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TC Electronic G-Sharp Rack Mount Guitar Multi Effects Processor
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G-Sharp is a dual-engine guitar effects processor that combines superior TC Electronic effects with an easy-to-use audio interface. If you play the g...Click To Read More About This Product
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Cutting-edge reverb, delay, and modulation from one of the best-respected names in the biz.
G-Sharp is a dual-engine guitar effects processor that combines superior TC Electronic effects with an easy-to-use audio interface. If you play the guitar you probably already know TC Electronic and the award-winning quality it stands for. The G-Sharp Multi-Effects Processor is no exception, and it comes packed with lots of modulations, delays, and reverbs.
Each of the two engines gives you 15 different factory presets that let you navigate smoothly through the parameters and quickly achieve the sound you're after. As this is a true guitar effects processor, you can control the G-Sharp via an optional footswitch or MIDI controller. The 99 user presets and a separate engine bypass function are easily controlled from the floor.
With G-Sharp you get full and direct access to all the legacy reverbs and effects, and their parameters. Everything is easy to control from the front panel and that gives you a maximum of flexibility ” at home, in the rehearsal room, or when you're playing live.
High density 24-bit processing and A/D/A converters fully live up to the TC reputation of high quality and tone preserving I/O.
Auto-sensing digital input at 24-bit S/PDIF gives you a secure and bulletproof input connection in any setup. If digital input fails to register, the G-Sharp will automatically switch back to analog input selection.
Easy-to-read preset display, MIDI in/out, MIDI clock tempo sync, tap tempo from a pedal, and a global bypass function makes MIDI implementation a snap.
Plug the G-Minor triple footswitch or the TC G-Switch pedal to the G-Sharp, and you have instant access to parameters and changes right from the floor.
Adaptive built in power supply secures seamless operation at any voltage.
7 Delay Types:
Standard Delay fits most uses and it will give you a precise and high quality delay that ensures that there is no deterioration of the original sound. This is a type of delay that you can use for all kinds of music and it will treat your original source material with great respect.
The Soft Delay gives you a clear yet soft reproduction of your original sound. TC has integrated a subtle yet significant high cut with a relatively high crossover frequency, and that gives you a soft and smooth delay. Use this delay when you want to achieve the clarity and presence that you would normally only hear on studio recordings.
This algorithm emulates the old school tape delays that were created using a tape recorder with a tape-loop. Of course, this deteriorated the sound. The Tape Delay in the G-Sharp preserves the original source material and gives you a perfect emulation of all the good characteristics of the original Tape Delays.
Do you want that ugly and muddy, yet funky delay sound that defective and low-end gear produces? Well, look no further, the Lo-Fi Delay will do the job. No highs or lows escape the filtering of this grainy algorithm, and it is a brilliant addition to those classic fuzz and tube overdrives.
With the Dynamic Delay you can alter the delay output level actively depending on the dynamics of the input level. This means you can have a low level delay when you play your guitar and a higher level when you silence it. This is great for pauses in between phrases in a solo.
The PingPong Delay basically pans the delay repeats from left to right and back again, and at the same time it keeps the original position of the input. You've probably heard this type of delay on loads of recordings and you'll easily recognize the use of this very wide, ping ponging effect.
This delay is very short and may only count one or maybe two or three repeats. Some say it almost sounds like a doubling effect and that's not far from the truth. Your sound will become a lot more massive and dense, and you'll find it to be extremely good for funky rhythm guitar riffs as well as rockabilly sounds.
8 Modulation Effects:
The Vintage Phaser recalls the sound of the past. It uses four different all-pass filters, and that gives you a direct and to-the-point sound that emulates true vintage phasing. The overall sound is naturally determined by the amount of mix you apply, but you'll be surprised about the versatility of this algorithm.
This is significantly smoother than the Vintage Phaser. It uses twelve all-pass filters at the same time which give a well-adapted and very smooth sound. Use this type of phaser when you want the typical phasing characteristics combined with a more elegant and subtle approach.
The Swell Tremolo uses a wave shape that is very close to something triangular. This triangular shape will give you a soft and pleasing tremolo that is useful for slower and more melancholic types of music. The Swell Tremolo gives you sensitive yet steadfast level changes, and like all true tremolos it is controlled by an LFO.
For aggressive and punchy tremolo, the Hard Tremolo suits your needs perfectly. The Hard Tremolo uses a square wave shape that gives you a significantly different type of tremolo than the Swell Tremolo. The LFO controlling the level changes gives you an "in-your-face" and "to-the-point" tremolo.
The Vibrato effect modulates the incoming pitch and not the level like a tremolo would do. That means the result is similar to the vibrato technique that you will hear a singer use, and indeed, a lot of guitar players use this effect to make their guitar, so to speak, sing. Use the Vibrato to create a warm and singing sound that will set your sound apart from others.
The Flange is a classic flanger that gives you a widespread flanging effect. TC flangers have been known for their perfect relationship between speed and depth, and the Flange algorithm in the G-Sharp is no exception. Use the Flange when you want a large chorus-like sound that has all the typical and beneficial characteristics of a genuine flanger.
When you want to crank up the effects on your music, the Lush Chorus is always a good companion. It gives you a broader sound that is a perfect match for more funky/jazzy styles with lots of solos.
The Soft Chorus is a basic chorus that gives you a well-tempered and natural sound. It's well-suited for laid back styles of music and works really well on ballads. This type of chorus will give you a sound that is true to the original source material and you'll be surprised how often it will add that extra something to your music.
15 Reverb Types:
The Vintage Spring algorithm is fine-tuned to perfectly emulate the sound of the past. In the old days people used large metal springs to make reverbs, and often you'll find these in old vintage guitar amps. Use the Vintage Spring reverb if you want the classic sound that you would normally only find in vintage amps.
This reverb gives you the classic sound of Chris Isaak or the Beach Boys. Very useful for country and rock ballads that need a twist of nostalgia. This is a classic reverb that is every bit as emotionally powerful as it was when it was first introduced. We've tweaked the algorithm to perfection and we're confident you won't be disappointed.
With the Classic Spring reverb in the G-Sharp you've got one of the best emulations of a classic spring reverb there is. TC has spent a lot of time calculating and reinterpreting the behavior of a traditional spring reverb. Use this reverb when you want an "old-school" sound.
Sometimes you just want the classic spring reverb, without too much color. The Plain Spring is an "unbiased" representation of the sound that a mechanical spring reverb will give you. If you want to achieve a sound that has a somewhat classic quality to it, but don't want to color it too much, use the Plain Spring.
TC did their best to re-create the plate reverbs used before the digital era. The Tin Plate reformulates the sound of a large metallic plate, and gives you a sound that you probably heard on many recordings from the past. Use the Tin Plate when you just want the pure and uncolored plate sound. It is bright and has a diffuse quality that is perfect for funky rhythm guitar patterns.
TC boosted the full potential of an old school plate reverb, and designed the Gold Plate algorithm to reflect all the brightness, coloring and diffusion that the original plate reverbs had to offer. Use this reverb when you just can't get "gold" enough on your sound.
The Silver Plate algorithm is a luxuriously well-tempered plate reverb, which gives you a perfect balance between the Tin and Gold Plate reverbs. It's got all the qualities of a classic plate reverb: the right amount of exquisite and gentle coloring, crystalline brightness. and subtle diffusion. Use this reverb for just about anything, and especially when you want to add that complete and personal ambience.
If you want to add a touch of reverb that clearly gives you the sense that the music is being played in an acoustically lively room, use the Ambience reverb. TC focused on the early reflections which will give you a sound that corresponds with smaller rooms and clubs. The reverb is brilliant in emulating a feeling of environment that is well suited for dry source material.
The Guitar Box algorithm simulates a typical guitar box in a recording studio which is typically a small or medium-sized room. You get a rather soft reflection that is reminiscent of the same kind of reflection wooden surfaces will give. If you're seeking a soft and natural sounding reverb, the Guitar Box will be the perfect match.
Sometimes you just want your sound to re-create the presence and intimacy of a small room. Long reflections are not present and the early reflections are smack in the face. Often a small room will absorb many of the reflections giving you a tight and to the point reverb. Use the Small Room algorithm when you want lots of presence and sincerity in your sound.
This reverb simulates a relatively small and well-furnished room. Typically you'll get a lot of absorption of the reflections in such a room. The sound is short, dryish, and quite intimate. You'll find this reverb a perfect partner if you want to re-create a certain level of ambience and naturalness to your sound.
Often you'll want to get the "bathroom" effect, without actually wanting it to sound like you're playing in your bathroom. The Tiled Room reverb simulates the qualities of a small to medium size tiled room with its many reflections and at the same time it behaves respectfully towards the original source material. Use it as an effect that adds quite a bit of color to your sound.
If you've ever played in a completely round room, you'll recognize the complex yet very enticing reverb that the Round Room algorithm gives you. It is quite unlike anything else, and it is very effective and usable for various styles and types of music. Depending of the depth and scale, you'll find that it has many qualities that can be very effective on your music.
This reverb has become a classic in itself. It simulates a rather large hall and it's stunningly good at preserving the original and natural characteristics of the source material. If you're looking for a sound with long decay times the TC Hall is excellent and you'll get a large and broad sound that is very distinctive.
The Grand Reverb emulates a concert hall and gives you a diffuse type of reverb that has a "stadium rock concert" quality to it. If you're looking for that large scale sound that prolongs and adds color, this is the reverb to use. The algorithm is a delight to use on any type of music, and it will give you an awesome sound that you'll have a hard time finding anywhere else.
- 15 world-class reverbs
- 15 delays and modulations
- True delay spillover
- 2.5 seconds of delay
- Direct footswitch control with G-Switch
- TC G-Minor compatible ” plug and play
- Full MIDI compatibility (MIDI In/Out)
- Built in auto sensing power supply ” no wall-wart!
Reviewed by 8 customers
Displaying reviews 1-8
I've had this unit for 11 months. The reverbs are nice, the phaser is pretty good and the chorus is not bad. However, there are no factory presets and only numbers 1-99 to store your settings so if you play live with this unit, you have to write down your settings unless you have a good memory.Now, on to the quality. The knobs on this thing are plastic. The reverb knob came loose and fell off after about 6 months of use. This is probably because I had to keep doing a factory reset on my unit because it started to arbitrarily lose it's mind on me after a few months of use. I gig and practice a lot so this unit gets carried around in an SKB rack case quite a bit. Finally after 11 months, it died on me completely and I have not been able to get an RMA from TC electronics. They are impossible to deal with for customer support. I've called them, filled out a support request on their website, and so far after 3 weeks, I've got no reply from them.I wanted something simple to use in a live situation which is why I bought this unit in the first place. I was very happy with the effects and reverb engine at first. But the quality on this thing is not so great and I will not buy another one to replace the one I have that died on me. I'm not bitter either because I did get a lot of road use out of this unit but I think TC Electronics should step up and fix it for me under warranty.
This is a very attractive unit. I don't think that you can find anything comparable in this price range. You will definitely want a footswitch although the G-Switch is very expensive for a simple 3-button momentary switch. You can probably substitute any old MIDI footswitch for a fraction of the price. Plus a MIDI controller can provide effects parameter control, patch changes, and other standard MIDI functions. The effects engine has some very high-quality effects and the delays are the show-stealer for this unit. But the downer to the effects engine is that most of the effects are pretty subtle. Don't expect a total special-effects-style mangling of your guitar tone, these effects are all pretty down-to-earth. The 2 knobs on the effects engine do double duty as delay time/rate and feedback/depth, keeping knobs to a minimum but still providing standard parameter tweaks you?d expect on any stomp-box. It?s also easy to do on-the-fly adjustments with the large knobs. Next is the reverb engine. The reverbs are all fairly noticeably "digital" in their sound, and they won't fool the more discriminating ears out there. But they still sound better than any stomp box in this price range. They?re lush and very tweakable. There?s not a whole lot of diversity amongst the reverb types. They all sound somewhat alike. But the color knob allows you to add or remove the high-end of the reverb tail, allowing you to make for a nice, subtle, dark reverb or a bright, reflective slap in the face. With the dry/wet mix you can come up with any amount of reverb you wish: subtle ambience to a lost-in-the-great-hall wash-out. TC Electronic did a good job of giving you maximum control over all effect parameters with the fewest number of knobs. Be aware that you can only select 1 effect and 1 reverb at a time, so if you want a bunch of simultaneous effects you'll have to look at the G-Sharp's bigger brethren. I like the 2 modes of footswitch operation: one is manual mode where you can turn on/off each engine with the footswitch and use the 3rd footswitch button for tap tempo. Then preset mode assigns the buttons as patch up, patch down, and bypass. Presets are easy to store and recall, and there are NO MENUS! Yay! It is kind of a drag that there?s no way to name your presets other than to assign them a number. If you use lots of different presets, you?ll have to find some way to keep track of which effects you have active for each preset. Or just use manual mode and twist the knobs as you go. One feature that isn't advertised anywhere is that you can plug the G-Sharp into your computer and download a software interface for deep-editing the effects and reverb engines, dumping and restoring preset data, updating the firmware, and remote-controlling the device from your desktop. The G-Sharp can also operate as a VST plugin, which is awesome since reverb plugins are such resource hogs. The manual has a few typos and even a few half-truths printed in it. TC Electronic has had 3 revisions of that manual printed but has failed to omit the falsehoods yet. As far as the delay spill-over, others have reported that it doesn?t work as described in the manual but it seems to work fine for me. All in all, this is a good unit for the price. To get this high quality of delay, reverb, chorus, flanging and phasing, you?d spend a lot more money on stomp-boxes. Each effect isn?t a tweakable as their stomp-box cousins, but the default setting with all knobs at 12:00 for each effect type sounds great right out of the box. This is a great entry-level/mid-level multi-effects unit and is geared towards those of us who want simple, subtle modulation and delay effects for the effects loop of our amps.
I've had this unit for about 2 weeks now. The reverb is very, very good and very configurable. I have not come close to finding all the different sounds that one can get out of the reverb side of this unit. The phase and flange are pretty good. Not as configurable as I would have liked, nor can you get some of the crazy sounds like a Small Stone Phaser, but in general they are not bad. The trem and delay are very good in my opinion, but the chorus is not so good which is a bit disappointing since one of the main reasons I bought this was to replace a BOSS CE-20 that I was using. I was having lot of problems with the CE-20 in my effects chain because I use a lot of boutique pedals and the BOSS just can not handle the high gain from the input of these pedals. So having read that TC Electronics made great Chorus stuff, I mistakenly assumed that I would get a good chorus effect out this unit. But.... not so much. My other gripe with this thing is that it has 99 presets and not one of them has a factory setting in it. The memory is completely blank when you get this and you have to program it yourself. So there is no tweaking a default to get a unique sound, you start completely from scratch. Overall for the money, this unit is not bad. I have mine patched through my effects loop and it really does a nice job. I highly recommend getting the G-switch foot pedal to go with this so you can turn the bypass on and off without having to go to the unit. The G-Switch also let's you switch patches remotely. Too bad the foot switch doesn't come with it, but it's a good investment to pick it up separately. Read the manual and then decide if you want what this unit does. Just bear in mind that the chorus is not so great. I mean it's not bad, but it could be better!
I finally picked one of these up after doing tons of research on every item out there. The Reverbs and delays are excellent and seem to be about the quality of boss pedals or better. However, the modulation effects seem to be just ok, I might find some use for the trem or chorus but the main reason I bought this unit was for the reverbs and delays, so I'm happy with it. It took me about 30 minutes to set it up properly (I should have consulted the manual first, but...)I noticed a slight coloration until I ran it in mono and played with the set up. Now it sounds great.
Having been a TC user for over three decades now, I am a big fan. With the exception of the Nova system, which I did not like, everything TC product I have used has been very fine.This particular unit has a number of features that make it a real deal for certain applications.First of all, it is a high quality STEREO effects unit. If you don't understand why you need stereo, quickly, ...count your ears.It has Balanced TRS outs. ALL effects units should have balanced outs because we need extra cable length to hook them up, and extra cable length means extra noise. Balanced in / outs GREATLY reduce that pernicious problem.Ease of use: You hook this up just a simply as any effect-pedal, except of course that it is STEREO and is a rack mounted unit. If you want foot control for switching the effects on or off, the three button G-pedal does that nicely and inexpensively, without adding unwanted cable length to our signal path. That means you can have nice short balanced cables for the signal chain, (low-noise, low hassle) but have as much cable as you want for the pedal-placement on stage.It is unlikely you can find better reverbs, delays or choruses anywhere in this price range. I suggest you buy one soon before the Greedy Gibson company screws up the price point.If you have a decent preamp (or good amp with STEREO effects send / return) that you like already, and favor the reliability of rack units, this is a very nice budget solution.This delightfully simple unit requires no manual to use, sounds great and won't break the bank. It is lightweight too. Even though I have used the G-system, (ultimate tweak-ability and VERY rugged) and routinely use the G-major (great), I STILL prefer this unit for many sessions and gigs. The simplicity of real-time analog-style control, with great digital effects, low-noise, balanced signal-path and the kill-dry switch... altogether makes this a very musical device.Very highly recommended!
Well, I got this for Christmas and after hooking it up and playing with the settings, I found that out of all the things the unit does, not one of them it does well. The tone is definitely changed, but in a not so good way. It's nice, but I would expect more.
I bought mine having never heard it and wasn't disappointed. I play thru a Fender SuperSonic head with a 412 cab and a strat ofcorse. The head dosen't have reverb built in which was disappointing but the G-Sharp fills in perfectly. If all it had was the reverb effects it would be worth the money. All the other effects are just a bonus. So if want multieffects at a great price get the G-Sharp.
Overall, this is a very nice effects unit. You simply can't get these kinds of sounds from pedals. The reverb, ambiance is very believeable. It's a stereo unit, don't be fooled into thinking it's got two separate channels. So, if you're planning to split the A and B channels to run to separate rigs, it's not gonna work. What goes into "A" port comes out both the "A" and "B" port. I've got no complaints at all. If you add up the cost of a floorboard full of pedals you'd need to get this kind of performance, you'd spend a lot more.Enough with the kudos, now with the gripes...I've emailed T.C. several times now over the last several weeks and I haven't received a single response. The manual is a little vague regarding to how the input/output chains work but for the most part I've figured it out without any real problems. I just sent the emails out for clarification...and still no response.