced, and you will generally have no problems when using standard mono-tomono cables as illustrated below. Page 10 ENGLISH SIGNAL FLOW DIAGRAM 9 Page 11 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 of the most commonly used setups. The meter range is: 0, -3, -6, -12, 18, -24, -40 dB. When you scroll through G-Major 2’s presets (called “previewing”) by using the ADJUST wheel, the digits will blink until you recall a preset by pressing the RECALL key. Edited When the “Edited” indicator is lit, the currently recalled preset has been edited, but not yet stored. Page 15 PRESET HANDLING store the preset at any of the 100 User locations. If the preset you are about to store is a Factory preset, G-Major 2 will suggest the first available User preset location, but you can select any of the 100 User preset locations using the ADJUST wheel. If, however, you intend to use G-Major 2 in a parallel setup or in a parallel loop, its Kill Dry function will come in handy.

The sweep is controlled by a low frequency oscillator (LFO). Speed Range: 0.050 Hz to 19.95 Hz This parameter sets the speed of the effect. When set to “Ignore”, the speed set using the Speed parameter is used instead. The sweep through a frequency range is controlled via the dynamics of the input signal. The lower the setting, the harder the effect section should be hit to create the “whack” effect. Pulsewidth Hi-Cut Range: 20 Hz to 20 kHz This parameter attenuates the high frequencies of the Tremolo effect. Use the high-cut filter to create a less dominant Tremolo effect without changing the effect’s Depth. Page 36 Illustration ENGLISH Introduction A compressor is used to reduce the dynamic content of a signal. How can this improve your guitar’s appearance in the overall sound. Here are a few examples. Let’s say your aim is playing a steady clean rhythm guitar figure at the same level all the time. Page 37 PITCH Detune A Detune effect is similar to the classic Chorus effect: The source signal is split, and a specified amount of the signal is detuned by a certain, customizable amount. The main difference between the Detune effect and the Chorus effect is that the Detune amount does not change. It is achieved simply by offsetting the original signal’s pitch. The Detune algorithm in the Pitch block generates two voices. Page 38 Octaver PITCH ENGLISH The Octaver gives you an additional voice with a fixed pitch distance of either one or two octaves above or below the Input note. Use the Direct parameter to determine whether the added voice should be above or below the pitch of the input signal. G-Major 2 detects and processes signals so quickly that you will never notice any “searching” for the notes (as with many older octaver units or octaver stomp boxes). With a Mix level of 100 %, you will be able to get at pretty good bass-simulation.

Page 40 The Intelligent Pitch Shifter is a 2-voice pitch shifter that allows you to play harmonies within a variety of scales in any key. Key To allow the intelligent pitch shifter to generate the correct voices, you must specify which key you are playing in. This parameter allows you to change the length of that delay. A typical Chorus uses delay times around 10 ms, while a Flanger uses delays around 5 ms. Two types of Chorus are available: the simple Classic Chorus and the Advanced type that includes a couple of extra parameters. Page 42 The Tri-Chorus is a variation of the regular Chorus that uses three stereo chorus modules with various offsets for the Depth, Speed, Phase and Chorus Delay time parameters. The result is a unique, very broad and lush sound. Speed, Depth and Time parameters are identical to those in the standard Chorus. The signal is split, and one of the signals is pitch modulated. The characteristic “flanging” sound occurs when part of the signal is slightly delayed and fed back to the input of the effect algorithm. Experiment with the Feedback parameter to get a feeling for the achievable effects. Classic Flanger Speed Range: 0.050 Hz to 20 Hz This parameter sets the speed of the effect. The result is similar to the vibrato technique used by vocalists. As opposed to a chorus effect, no direct signal is combined with this pitch-modulated signal. Speed Depth Speed Range: 0.050 Hz to 19.95 Hz The speed of the Vibrato, also known as Rate. The speed of this effect is defined either by this parameter or by the Tempo parameter, which sets the speed according to the globally tapped tempo. Page 46 These are two effective types of Phaser that sound just great. The Vintage Phaser will give you a phasing effect similar to the one found in old stomp boxes. The Vintage Phaser utilizes four All-pass filters. These filters create a comb-looking characteristic. When the filtered sound is mixed with the direct sound, the “phasing sound” occurs.

The Smooth Phaser utilizes twelve All-pass filters. Page 47 MODULATION Vintage Univibe The Vintage Univibe is an emulation of the classic rotary speaker effect. The effects that can be achieved with it range from a “phasey”, thick chorus to lush vibrato. By switching between the two Speed settings, you will achieve a noticeable speed change similar to the effect you hear when the rotary speaker in a Leslie is turned on and off. As you will discover though, Univibe is not a Leslie, but rather has a character of its own. Page 48 The following parameters are identical for all Delay types. Parameters specific to certain delays are described in the relevant sections. Delay Range: 0 to 1800 ms This parameter sets the time between the delay repeats. This is also known as the “length” of the delay. When set to “Ignored”, the speed set using the Speed parameter is used instead. Page 49 DELAY Dynamic Delay The Dynamic Delay is a feature that was initially introduced in the well-recognized TC 2290. It allows the dynamics of the Input level to actively alter the Delay Output level, which leaves the source signal clear and undisturbed while you play. The Dynamic Delay delicately complements your performance. Use the Sense parameter to determine when the delays should “re-surface”. Use the Offset parameter to widen the stereo image. Page 50 G-Major 2 features four different Reverb classics. All types have the same editable parameters, but the reverbs’ characteristics vary. Spring The Spring algorithm is designed to reproduce the sound of old spring reverbs, such as the ones used in vintage guitar amps. Hall The Hall algorithm simulates a rather large hall and preserves the natural characteristics of the source material. Excellent when you strive for a discrete Reverb with medium to long Decay times. These reflections define the actual sound of the effect. Parallel loops offer two paths from the preamp to the power amp.