Cutting-edge reverb, delay, and modulation from one of the best-respected names in the biz.
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!
- Mono and stereo compatible