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TC electronic SDN BHD G-Natural manual

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Table of contents for the manual

  • Page 1

    User’ s Man ual G-Natural[...]

  • Page 2

    [...]

  • Page 3

    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's instructions. 8 Do not install near any heat sources such as radiators, heat registers[...]

  • Page 4

    EMC/EMI This equipment has been tested and found to comply with the limits for a Class B Digit al device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in residential installations. This equipment generates, uses and can radiate radio frequency energy and, if not instal[...]

  • Page 5

    TC Electronic, Sindalsvej 34, DK-8240 Risskov – info@tcelectronic.com Manual revision 1.1– SW – V 1.01 Prod. No: E60507612 English Version INTRODUCTION Safety Instructions . . . . . . . . . . . . . . . . . . . . . .a EMC/EMI & Certificate of Conformity . . . . . . . .b T able of contents . . . . . . . . . . . . . . . . . . . . . . .3 Intr[...]

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    [...]

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    INTR ODUCTION Congratulations on the purchase of your G-Natural. G-Natural is the world’s first multi-effects processor for the serious acoustic guitar player . With G-Natural you no longer have to put your guitar sound in the hands of the sound engineer or to put up with ef fects designed for electric guitars to boost your performance. It goes w[...]

  • Page 8

    O VER VIEW 6[...]

  • Page 9

    1 - Effect Edit/Select buttons Press once to enter edit mode for the current effect. Press again to toggle between the different ef fect types. 2 - V ariations For each selected effect type, 4 inst ant variations can be stored. When creating new presets this function makes is very easy to combine your favorite reverbs with your favorite compression[...]

  • Page 10

    same location. “Normal store” is used if you want to change preset location and maybe the name as well. Quick store - press and hold STORE for 2 seconds. The preset is now stored at the current location. If you are trying to store a factory preset using “Quick store”, you will automatically be directed to “Normal store” mode. Normal S t[...]

  • Page 11

    9 1 - Line Input Input for line instruments such as keyboards etc. Connection type: 1/4” jack. 2 - Instrument Input Input for: - Guitar pedal or preamp - Active pickups (guitar with batteries) - Acoustic guitar with preamp - Keyboard output Connection type: 1/4” jack. 3/4 - Balanced Output s Balanced outputs on 1/4” TRS jack. These outputs ma[...]

  • Page 12

    10 - Mic Pass Thru This connects directly to the microphone input and is used to connect directly to a mixing console. When connecting microphones that require phantom power , you have the option of using the phantom power from either G-Natural or the mixing console. W ARNING! Please note that using phantom power from both the mixing console and G-[...]

  • Page 13

    11 TYPIC AL SETUPS Guitar with piez o pick-up MIXER Instrument input algorithm select mod delay menu subdiv comp EQ boost reverb BANK UP BANK DN COMP 123 MOD DELAY BOOST /TAP TEMPO REVERB store levels G•NATURAL factory default 4 3 2 1 VARIATIONS holdto save boost flanger plate p.pong stomp EQ chorus room reverse dynam tape vibrato analog detune c[...]

  • Page 14

    W ARNING! When connecting the G-Natural outputs to microphone input s on a mixing console, the phantom power for these channels MUST be switched off! Otherwise you may damage the G-Natural circuits. Basic settings • If the connected microphone is a condenser type, phantom power must be switched on • Set input sensitivity via the levels menu. ?[...]

  • Page 15

    13 As explained in the previous example G-Natural can handle both a dynamic or condenser microphone and an active* piezo pick-up system as found is many acoustic guitars. In this setup example the microphone is used for vocals. Connections • Connect the output of your guitars piezo pickup to the Instrument input of G-Natural • Connect the micro[...]

  • Page 16

    TYPIC AL SETUPS 14 Basic settings • Set input sensitivity via the levels menu. • Select active effect pressing the COMP , MOD, DELA Y and REVERB switches • G-Natural features separate EQ and compression settings for mic and instrument inputs Many guitar players have invested in the increasing amount of dedicated acoustic guitar amp s. Either [...]

  • Page 17

    TYPIC AL SETUPS 15 In project studios you may enjoy utilizing some of the effect s in G-Natural while recording. In this setup we show a setup with a condenser microphone connected to G-Natural and G-Natural’s L/R output s directly to and audio interface. Connections • Connect the condenser mic to the G-Natural's mic input • Activate pha[...]

  • Page 18

    MENU - R OUTING 16 Routings Basics • Press MENU to access • Select Routing using encoder D • Press MENU to confirm • Set values using encoders A, B and C • Change pages using encoder D • Confirm by pressing MENU • Exit by pressing MENU again G-Natural has three ways of routing the chain of effect s: Serial, Semi parallel and Parallel.[...]

  • Page 19

    17 MENU - PEDAL P edal Basics • Press MENU to access • Select Pedal using encoder D • Press MENU to confirm • Set values using encoders A, B and C • Change pages using encoder D • Confirm selection by pressing MENU if <menu> flashes in the right side of the display • Exit by pressing MENU again For external control of certain p [...]

  • Page 20

    MENU - PEDAL 18 Master If an expression pedal is connected to the pedal input and a preset is recalled, G-Natural can be set up to respond to either the current position of an expression pedal or to the value stored with the preset. Preset: The parameter value stored as p art of the preset applies – regardless of the current position of the expre[...]

  • Page 21

    19 MENU - UTILITY Utility Basics • Press MENU to access • Select Utility using encoder D • Press MENU to confirm • Set values using encoders A, B and C • Change pages using encoder D FX Mute The FX Mute parameter determines how the Reverb and Delay effect s should act when changing between presets and when bypassing one of these ef fects.[...]

  • Page 22

    20 MENU - LEVELS Le vels menu Basics • Press LEVELS to access • Set values using encoders A, B and C • Change pages using encoder D Where nothing else is stated the range of the level parameters is -100 dB to 0dB. V olume Overall output level control. Line Level Output level control for the Line signal Inst. Level Output level control for the[...]

  • Page 23

    21 MENU - LEVELS Serial In Serial routing with the Mic Pre parameter set to “V ocal”, the input signal on the Mic Pre connection is routed past the Boost, Mod and Delay blocks to the Reverb. Semi Parallel In Semi Parallel routing with the Mic Pre parameter set to “V ocal”, the input signal on the Mic Pre connection is routed past the Boost,[...]

  • Page 24

    Boost Wouldn’t it be nice if you could just hit a single switch and boost the entire signal for a few important phrases? With the G-Natural boost function it is easy . Via the Levels menu a max boost level is set. Within this limit you may set up a boost level for individual presets. Essential p arameters for the Boost switch: The BOOST switch ma[...]

  • Page 25

    23 Basics • T o activate the T uner , press and hold the footswitch in the lower right corner • Set values using encoders A, B and C • Change pages using encoder D • Press any footswitch to exit. In T uner mode the following parameters can be set. T uner Out Mute : Output is muted when in tuner mode. On : Output is not muted when in tuner m[...]

  • Page 26

    24 Compr essor Introduction A compressor is used to control the dynamic content of a signal. It can be used both for leveling out the signal’s dynamics (thereby letting your guitar sound st and out clearer) and also for more radical, very recognizable effect s. G-Natural offers two types of compression. “S tomp”, that offers only a few but ef[...]

  • Page 27

    25 EFFECTS - EQ Release Range: 50 to 2000 ms The release time is the time it takes for the compressor to release the gain reduction of the signal after the Input signal drops below the threshold point again. Level Range: -99 dB to +12 dB Depending on you compression settings you may prefer to lower the output level of the compression block by a few[...]

  • Page 28

    26 EFFECTS - NOISE GA TE & BOOST Noise Gate A Noise Gate is generally used to attenuate the signal when no signal is present and thus attenuate the hiss, hum and other noise you might have on your system. Of course a Noise Gate is not the solution to any noise problem. Y ou should try to avoid the noise in the first place. Problems with noise c[...]

  • Page 29

    27 EFFECTS - MOD Detune The detune effect is – to some extent – similar to a chorus: The source signal is split and a specified amount of the signal is detuned by an adjustable amount of cent s (100 Cent = 1 semitone). The main dif ference between the detune effect and the chorus ef fect is that the detune amount does not change: the modulating[...]

  • Page 30

    28 EFFECTS - MOD T r emolo A tremolo is basically a change of the signal level controlled by an LFO. The G-Natural of fers variations of this effect; ranging from sof t and smooth to hard and aggressive. Speed Range: 0.050 Hz to 20 Hz This parameter set s the speed of the effect. T empo Range: Ignore, 2 to 1/32T (T= T riplet & D= Dotted) When s[...]

  • Page 31

    29 EFFECTS - MOD Chorus The basic idea of a chorus effect is to split the signal and pitch modulate one of the signals slightly , then mix the two signals again. Speed Range: 0.050 Hz to 20 Hz This parameter set s the speed of the effect. T empo Range: Ignore, 2 to 1/32T (T= T riplet & D= Dotted) When set to any value between 1 and 1/32T . G-Na[...]

  • Page 32

    30 EFFECTS - REVERB Re verb T ypes G-Natural features four different reverb classics. All types have identical editable p arameters, but the reverbs’ characteristics vary . Spring The S pring algorithm is designed to reproduce the sound of old spring reverbs, such as the ones used in vintage guitar amp s. Hall The Hall algorithm simulates a rathe[...]

  • Page 33

    31 EFFECTS - DELA Y T ape The T ape Delay simulates historical, tape-based delays, including the clipping sound that occurs when the Feedback parameter is yanked p ast the 100% point. T ry experimenting with a high Feedback level combined with the high-cut filter . Dynamic The Dynamic Delay is a feature that was initially introduced in the world re[...]

  • Page 34

    TECHNIC AL SPECIFIC A TIONS 32 Digital Input s and Outputs Connectors: Formats: Sample Rates: Frequency Response DIO: Analog Inputs Connectors, balanced: Impedance - (Balanced/Unbalanced) Line Input Level @ 0 dBFS: Line Sensitivity @ 12 dB headroom: Instrument Input Level @ 0 dBFS: Instrument Sensitivity @ 12 dB headroom: Mic. Input Level @ 0 dBFS:[...]