G-SharpDUAL ENGINE GUITAR FX PROCESSOR

UUSSEERR’’SS MMAANNUUAALL

IMPORTANT SAFETY INSTRUCTIONS

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 any 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.

• This equipment should be installed near the socket outlet and disconnection of the device should be easily accessible.

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

inside.

Caution:You are cautioned that any change ormodifications not expressly approved in thismanual could void your authority to operate thisequipment.

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

personnel.

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

not expose this equipment to dripping orsplashing and ensure that no objects filled withliquids, 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:

Voltage Line plug according to standard110-125V UL817 and CSA C22.2 no 42.220-230V CEE 7 page VII, SR section

107-2-D1/IEC 83 page C4.240V BS 1363 of 1984.

Specification for 13A fused plugs and switched and unswitched socket outlets.

The lightning flash with an arrowheadsymbol within an equilateral triangle, isintended to alert the user to the presence of uninsulated "dangerous volt-

age" within the product's enclosure that may be ofsufficient magnitude to constitute a risk of 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 literature accompanying theproduct.

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IMPORTANT SAFETY INSTRUCTIONS

Certificate Of ConformityTC Electronic A/S, Sindalsvej 34, 8240Risskov, Denmark, hereby declares on ownresponsibility that following products:

G-SharpDUAL ENGINE GUITAR FX 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 for householdand similar general use

EN 55103-1 Product family standard for audio,video, audio-visual and entertainment lighting control apparatus for professional use. Part 1: Emission.

EN 55103-2 Product family standard for audio, video, audio-visual andentertainment lighting control apparatus for professional use. Part 2: Immunity.

With reference to regulations in followingdirectives:73/23/EEC, 89/336/EEC

Issued in Risskov, May 2006Mads Peter Lübeck

Chief Executive Officer

EMC / EMI.This 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 installed andused in accordance with the instructions, maycause 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 to correct the interference byone or more of the following measures:

• Reorient or relocate the receiving antenna.• Increase the separation between the

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

circuit different from that to which the receiver is connected.

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

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

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TABLE OF CONTENTS

INTRODUCTION

Table of Contents . . . . . . . . . . . . . . . . .3Introduction . . . . . . . . . . . . . . . . . . . . . .5Front Panel Overview . . . . . . . . . . . . . .6Rear Panel Overview . . . . . . . . . . . . . .8Signal Flow Diagram . . . . . . . . . . . . . .9

OPERATION

BasicsConnecting and setting up G-Sharp . .10Controlling G-Sharp . . . . . . . . . . . . . .10Routings . . . . . . . . . . . . . . . . . . . . . . .10General Advice . . . . . . . . . . . . . . . . . .11Typical Setups . . . . . . . . . . . . . . . . . .12

Operating G-SharpInput/Output Section . . . . . . . . . . . . . .16The Effects engine . . . . . . . . . . . . . . .17The Reverb engine . . . . . . . . . . . . . . .19Store . . . . . . . . . . . . . . . . . . . . . . . . . .20Recall . . . . . . . . . . . . . . . . . . . . . . . . .20The Display . . . . . . . . . . . . . . . . . . . .20

MiscellaneousFactory Presets . . . . . . . . . . . . . . . . .21MIDI channel . . . . . . . . . . . . . . . . . . .21Sysex ID . . . . . . . . . . . . . . . . . . . . . . .21G-Sharp software . . . . . . . . . . . . . . . .21

Effects Delay . . . . . . . . . . . . . . . . . . . . . . . . .22Soft Delay . . . . . . . . . . . . . . . . . . . . . .22Tape Delay . . . . . . . . . . . . . . . . . . . . .22Lo-Fi Delay . . . . . . . . . . . . . . . . . . . . .22Dynamic Delay . . . . . . . . . . . . . . . . . .22PingPong Delay . . . . . . . . . . . . . . . . .22SlapBack Delay . . . . . . . . . . . . . . . . .22Delay Spill-over feature . . . . . . . . . . .22

Vintage Phaser . . . . . . . . . . . . . . . . . .23Smooth Phaser . . . . . . . . . . . . . . . . . .23Swell Tremolo . . . . . . . . . . . . . . . . . . .23Hard Tremolo . . . . . . . . . . . . . . . . . . .23Vibrato . . . . . . . . . . . . . . . . . . . . . . . .23Flange . . . . . . . . . . . . . . . . . . . . . . . . .23Lush Chorus . . . . . . . . . . . . . . . . . . . .23Soft Chorus . . . . . . . . . . . . . . . . . . . . .23

TC Electronic, Sindalsvej 34, DK-8240 Risskov – tcdk@tcelectronic.com Rev 1.3 – SW – V 1.00English VersionProd. No: E60505513

ReverbsTC Classic Hall . . . . . . . . . . . . . . . . . .24Pro Studio . . . . . . . . . . . . . . . . . . . . . .24Classic Spring . . . . . . . . . . . . . . . . . .24Vintage Spring . . . . . . . . . . . . . . . . . .24Plain Spring . . . . . . . . . . . . . . . . . . . .24Gold Plate . . . . . . . . . . . . . . . . . . . . . .25Silver Plate . . . . . . . . . . . . . . . . . . . . .25Tin Plate . . . . . . . . . . . . . . . . . . . . . . .25Ambience . . . . . . . . . . . . . . . . . . . . . .25Stomp . . . . . . . . . . . . . . . . . . . . . . . . .25Club . . . . . . . . . . . . . . . . . . . . . . . . . .25Soft Room . . . . . . . . . . . . . . . . . . . . . .25Tiled Room . . . . . . . . . . . . . . . . . . . . .25Church . . . . . . . . . . . . . . . . . . . . . . . .25Concert Hall . . . . . . . . . . . . . . . . . . . .25

APPENDIX

MIDI Implementation Chart . . . . . . . .26MIDI Continuous Controllers . . . . . . .27MIDI Bulk Dump . . . . . . . . . . . . . . . . .27Reset Procedure . . . . . . . . . . . . . . . .27Troubleshooting . . . . . . . . . . . . . . . . .28Technical Specifications . . . . . . . . . . .29

QUICK START - IF YOU JUST CAN’T WAIT

If you just can’t wait to hear the greateffects waiting for you in your new G-SharpGuitar Effects processor just follow the fewsteps in this quick setup guide:

• Unpack the G-Sharp and check for possibledamages that could have been caused bytransport.

• Read the safety instructions.• Take a few minutes to register online via:

www.tcelectronic.com or send in theregistration card. Customers registered onlinewill be notified directly via e-mail about newsregarding TC Electronic guitar products.

G-Sharp is a dedicated guitar effects processorable to combine various modulation and delayeffects with high quality reverbs that areespecially fine-tuned for guitar applications.

RoutingsG-Sharp has two routing options. Serial andParallel. The Routing mode is set on the G-Sharp front panel. • When the PARALLEL mode LED is lit

- parallel mode is selected. • When the PARALLEL mode LED is “off”

- serial mode is selected.

Serial Mode (LED is off)- utilizing both effect engines in serial where

reverb is added to the selected effects.

Parallel mode (LED is lit)- where the inputs are fed to both the Effectsand the Reverb engine at the same timethereby letting the two effect blocks run inparallel.

Effects

Reverb

Left In L

R

L

R

Left Out

L

R

L

R

Right Out

Right In

Parallel Stereo

Bypass

Bypass

Effects ReverbLeft In

Stereo Out

Bypass

Bypass

Bypass

Bypass

For detailed explanations on Routings and connections please read page 10-11.

• Make all audio connections, - then connectpower. See the manual section “TypicalSetups” if necessary.

• Killdry on or off? - If the G-Sharp isconnected in a parallel loop on a guitaramplifier you should activate the Killdry modevia the switch on the rear panel.

• Set the G-Sharp in Preset Off mode usingthe PRESET ON/OFF key:

The G-Sharp is in Preset Off mode when thedisplay reads as illustrated above.

• Set all controls in 12 o’clock position to hear factory settings.

• Select an effect from the Effects engine. • Select a reverb type from the Reverb engine.• Start playing.• Adjust input level to a level where the INPUT

PPMs only occasionally turn red. Whensetting the input level we recommend usingsound with high dynamic content such as aclean sound.

• Set the EFFECTS mix and REVERB MIX to“normal”

• Now tweak the controls for the two enginesuntil you have the effects intended.

For any questions left unanswered by thismanual feel free to visit our online supportcenter; TC Support Interactive, which can beaccessed via: www.tcelectronic.com

Latest manual revision can always bedownloaded from www.tcelectronic.comManual revision number is found in the bottomof page 3.

REVERBI/O EFFECTS

Hold PRESET to set MIDI Channel

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5

INTRODUCTION

Congratulations on the purchase of your TC Electronic G-Sharp guitar effects processor.G-Sharp is a Dedicated Dual Engine Guitar effects unit offering a combination of the best from TC’spristine modulation, delay and reverb libraries, based on ultimate effects algorithms. All effects havebeen carefully voiced specifically for guitar applications.

We have packed the G-Sharp with “TC goodies” and you’ll find high density 24-bit processing andAD/DA converters that fully live up to the TC reputation of high quality effects with no loss of yourbeloved tone.

With G-Sharp you get full and direct access to a selection of legacy TC reverbs and effects andtheir key parameters. Ideal settings are easily obtained from the front panel giving you a maximumof flexibility – at home, when rehearsing or when playing live.

Though easy operation with only few essential controls is a key feature, G-Sharp will integrateperfectly in all levels of setups. Use a G-Switch, a TC G-Minor or a conventional MIDI pedal forpreset recall, tap tempo and bypass functions and you are in full control.

The adaptive built in power supply, secures seamless operation at any mains voltage (100-240VAC).

Be Sharp with G-Sharp!

Engine 1• Delay• Soft Delay• Tape Delay• Lo-Fi Delay• Dynamic Delay• PingPong Delay• SlapBack Delay• Vintage Phaser

• Smooth Phaser• Swell Tremolo• Hard Tremolo• Vibrato• Flange• Lush Chorus• Soft Chorus• Off

Engine 2• TC Classic Hall• Pro Studio• Classic Spring• Vintage Spring• Plain Spring• Gold Plate• Silver Plate• Tin Plate

• Ambience• Stomp• Club• Soft Room• Tiled Room• Church• Concert Hall• Off

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FRONT PANEL OVERVIEW

INPUT GAINAdjusts the Input gain.

1/L and 2/R LEDS3 color LEDs indicating Inputlevel on Left and Right Inputs.Green: -40dBYellow: -6dBRed: -1dB

EFFECTS MIXAdjusts the mix between thewet and the dry signal for theEffects engine.

REVERB MIXAdjusts the mix between thewet and the dry signal for theReverb engine.

Serial mode/Parallel modeIn Serial mode the signalpasses the Effects enginebefore the Reverb engine. InParallel mode the signal isprocessed by both engines inparallel. - Which routing to useis a matter of taste andapplication. Read more aboutroutings on pages 10-11.

BYPASS button and LEDBypass function variesdepending on the selectedKilldry mode.

Killdry “on”:The BYPASS key operates asa mute function.

Killdry “off”:The bypass function simplypasses the source signalunprocessed to output.

EFFECTS selectorSelects between the 15 effects& Off in the Effects engine.

DELAY/TIMINGTap the global tempo using theTAP key by tapping quarternotes. Now use the timingknob to multiply the tappedtempo.The Timing range can be setfrom 0.5 to 2.

Example:• Tap quarter notes at Tempo

120 BPM. This equals 500milliseconds.

• The range of the TIMINGknob is 0.5 to 2 giving you aDelay time varying from:250ms to 1000ms.Note that the SlapbackDelay type has a shorterrange, as this Delay type bynature is a short Delay.

FEEDBACK/DEPTHControls the Feedback orDepth parameter depending ofthe selected effect.Delay : FeedbackPhaser : DepthTremolo : DepthFlange : DepthChorus : Depth

GAIN REDUCTION-3, -6, -12 LEDsThese LEDs indicate theapplied gain-reduction on thedelay repeats when DynamicDelay type is selected.

FRONT PANEL OVERVIEW

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REVERB selectorSelects between 15 differentReverb types or sets theReverb engine to “Off”.

The range of the pre delay anddecay time varies dependingon the selected reverb type.

PRE DELAYControls the pre delay time ofthe selected reverb.

DECAY TIMEControls the decay time of theselected reverb.

COLOR FILTERControls the color amount ofthe selected reverb.

LOAD/HOLD TO STORE keyThis key has two functions.• Press once to load the

preset selected via theCURSOR UP/DOWN keys.

• Press and hold to store thecurrent preset.

PRESET ON/OFF keyThe G-Sharp has two presetmodes.

Preset “Off” mode:The display reads “- -”.In this mode the G-Sharp willplay effects according to thefront panel controls.When switching from Preset“On” to Preset “Off” mode theeffects will always be updatedaccording to the positions ofthe front controls.

Preset “On” mode:The display reads a specificpreset number.In this mode you can recallpresets by using the UP/DOWNarrows followed by LOAD.(Note that G-Sharp holds nostored factory presets apartfrom the default settings in thevarious effect combinations).

Toggling between the PresetOn/Preset Off modesgenerates two situations:

From “On” to “Off”:Preset is updated according tothe positions of the frontcontrols.

From “Off” to “On”:The display starts to flash thepreviously recalled presetnumber while still processingaccording to the front controls.To actually load the presetpress LOAD.

Set MIDI channelPress and hold the PRESETON/OFF key for approx. 2.5sec.Now set the desired MIDIchannel using the ARROWUP/DOWN keys. Options are:- Channel 1 to 16- “o” for OMNI (receives on all

channels)- “OF” for Off.Via this menu a Bulk Dump onMIDI out for preset backups ona standard MIDI sequencercan also be performed.

Press PRESET ON/OFF keyonce to exit the MIDI channelsset mode.

“KNOB POSITIONS VALID”LEDsThe LEDs are relevant inPreset “On” mode only. Whenlit they indicate when the frontpanel controls match thesettings in the actually recalledpreset.

ARROW UP/DOWN keysScroll between presets whenin Preset “On” mode.

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REAR PANEL

BalancedJackAnalogInputs

PedalInput

MIDIIn/Out

KILLDRY switch BalancedJackAnalogOutputs

DigitalS/PDIFInput/Output

Power Input100 - 240VAC

KILLDRY switchWith the switch in “in” position, no clean signalpasses through the G-Sharp. This is the settingto use if you connect G-Sharp in a parallel loopor e.g. in an aux send/return on a mixer.

Analog InputAnalog Input on 1/4 inch connectors.Use Left Input only to connect a mono signal.

Analog OutputAnalog output is a stereo output on two 1/4”jack connectors.

Power InG-Sharp has a switchmode power-supply thataccepts from 100 to 240VAC.

Pedal Input - for TC G-SwitchTwo different modes can be set for the pedalInput: With the TC Electronic G-Switch pedalyou are able to:

In mode A:Switch 1 - Preset up Switch 2 - Preset downSwitch 3 - G-Sharp bypass

In mode B:Switch 1 - Bypass Effects Engine Switch 2 - Bypass Reverb EngineSwitch 3 - Tap tempo

Selecting ModesPress LOAD and PRESET ON/OFF at thesame time. Then use the ARROWS to selectbetween A and B.

TC G-Switch

SIGNAL FLOW

9

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LEV

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DIG

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L IN

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MIX

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S[b

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A/D

Left

Left

Rig

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Dig

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Sele

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Dig

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BASICS

Connecting and Setting up the G-SharpSetting up the G-Sharp is very easy. It is, however, important to connect and setup the G-Sharpcorrectly according to your application. Setting up basically means: connecting, selecting one of thetwo routing options, selecting programs and finally setting the EFFECTS MIX and REVERB MIX onthe front panel. Find the setup you are about to create or one that is similar to on the followingpages - and follow the instructions.

Controlling G-SharpPreset Recall and Tap TempoA MIDI pedal can be used to recall the 99 user-presets and also tap in the Global tempo. Readmore about the Global tempo and the Tap function later in this manual. A MIDI pedal should beconnected to MIDI In and G-Sharp is per default set to receive MIDI information on Channel 1.This can be altered - See the manual section “MIDI”.

If you only need to switch between relatively few presets and tap tempo we suggest either using theanalog TC Electronic G-Switch or the TC Electronic G-Minor MIDI pedal. Of course other MIDIpedals can also be used. For full access to all G-Sharp features you should chose a MIDI pedalthat can send both MIDI Control Change messages as well as MIDI program changes.

Expression pedalsExpression pedals can be used to control various parameters*.On G-Sharp the obvious parameter to control would be In-Volume. The Expression pedal must beconnected to and calibrated with your MIDI board.* a complete list is found on page 27.

RoutingsThere are two routings to choose between: Serial and Parallel. The routing is selected using theswitch on the front panel.

When the PARALLEL mode LED on the front panel is lit, G-Sharp is in Parallel mode. When theLED is “off”, - G-Sharp is in Serial mode. The Routing is a global setting and cannot be saved andchanged with presets.

Serial RoutingWith this routing the signal is first routed through the Effects engine and then through the Reverb engine.

This is the Routing to select when you want to add reverb to the signal after the signal is processed

Effects ReverbLeft In

Stereo Out

Effects Reverb

Left In

Stereo Out

Bypass

Right In

Bypass

Bypass

Bypass

Bypass

Bypass

Bypass

Bypass

11

BASICS

by the Effects engine. Serial mode works perfectly for all effect combinations but if you are usingrelatively long and loud delay repeats you should consider whether you prefer to have reverb addedto delay repeats or not. If you prefer the delay repeats to stand out very clear and still use reverbyou may prefer the Parallel routing.

Parallel Routing (analog Input only)This routing gives you the opportunity of having two effects in parallel, even on a single monosignal. The input signal is split and fed to both the Effects engine and the Reverb engine at thesame time. Both the Effects engine and the Reverb engine uses left and right outputs as commonoutputs.

General adviceHigh quality cablesGood cables are essential! We advice that you use properly shielded cables of high qualitythroughout your entire setup, but be aware that one of the most sensitive points is the cable goingfrom your guitar to the first piece of equipment. Especially if you are using a guitar with passivesingle coil pickups such as a Stratocaster. The few extra bucks for good quality cables are wellspent.

You cannot connect a guitar directly to the G-Sharp inputs. Always insert a preamp, pedal orsimilar piece of equipment between the guitar and the G-Sharp.

Level settingsCorrect level settings in all audio equipment are essential to get best performance from AD and DAconverters and as little noise as possible. Therefore you should follow the advice on setting Inputlevel as described on page 16.

Effects

Reverb

Left In L

R

L

R

Left Out

L

R

L

R

Right Out

Right In

Effects

Reverb

L

R

L

R

Left In

Left Out

L

R

L

R

Right Out

Parallel Stereo

Parallel Mono

Bypass

Bypass

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TYPICAL SETUPS

In this setup the G-Sharp is connected tothe effects loop of an amplifier.

• Connect guitar to drive pedals, wah etc. andinto the amps input.

• Connect the effect loop send to the left inputof the G-Sharp.

• Connect the G-Sharp left output to the returnof the amplifier.

• Set Routing to serial or parallel.• Set Input level to 12 o’clock position.• Set EFFECTS MIX to 12 o’clock position.• Set REVERB MIX to 12 o’clock position.• Adjust/fine-tune the G-Sharp Input level so

the Input LED on the front panel often isyellow but only rarely peaks at Red color.

• Select Effects and Reverb type using theselectors on the front panel.

• Now fine-tune EFFECTS and REVERB mixas well as parameters.

The setup is mono but could be expanded tostereo if the Right output of the G-Sharp isconnected to a separate amp.

Serial Setup

13

TYPICAL SETUPS

Head + cab

This is a basic setup if you are using aconventional head with serial loop.

• Connect the guitar to the input of the head.• Connect the effect loop send to the G-Sharp

left input and the G-Sharp left output to theeffect loop return of the amplifiers.

• Set Routing to serial or parallel.• Set INPUT to 12 o’clock position.• Set EFFECTS MIX to 12 o’clock position.• Set REVERB MIX to 12 o’clock position.• Adjust/fine-tune the G-Sharp Input level so

the Input LED on the front panel often isyellow but only rarely peaks at red color.

• Select reverb type and Effects type using theselectors on the front panel.

• Now fine-tune EFFECTS and REVERB mixas well as parameters.

You can of course add effect pedals in front ofthe head as you wish.

The setup is mono but could be expanded tostereo if the right output of the G-Sharp isconnected to a separate amp.

14

TYPICAL SETUPS

Preamp + combo

This is a basic setup if you are using apreamp separate from the one in your amp.

• Connect the guitar to the input of the pre-amp.

• Connect the pre-amps output to the G-Sharpinput and the G-Sharp output to either theinput or the effects return on your amplifier.

• Set Routing to serial or parallel.• Set Input level to 12 o’clock position.• Set EFFECTS MIX to 12 o’clock position.• Set REVERB MIX to 12 o’clock position.• Adjust/fine-tune the G-Sharp Input level so

the Input LED on the front panel often isyellow but only rarely peaks at red color.

• Select Reverb type and Effects type usingthe selectors on the front panel.

• Now fine-tune EFFECTS and REVERB mixas well as parameters.

The setup is mono but could be expanded tostereo if the right output of the G-Sharp isconnected to a separate amp.

You can of course add effect pedals in front ofthe preamp as you wish.

15

TYPICAL SETUPS

Preamp + power amp

This is a basic setup if you are using aseparate power amp for a stereo setup.

• Connect the guitar to the Input of the pre-amp.

• Connect the pre-amps output to the G-Sharpinput and the G-Sharp outputs to the input ofthe stereo amplifier.

• Set Routing to serial or parallel.• Set Input level to 12 o’clock position.• Set EFFECTS MIX to 12 o’clock position.• Set REVERB MIX to 12 o’clock position.• Adjust/fine-tune the G-Sharp Input level so

the Input LED on the front panel often isyellow but only rarely peaks at Red color.

• Select Reverb type and Effects type usingthe selectors on the front panel.

• Now fine-tune EFFECTS and REVERB mixas well as parameters.

You can of course add effect pedals in front ofthe preamp as you wish.

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OPERATING - INPUT/OUTPUT SECTION

INPUT GAIN & 1/L-2/R INPUT LEDsThis knob controls the input level for both theanalog and digital input options. A correctly setinput level is essential to achieve optimalperformance with least possible noise.

To set the Input level:Clean sounds have the most dynamics. Playpowerful chords with the loudest clean soundyou use and adjust the Input Gain accordingly.

The Input LEDs indicate the level using threecolors.

Green : -40dB - You are “well on the safe side”.

Yellow : -6dB - You are close to optimal performance.

Red : -1dB - Red LED only blink occasionally at absolute peaks.

Analog Input RangeCounter-clockwise : -10dBCenter : 0dBClockwise : +14dB

Digital Input RangeCounter-clockwise : -18dBCenter : 0dBClockwise : +6dB

Parallel mode/(serial mode) LED and buttonPress the switch to switch between Serial andParallel modes. When this LED is lit (green)Parallel mode is selected. When the LED is notlit - Serial mode is selected.

EFFECTS MIXAdjusts the mix between the wet and the drysignal for the Effects engine.

REVERB MIXAdjusts the mix between the wet and the drysignal for the Reverb engine.

BYPASS LEDWhen the LED is lit, G-Sharp is in bypassmode. The bypass function operates differentlydepending on whether you are in Killdry modeor not.

Killdry “on”:The BYPASS key operates as a mute function.

Killdry “off”:The bypass function simply passes the sourcesignal unprocessed to output.

Killdry ON LEDKilldry mode is selected on the rear panel. When it is selected, no clean signal passesthrough the G-Sharp. This is the setting to useif you connect G-Sharp in a parallel loop or e.g.in an aux send/return on a mixer.

17

THE EFFECTS ENGINE

Effects engineEffect SelectorWith the EFFECTS selector you select betweenone of the following effects and Off.

• Dynamic Delay• Soft Delay• Tape Delay• Lo-Fi Delay• Clean Delay• PingPong Delay• SlapBack Delay• Vintage Phaser• Smooth Phaser• Swell Tremolo• Hard Tremolo• Vibrato• Flange• Lush Chorus• Soft Chorus

-12dB, -6dB, -3dB Gain Reduction LEDsThese LEDs indicate the applied gain reductionon the delay repeats when the Dynamic Delayis selected. - The purpose of the DynamicDelay is to reduce the level of the delay repeatswhile you play and increase the level of therepeats in-between phrases.This is a classic “ducking function” from thelegendary TC2290.

TAP key and TIMING knobDelay Effects:The tempo of the Delay effects is set using boththe TAP key and the TIMING knob. By tapping the TAP key you set a “globaltempo“ that you can increase/decrease usingthe TIMING knob.

With the TIMING knob in 12 o’clock position thetapped tempo equals 1/4 notes.With the TIMING knob in fully counter-clockwiseposition (min), the delay time is multiplied by0.5 thus giving half the tapped tempo.With the TIMING knob in fully clock-wiseposition (max), the delay time is multiplied by 2giving the double delay time.

ExampleLet us say that you tap quarter notes in tempo120BPM using the TAP key. With the TIMINGknob in 12 o’clock position you now have aDelay time of 500ms*.

If you turn the TIMING knob fully counter-clockwise the actual Delay time will be 0.5 times 500ms= 250ms

If you turn the TIMING knob fully clockwise thetempo will be:2 times 500ms=1000ms (1 second)

When powering up the G-Sharp the defaulttempo is 120BPM, but as explained above theposition of the TIMING knob defines the actualtempo.

*The nature of a Slapback Delay is very shortdelay times and the range of this delay type istherefore much shorter with this delay typeselected.

18

THE EFFECTS ENGINE

TIMING knob - Chorus, Flanger, Phaser andTremolo:Increases/decreases the Tempo. Remember that the default setting suggestedby TC Electronic is achieved by setting theknob in 12 o’clock.

FEEDBACK/DEPTHThis knob changes functionality with theselected algorithms.

The knob controls the Feedback parameter in:All Delays

The knob controls the Depth parameter in:ChorusFlangerPhaserTremolo

For further details on these parametersplease read chapter explaining all effectparameters.

19

THE REVERB ENGINE

Reverb engineReverb SelectorSelect between the following Reverb types or“Off”.

• TC Classic Hall• Pro Studio• Classic Spring• Vintage Spring• Plain Spring• Gold Plate• Silver Plate• Tin Plate• Ambience• Stomp• Club• Soft Room• Tiled Room• Living Room• Church Room• Concert Hall

To hear the carefully designed default settingsfor each of the reverb types set PRE DELAY,DECAY and COLOR knobs in “12 o’clock”position (neutral). Then adjust and fine-tune tothe given application.

It is worth noticing that the range of each ofthese parameters will vary from algorithm toalgorithm. As an example it is possible to set a muchlonger decay time for a Gold Plate or TCClassic Hall than for e.g. Ambience.

Pre DelayA short delay placed between the direct signaland the Reverb diffuse field. By using pre-delay,the source material is kept clear and undisturbedby the reverb diffuse field arriving shortly after.

DecayThe decay parameter determines the length ofthe reverb diffuse field. The length is defined asthe time it takes for the reverb to decayapproximately 60dB.

ColorVaries the “color” of the reverb. From dark tocrisp and bright the color parameter can reallychange the characteristics and style of thereverb.

20

STORE - RECALL & THE G-SHARP DISPLAY

Preset ModesThe G-Sharp holds two significantly differentmodes. To toggle between these modes pressthe PRESET ON/OFF key.

“Preset On” modeIn this mode it is possible to load any of thepreviously stored presets.The “Preset On” mode is active when thedisplay shows location numbers from 1 to 99.

If you try to load a preset from a locationwhere no preset is stored - no action willtake place.

“Preset Off” modeIn Preset Off mode the G-Sharp will processthe signal according to the position of the frontcontrols. A “what you see is what you hear” -setting.

Once you have accessed the Preset Offmode and return to the Preset On modethe preset number will blink indicatingthat you must press LOAD to recall thesettings stored with that particular preset.

DisplayEdited knobs LEDs(relevant only in “Preset On” mode)These LEDs refer to the 9 front panel controls.See illustration above. (no LED for the INPUTknob).

When the LEDs are lit they indicate when thefront controls match the current settings of theactive preset.

When changing the position of a knob thecorresponding LED is off/unlit.

Load/Store PresetsLoad User Preset• Enter “Preset On” mode using the PRESET

ON/OFF key. The G-Sharp is in Preset Onmode when the display shows location-numbers 1 to 99.Use the UP/DOWN arrows to select thedesired preset (1-99).

• The digits are now blinking to indicate thatyou are previewing the preset and it has notyet been recalled.

• Press LOAD to recall the preset and thedigits are now steady.

Store User Preset• Enter “Preset On” mode using the PRESET

ON/OFF key. The G-Sharp is in Preset Onmode when the display shows location-numbers 1 to 99.

• Use the UP/DOWN arrows to select desiredpreset location where you intend to store thepreset (1-99).

• The digits are now blinking to indicate thatyou have not yet stored the preset.

• Press and hold the LOAD (HOLD TO STORE)key for approx. 2.5 seconds until the digits turnsteady.

Edited knobs LEDs

21

MISCELLANEOUS

MIDIMIDI CH.Via an external MIDI device it is possible torecall presets and control parameters in the G-Sharp. For the external device to communicatewith the G-Sharp it is essential that theycommunicate on the same MIDI Channel. The G-Sharp can be set to receive on any ofthe 16 MIDI channels, none or all.

• Press and hold PRESET ON/OFF. Thecurrent selected MIDI channel is displayed.

Assuming the G-Sharp is “right out of the box”or that you have performed a Reset procedureas described on page 27, the display nowshows:

- indicating that channel 1 is selected and theG-Sharp can receive MIDI information on channel 1.

• Use the UP/DOWN arrows to select MIDIchannels 1 to 16.

• “O” indicates Omni mode, which means thatthe G-Sharp can receive MIDI information onall channels.

• “OF” indicates that the G-Sharp will ignoreany incoming MIDI messages.

• Press LOAD to verify and exit menu.

SysEx IDThe G-Sharp SysEx ID is always identical withthe set MIDI Channel.

External MIDI editor modeVia MIDI, all parameters can be controlled viaan external software Editor. For the G-Sharp torespond to the editor commands the G-Sharpmust be in “Editor mode”.

When the G-Sharp is controlled via theexternal software editor, the front-panelcontrols are locked and cannot be usedto alter parametervalues.

Factory PresetsThe G-Sharp holds no conventional factorypresets. When all the controllers are in 12o'clock position the G-Sharp is in "neutral",meaning that all parameters are set assuggested by TC Electronic. However, bycombining the 16 positions of both the Effectsand Reverb selectors you actually have 256“factory” presets.

Application Software versionThis number indicates the currently loadedapplication software and is relevant forservicing purposes only.

• Press and hold PRESET ON/OFF and usethe UP/DOWN arrows to select “AP” asdisplayed below.

The display will flash between “AP” (forapplication) and the current loaded applicationsoftware.

Front Software version This number indicates the current loaded frontsoftware and is relevant only for servicingpurposes.

• Press and hold PRESET ON/OFF and usethe UP/DOWN arrows to select “Fr” asdisplayed below.

The display will flash between “Fr” (for front-software) and the current loaded frontsoftware number.

22

EFFECTS

This manual section explains the function of the front panel controls as well as the algorithmparameters in the Effects engine.

Delay TypesDynamic DelayThe Dynamic Delay initially introduced in therenowned TC 2290 is a Delay type that allowsthe Delay output level to be actively altered bythe dynamics of the input level. A function that can be used to leave the sourcematerial clear and undisturbed while played anddelicately accompanied by the Delay betweenphrases.

Soft DelayWhereas the “Clean Delay” gives a perfectreproduction of the source material, the SoftDelay rolls of the high-end frequencies slightlygiven you delay repeats with less edge thatvery often blends better and sounds morenatural in the mix.

Tape DelayThis algorithm emulates the old style TapeDelays. Before the digital era delays werecreated using a Tape Recording device with atape-loop and recording/playback heads.As you probably know analog tape-recordershas a tendency to deteriorate/change therecorded material. Wow and flutter combinedwith a significant loss of high-end frequencies,and to some extent also low-end frequencies,are all elements commonly associated withtape recordings. These features, that on papersound negative, are often quite useful andsought-after as they tend to blend with andcompliment the source material in a highly

musical manner. Among other things the G-Sharp Tape Delay uses a HiCut with a ratherlow Cross-over frequency to emulate the loss ofhighs found on conventional Tape delays.Compare the Tape Delay to the Clean Delayalgorithm to hear the difference and experiment.

Lo-FiDeliberately squashing the sound of the delayrepeats, the Lo-Fi delay effect allows you tomake a statement.

Clean DelayStandard Delay. The G-Sharp processing powerand excellent 24 bit converters will process aprecise high quality Delay with no deteriorationof the sound.

PingPong DelayThe PingPong Delay basically pans the delayrepeats from left to right and back whilekeeping the Input signal at its original position.This gives a very wide spread special effect.

Slapback DelaySlapback Delay is a very short delay with onlya single or a few repeats. The effect iscommonly used as a “doubling-effect” makingthe processed material seam more massive.Short slapback delays are also often used onfunky rhythm guitars, - a bit longer onRockabilly guitar or vocals.

Delay spillover featureAll delays feature true “spillover” – meaningthat the repeats of the delay can ring out whenyou change presets. Even if the preset you arechanging to holds no delay or has a differentdelay time or delay type.

Example:You play with a preset with a long delay time,e.g. a solo. When you change to a rhythmpreset with a shorter or no delay, it will mostoften sound more natural and make the presetchange seamless letting the long delay repeatsring out even though the preset has alreadychanged.

Delay - controlsDELAY/TIMING knobBoth the TIMING and the TAP keys are usedto specify the desired tempo of the repeats.A tempo is tapped on the TAP key and withthe TIMING knob you multiply this tempo.The range of the TIMING knob is 0.5 to 2.

FEEDBACK/DEPTH knobThe FEEDBACK knob sets the number ofDelay repeats. Leaving the knob in 12 o’clock position gives you the startingpoint suggested by TC Electronic.

23

EFFECTS

VibratoAn effect deriving from minute and rapidvariations in pitch. This is the classicexpression know from many vocalists.

ChorusA Chorus/Flanger is basically a short Delay thatis modulated by an LFO (Low FrequencyOscillator). The modulation of the short Delay gives verysmall variations in pitch. These pitch changesblended with the direct sound gives you theChorus/Flanger sound.A Chorus effect is typically used as asmoothing effect.

Soft Chorus/Lush ChorusThe Soft Chorus is ideal for silk-smoothsoftening of the signal. The Lush Chorus is abetter choice for more significant and hearablechorus sounds.

FlangeThe basics of the flanging sound are identicalto the chorus (see above), but the delay time islonger and the feedback control has a widerrange. Where the chorus typically is used as asmoothing effect the Flanger is more in thegenre of “special effects”.

Chorus/Flanger - controlsDELAY/TIMING knobIn the Chorus/Flanger algorithms theTIMING knob sets the speed of the effect.

FEEDBACK/DEPTH knobIn the Chorus/Flanger algorithm theFEEDBACK/DEPTH knob sets the depth ofthe effect.

Tremolo - controlsDELAY/TIMING knobIn the Tremolo algorithm the TIMING knobsets the speed of the Tremolo.

FEEDBACK/DEPTH knobIn the Tremolo algorithm theFEEDBACK/DEPTH knob sets the depth ofthe Tremolo effect.

TremoloHard Tremolo/Swell TremoloA Tremolo is basically a repeated level changecontrolled by an LFO. The G-Sharp offers aHard Tremolo that used a “square” wave-shapeand Swell Tremolo that use a “triangular” waveshape. Please see the illustration below. Thedifference is quite obvious. Listen and enjoy!

Hard Tremolo - Square shape

Swell Tremolo - Triangular shape

PhaserVintage PhaserThe Vintage Phaser utilizes four all-pass filters.These filters create comb-looking characteristics.When the filtered sound is mixed with the directsound the “phasing sound” occurs.

Smooth PhaserWhere the Vintage Phaser utilizes 4 all-passfilters the Smooth Phaser uses an 8 all-passfilter structure. This gives a much smoother andsubtle phasing sound.

Phaser - controlsDELAY/TIMING knobIn the Phaser algorithm the TIMING knobsets the speed of the Phaser.

FEEDBACK/DEPTH knobIn the Phaser algorithm theFEEDBACK/DEPTH knob sets the depth ofthe phasing effect.

24

REVERBS

Perception of Reverb types may vary fromperson to person. It is a rather subjectiveissue to discuss, describe or even define.However, over the years a generalperception of basic Reverb types hasevolved. From these definitions theexperienced sound-engineer chooses and isgiven good starting points for variousapplications. We choose to briefly describethe Reverb types found in the G-Sharp likethis:

TC Classic HallThe reverb from many legendary TC productsthat gives you a rich spacious feel with plenty ofair. Perfect with medium to long decay times.Play with the color parameter to find the correctblend. If you feel you have the correct mix levelbut the reverb is not significant enough still, -try increasing the high colors.

Pro StudioA neutral generic studio reverb with very limitedmodulation on the decay diffuse field. Wheremany of the other reverb types are tuned tostand out in a live environment, the Pro Studiois a subtle reverb that excels in recordingsituations where details in the source materialare the primary focus.

Classic SpringWith the Classic Spring reverb you’ve got oneof the best emulation of a classic spring reverbthere is. We’ve spent a lot of time calculatingand reinterpreting the behavior of a traditionalspring reverb.

Vintage SpringThe Vintage Spring emulates the spring reverbtypes found in old guitar-amps. It is a bit moregrindy compared to the Classic spring andgives a very realistic old-school sound.

Plain SpringThis reverb type is the least colored springemulation included in the G-Sharp. Comparedto the Classic Spring and Vintage Spring types,Plain Spring appears as the most neutral of thethree.

The G-Sharp holds the following Reverbtypes:

• TC Classic Hall• Pro Studio• Classic Spring• Vintage Spring• Plain Spring• Gold Plate• Silver Plate• T-Plate

Each of these Reverb types are created andfine tuned by the highly experienced staff at TCElectronic and utilizes the vast experience wehave accumulated over the past years ofproducing high quality reverbs. Though the G-Sharp is a very compact effects unit in theaffordable price range, there is no compromisewhen it comes the Reverb quality.

To get best starting points for yourapplication set the three controls inthe Reverb engine at 12 o’clockposition and “take a trip” round thedifferent reverb types.

By leaving the controls in 12 o’clock positionyou will hear our suggested settings for eachReverb type.Once you have the Reverb type closest to yourgoal start twisting the controls.

Pre DelayA short Delay placed between the direct signaland the Reverb Diffuse field. By using PreDelay the source material is kept clear andundisturbed by the more diffuse Reverb DiffuseField arriving shortly after.

DecayThe Decay parameter determines the length ofthe Reverb Diffuse Field. The length is definedas the time it takes for the Diffuse Field todecay approximately 60dB.

ColorVaries the “color” of the Reverb. From dark tocrisp and bright the Color parameter can reallychange the characteristics and style of theReverb. Try it!

• Ambience• Stomp• Club• Soft Room• Tiled Room• Church• Concert Hall• Off

25

REVERBS

Soft RoomA room type that simulates a relatively smallroom well furnished. In such a room manyreflections are absorbed by soft material andsource material is reflected and sustained onlyfrom walls and windows etc. The sound isshort, dry, and quite intimate.

Tiled RoomOften you’ll want to get the “bathroom” effect,without actually wanting it to sound like you’replaying in your bathroom. The Tiled Roomreverb simulates the qualities of a small tomedium size tiled room with its many reflectionsand at the same time it behaves respectfullytowards the original source material. Use it asan effect that adds quite a bit of color to yoursound.

ChurchA highly diffuse reverb that is recognizable forits emulation of the many hard surfaces ofdifferent shapes found in traditional churchrooms.

Concert HallThis reverb has become a classic in it self. Itsimulates a rather large hall and it’s stunninglygood at preserving the original and naturalcharacteristics of the source material. If you’re looking for a sound with long decaytimes the Concert Hall is excellent and you’llget a large and broad sound that is verydistinctive.

Gold PlateWe’ve boosted the full potential of the platereverbs of the past, and designed the GoldPlate algorithm to reflect all the brightness,coloring and diffusion that the original platereverbs had to offer. Use this reverb when youjust can’t get “gold” enough on your sound.

Silver PlateThe Silver Plate algorithm is a luxuriously well-tempered plate reverb, which gives you aperfect balance between the Tin and GoldPlate reverbs. It’s got all the qualities of aclassic plate reverb, the right amount ofexquisite and gentle coloring with crystallinebrightness and subtle diffusion. Use this reverbfor just about anything, and especially whenyou want to add that complete and personalambience.

Tin PlateWe have done our best to recreate the platereverbs used before the digital era. The TinPlate reformulates the sound of a large metallicplate, and gives you a sound that you probablyheard on many recordings from the past. Usethe Tin Plate when you just want the pure anduncolored plate sound. It is bright and has adiffuse quality that is perfect for funky rhythmguitar patterns.

AmbienceWith focus on the Early Reflections that definesthe perception of a room size, the AmbienceReverb type is typically used on dry recordingssimply to emulate a feeling of environment.Ambience and Room definition are thekeywords here.

StompQuite an extraordinary reverb type reproducingsome of the characteristics from contemporarystomp-box reverbs. This is not a smooth subtlereverb but may be just what you are looking forif you need a reverb that is different and cancut through.

ClubDid you ever discover the great difference of asound-check and the actual concert? The ClubReverb emulates a typical empty medium sizedclub. Try this as an effect that will emphasizeand position the guitar rather than give it a bigsigh.

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APPENDIX - MIDI IMPLEMENTATION CHART

DUAL ENGINE PROCESSOR G-Sharp - MAY 2006

Function Transmitted Recognized RemarksBasic Channel Default 1 1

Changed 1-16 OMNI-1-16Mode Default

Messages X XAltered

Note Number X XTrue Voice X X

Velocity Note ON X XNote OFF X X

After Touch Key’s X XChannel X X

Pitch Bend X XControl Change O O

Prog Change O O

SysEx O OCommon Song Pos X X

Song Sel X XTune

System real time Clock X O

Commands X XAux Messages Local ON/OFF X X

All 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

See CC list on page 27for details. All Controllers areSingle Byte type scaledto parameter range.

MIDI TimeClock can beused to set Delay tempo.

27

MIDI Bulk DumpBy performing a MIDI bulk dump you are ableto dump all presets to an external MIDI devicesuch as a sequencer for backup.• Press and hold the PRESET ON/OFF key

approx. 2.5 sec.• Use the ARROW UP/DOWN keys to select

Bulk Dump mode.

The display will show:

• Set the receiving device in MIDI bulk receivemode. A standard MIDI sequencer programshould typically be set to record a MIDI track.(Please refer to the user manual of thereceiving device).

• Now press LOAD once, and the MIDI BulkDump is performed.

The G-Sharp is always ready to receivea MIDI bulk dump unless the receiveMIDI channel is set to off “OF”

Reset ProcedureIf you would like to do a complete reset of theG-Sharp and return to factory settings followthis procedure:• Power down by disconnecting the power

cord.• Press and hold TAP while re-connecting

power. The display will show a flashing “R”. • Press LOAD to reset.• Power off - power on.The unit is now reset.

Be aware that all user presets will belost when performing a factory reset!

MIDI Continuous ControllersVia an external MIDI device sending MIDIControl Changes you are able to control theparameters listed below.

Parameter Control Change number:

In Level 12Effects Mix 13Reverb Mix. 14Digi. In 15Bypass 81

Effects. Type 50Effects. Off 82Timing 16Tap 80Feedback 17

Rev. Type 51Rev. Off 83PreDelay 18Decay 19Color 20

APPENDIX - MIDI CC & RESET & BULK DUMP

TROUBLESHOOTING

28

Weird flanging sound when connected in aparallel effects loopWhen using any effects processor in an effectsloop it is essential that the loop is either 100%serial or that you use the G-Sharp killdryfunction. Killdry is activated using the switch onthe rear panel.

The reason for this is that any digitalprocessing unit has a slight delay (G-Sharp hasless than 2ms), and when a slightly delayed drysignal is mixed with an unprocessed signal aflanging/phased type sound occurs. In that caseit definitely seam as if the G-Sharp is coloringyour sound in a highly unintended way.

You can test the effect loop of most amp typesby inserting a jack cable to the send of thepreamp. The signal should be muted 100%.

If your loop is a parallel type it probably has amix knob, or built in mix function if it is a MIDIpreamp. In that case we suggest using the G-Sharp killdry function. You can then control theamount of effect using the amps loop mix-control and the EFFECTS and REVERB mixcontrols on the G-Sharp.

No response when using a MIDI pedalEnsure that the MIDI pedal is sending on thesame channel as the G-Sharp is set to receiveon. The default MIDI channel for G-Sharp is “1”.Refer to this manuals section on MIDI to learnhow to change MIDI channels.

29

APPENDIX - TECHNICAL SPECIFICATIONS

Digital Input and OutputConnector:Formats:Sample Rates:Processing Delay:Frequency Response DIO:

Analog InputsConnectors:Impedance, Bal / Unbal:Max. / Min. Input Level @ 0 dBFS:Sensitivity Range@ 12 dB headroom:A to D Conversion:A to D Delay:Dynamic Range:THD:Frequency Response:Crosstalk:

Analog OutputsConnectors:Impedance Bal / Unbal:Max. Output Level:D to A Conversion:D to A Delay:Dynamic Range:THD:Frequency Response:Crosstalk:

EMCComplies with:

SafetyCertified to:

EnvironmentOperating Temperature:Storage Temperature:Humidity:

Control InterfaceMIDI:Pedal:

GeneralFinish:

Display:Dimensions:Weight:

Mains Voltage:Power Consumption:Warranty Parts and labor:

RCA Phono (S/PDIF)S/PDIF (24 bit), EIAJ CP-340, IEC 95844.1 kHz. (48 kHz only @ Digital Input)0.08 ms @ 48 kHzDC to 23.9 kHz ± 0.01 dB @ 48 kHz

1/4" phone jack balanced, mono sense21 kOhm / 13 kOhm

+24 dBu / 0 dBu

-12 dBu to +12 dBu24 bit, 128 x oversampling bitstream0.70 ms / 0.65 ms @ 44.1 kHz / 48 kHz typ < -92 dB, 22 Hz to 22 kHztyp < -90 dB (0.0032 %) @ 1 kHz, -1 dBFS+0/-0.1 dB, 20 Hz to 20 kHztyp < -100 dB, 20 Hz to 20 kHz

1/4" phone jack balanced 40 Ohm / 20 Ohm+14 dBu24 bit, 128 x oversampling bitstream0.68 ms / 0.63 ms @ 44.1 kHz / 48 kHztyp < -105 dB typ, 22 Hz to 22 kHztyp < -97 dB (0.0014 %) @ 1 kHz, +13 dBu+0/-0.5 dB, 20 Hz to 20 kHztyp < -100 dB, 20 Hz to 20 kHz

EN 55103-1 and EN 55103-2 FCC part 15, Class B, CISPR 22, Class B

IEC 65, EN 60065, UL6500 and CSA E60065CSA FILE #LR108093

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: 5 Pin DIN1/4" phone jack

Anodized aluminum frontPlated and painted steel chassis

2 x 7 segment + LED's19" x 1.75" x 4.2" (483 x 44 x 105.6 mm)3.3 lb. (1.5 kg)

100 to 240 VAC, 50 to 60 Hz (auto-select)<15 W1 year

Due to continuous development these specificationsare subject to change without notice.