TC electronic G Card User Guide

CONGRATULATIONS

CONGRATULATIONS ON THE PURCHASE OF YOUR NEW G-CARD.

WE HOPE THAT YOU HAVE AS MUCH PLEASURE USING IT AS WE HAD MAKING IT.

1

BEFORE YOU START USING THE G-CARD

The G-Card requires that the G-Force has a

current software version of 1.13 or later

installed.

This is what you do to check your

software version and load the new software:

- POWER OFF YOUR G-FORCE.

- INSERT THE G-CARD.

- POWER UP.

If the G-Force card prompts “Card Accepted”,

you have the right software and you can start

using the card right away. If the G-Force

prompts “New Card”, you will need to update

the G-Force software.

- POWER OFF.

- POWER ON IMMEDIATELY WHILE PRESSING

AND HOLDING THE ENTER KEY.

- PRESS THE ENTER KEY TO LOAD THE

NEW SOFTWARE.

After a brief pause, the G-Force will begin

loading the new software.

When the G-Force reads “Load PCMCIA”

again, dial the Value wheel to “Start” and

press Enter.

The G-Force now starts up. Note that the

software version number during the start up

sequence has now changed to 1.13.

HOW TO USE THE G-CARD

The G-Card contains 245 presets partitioned

into three banks. When you want to load the

presets, insert the G-Card and press the

Recall key.

You can now choose between the three

banks of the G-Card by placing the cursor on

the “bank” selector and dialing the Value

wheel. Banks 1 & 2 contain 100 presets each

and bank 3 contains the last 45 presets.

Select the bank you want to recall, and

move the cursor back to the “preset”

parameter. Now use the Value wheel to scroll

through the presets and press the Enter key

to load the new preset.

NOTE: THE G-CARD IS A READ-ONLY TYPE CARD.

THIS MEANS THAT YOUR CHANGES MUST BE

STORED IN THE G-FORCE USER BANK.

2

CHANGES FROM SOFTWARE V1.12 TO V1.13.

SOFTWARE VERSION 1.13 CONTAINS THE FOLLOWING CHANGES:

MIDI PROGRAM CHANGE RE-TRANSMIT

The G-Force is now capable of re-

transmitting an incoming MIDI prg. change.

This feature has been added to the Custom

map on the I/O Setup, MIDI page. This

enables the user to not only remap an

incoming prg. change but also to determine

whether the current prg. change should be re-

transmitted to other devices receiving MIDI

information from the G-Force MIDI output.

NOTE: A PRG. CHANGE IS RE-TRANSMITTED ON

THE G-FORCE MIDI OUT CONNECTOR, WHILE THE

MIDI THRU CONNECTOR TRANSMITS A COPY OF

THE SIGNALS RECEIVED ON MIDI IN CONNECTOR.

BLOCK STATUS ON/OFF

SENT OUT AT PRESET CHANGE

The G-Force now sends out the block bypass

state at preset change. The bypass state is

sent out according to the MIDI controller

numbers set up in the I/O Setup, Control

page, e.g. the Compressor block’s bypass is

set up to be controlled by MIDI Basic ch,

controller #25, the bypass state will be

transmitted on this particular controller at

each preset change.

This feature can be used in conjunction

with some of the foot controllers on the

market that do not have the ability to update

bypass switches state at preset change. By

connecting the G-Force MIDI Out to the foot

controller MIDI In, the G-Force can now

update the foot controller’s bypass switch

state at each preset change.

PARAMETER DIAL DIRECTION

This parameter enables you to change the

cursor direction when dialing the Parameter

wheel. Choose whether the cursor should

move up or down when dialing the parameter

wheel clockwise.

The Parameter Dial Direction parameter

has been added in the Utility page.

MULTIPLE CARD BANKS

The G-Force is now capable of addressing

multiple preset banks on cards.

Store to card banks: Insert card. To store

a preset to a particular bank, press the Store

key and scroll the storing spaces using the

Value wheel until you see the desired card

bank and storing number. Press Enter to

3

confirm. The total number of banks depends

on the card size, e.g. a 512kb card can hold

up to 9 banks of 100 user presets.

Recall from card banks: Insert card. Press the

Recall key. Move the cursor to the "bank"

selector and dial the Value wheel to select the

desired bank. Move the cursor back to the

"Preset" parameter. Scroll to the desired

preset and press Enter to load the new

preset.

CARD TYPES USED FOR MULTIPLE BANKS

S-RAM Type 1 PCMCIA cards, with minimum

64kbytes, maximum 2Mbytes.

If the card has been used with earlier version

of the G-Force software, the card has to be

formatted in order to be able to address

multiple banks. This is done by “dumping” a

copy of the internal user bank to the card.

- PRESS UTILITY.

- SELECT "USER BANK TO CARD" AND

PRESS ENTER.

The User bank will now be copied to the card

and the card will be formatted during this

action.

WARNING: THIS ACTION WILL DESTROY ALL DATA

ON THE CARD.

CHANGES FROM SOFTWARE V1.12 TO V1.13.

4

TC Electronic would like to thank all of the artists involved with this project.

Additional G-Force presets were provided by:

Andrew Schlesinger, Michael James & Keith Wechsler, Craig Anderton, Blues

Saraceno, Brian Swerdfeger, Bernie Chiaravalle, Matthew Nelson, Gunner Nelson,

Guy Defazio, and Tomo at Rudy’s Music Center, NYC.

DAVID ‘FUZE’ FIUCZYNSKI

David ‘Fuze’ Fiuczynski has been twice hailed by Guitar Player magazine as an

important guitarist to watch. He has also been enthusiastically reviewed by

Musician, Pulse, Interview, Downbeat, Jazz Times, JazzIs and numerous other

magazines worldwide. For the past twelve years, he has been the band leader and

primary writer for the eclectic and highly acclaimed group, Screaming Headless

Torsos, touring worldwide supporting two album releases. He also has two other

current projects: David Fiuczynski Fuzetet and Strawberry Acid Lab. ‘Fuze’ has

performed, toured and/or recorded with the artists Me’Shell NdegeOcello, Bernie

Worrell, The Brecker Bros., Vernon Reid, Don Pullen, John Zorn, Lonnie Smith, Bob

Moses and many others. Fiuczynski was born in the United States and raised in

Germany. He returned to the U.S. for college, and was awarded a Bachelor of Music

degree from the New England Conservatory in 1989.

‘Fuze’ currently lives in the New York City area.

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5

KERRY MARX

Kerry Marx is a Nashville, Tennessee based “first call” session guitarist. He is

currently the house “picker” on The Nashville Network’s “Prime Time Country” daily

television show. Kerry’s session career varies from major record label releases for

Bob Dylan and Johnny Cash to Stage, TV and Recording performances with Shania

Twain, Amy Grant, Keith Richard, John Fogerty, Neil Young, Santana and many

other major artists and acts. Kerry has also played on many Live TV appearances

and sessions as well as on a plethora of advertising jingles. He has also toured the

U.S., Europe & Japan with country music artists like Johnny Cash, Ronnie Milsap,

Jerry Reed and Ray Price.

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ADAM ROGERS

Adam Rogers lives and works in the New York City area as a session and performing

guitarist. Adam’s live playing and record date experience includes gigs and

recording sessions with artists such as The Brecker Bros., Gil Evans Orchestra, Bill

Evans Band, Walter Becker(Steely Dan), Lost Tribe(co-leader), Gil Goldstein, Jack

McDuff, Groove Collective, Tango Kings, Mike Maineri and others.

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O RGAN

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INFX PRODUCTIONS

INFX Productions is comprised of two individuals, Roey Shamir and Angela Piva,

who both function in a variety of creative and technical modes. Serving as album and

movie soundtrack mixing and recording engineers; as well as also functioning as

songwriters, producers and remixers for other album productions. Additionally,

INFX’s in-house audio lab and studio serve as official alpha/beta test site to several

Computer Hardware/Software, Musical Instrument, Pro Audio and Internet

companies. Projects include remixes for Robert Palmer, Rod Stewart, Ashford &

Simpson, LL Cool J, Sting, Roberta Flack(Quincy Jones) and Yoko Ono. Recent

recording projects included Mary J. Blige, Naughty By Nature, Robin S, Next, Zhane,

Groove Theory, Changing Faces and Az Yet.

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DAVID TORN

David Torn hails from the upstate New York area. He was twice voted by Guitar

Player Magazine Reader’s Poll, Best Experimental Guitarist in 1995 & 1997. David

has played guitar on sessions for artists of k.d. Lang, Andy Summers, Jewel, Mark

sham, Ryuichi Sakamoto, Jack Bruce, Bill Bruford and others. David has provided

guitar textures as a soloist on film projects for: Conspiracy Theory, Kalifornia,

Airheads, A Dangerous Woman, The Chamber, Storyville, Reversal of Fortune, Short

Cuts, Kiss The Girls, Romeo Is Bleeding and many other major film soundtracks. He

has also produced numerous recording projects.

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MICHAEL BRADFORD

Michael Bradford is a musician(guitar, bass, keyboards, drums), recording engineer,

MIDI programmer and sound designer, living in the Los Angeles area. His

discography credits include Terence Trent D’arby, Madonna, Anita Baker, Spice

Girls, Soul Asylum, Brownstone, Keith Washington and Jennifer Holiday amongst

many others. Michael has also worked with composer Hans Zimmer on the Robert

Deniro film “The Fan”, as well as with arranger/conductor Paul Buckmaster on

numerous television and film projects.

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JERRY MCPHERSON

Jerry McPherson currently resides in Nashville, TN where he has done guitar

session work for over 20 years.

For the last 14 years, Jerry has toured worldwide and recorded with Amy Grant

as well as appearing live on the Grammy Awards Show, The Tonight Show starring

Jay Leno, and Late Night w/ David Letterman. Other session work includes:

Hank Williams Jr., Barry Manilow, Michael Bolton, Reba McIntire, Bruce

Springsteen, Vanessa Williams, Peter Cetera, Kenny Rogers, Take 6, Michael W.

Smith, DC Talk and BeBe & CeCe Winans. Jerry stays busy doing sessions,

songwriting, producing, gear programming, collecting vintage guitar gear and film

scoring.

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11

FRANK GAMBALE

Anybody who keeps up with developments in modern guitar styles and techniques

needs no introduction to Frank Gambale. From his days as guitarist with Chick

Corea’s Elektric Band, through his eight solo releases, Gambale has displayed his

style and guitar virtuosity in a variety of musical setttings. Although Frank acheived

terrific notoriety as a result of his years in Corea’s groundbreaking jazz fusion group,

the popularization of his guitar technique known as “sweep picking” has made him

an influential player to both metalheads and jazzers alike. Frank, who originally hails

from Australia, currently resides in Los Angeles where he is Head of the Guitar

Department at the L.A. Music Academy.

Frank also spends a great deal of time touring and giving guitar seminars worldwide.

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DWEEZIL ZAPPA

Dweezil is the prodigal son of the late rock iconoclast, Frank Zappa. Dweezil carries

on his father’s legacy as a rock guitar pioneer. Besides his famous dad, Dweezil’s

guitar playing influences include Edward Van Halen, Randy Rhoads, Jimmy Page,

Angus Young and Warren DiMartini. In addition to three solo releases and a

collaborative project with his brother Ahmet, Dweezil has played guitar on projects

for Tim Pierce, Blues Saraceno, Spinal Tap, Extreme, Sam Kinison, The Vandals,

and Winger as well as playing on various movie scores. Dweezil currently lives in the

Hollywood Hills where he continues to play, record and collect an impressive array

of vintage guitar equipment, including a Fender Stratocaster that Jimi Hendrix set on

during a concert in Miami, Florida.

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JOHN JORGENSON

John Jorgenson is a guitar player’s player. John is the founder and leader of the

Hellecasters, a trio of virtuoso guitarists which includes the talents of Jerry Donahue

and Will Ray. John is also known for his participation in the legendary country-rock

group The Desert Rose Band, which included original Byrds member Chris Hillman.

John is currently on a worldwide tour as one of the two guitarists in the Elton John

Band. John currently resides in Los Angeles and lists his musical influences as The

Beatles, The Rolling Stones, The Byrds, Santana and The Cream, among others.

Born in Madison, Wisconsin in 1956, the multi-talented Jorgenson has been playing

piano since age 5, clarinet since age 8, and guitar since he was twelve years old.

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HENRY KAISER

Widely recognized as one of the most eclectic and innovative guitarists, improvisers

and producers in the fields of rock, jazz and experimental music, California-based

musician Henry Kaiser is one of the most extensively recorded as well. Having

appeared on more than 140 different albums. A restless collaborator, Henry not only

produces and contributes to a staggering number of recording projects, he also

performs frequently the U.S.A., Europe and Japan with several regular groupings as

well as solo guitar concerts and concerts of freely improvised music with a host of

diverse instrumentalists. Henry has collaborated with such artists as Herbie

Hancock, Richard Thompson, David Lindley, Bob Weir, John Abercrombie, David

Torn, Bill Frisell and the late Jerry Garcia amongst many, many others.

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DAVID COFFIN

Sound designer, electronic guitarist, and harmonic channeller David Coffin came to

our attention through his reputation as a prolific, imaginative and innovative

programmer of new sounds for the Roland VG-8 guitar product. His effects credo is:

“The effect should inspire new music!”, and accordingly his patches are almost

always intended to transform the input source, not just add a “glow” to it. Multiple,

real-time parameter modulation via foot pedals and input level is central to his

current musical explorations, and explains why the G-Force has so captured his

allegiance and imagination.

You will hear this in his presets. Don’t try them without an expression pedal!

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LUKASZ GOTTWALD

Lukasz Gottwald, born in 1973, has played guitar since he was thirteen and attended

The Manhattan School of Music for two years. Lukasz has played with artists the

likes of Herbie Hancock, Michael Bolton, Phoebe Snow, Jack McDuff and Shaba

Ranks. He has released his own 12” project under the name of “Kasz” for Rawkus

Records, and has two tracks on a new compilation, “Born to I’ll” featuring The

Chemical Brothers, Leftfield, The X-Men and others. Lukasz recently produced and

arranged the soundtrack theme for the feature film, “Mortal Combat”. In addition,

‘Luke’ has played with the house band for the weekly TV series “Amateur Night at

the Apollo”, and is currently the house guitarist for the legendary TV show, Saturday

Night Live. He currently lives in New York City and his favorite color is blue.

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MICHAEL CIRAVOLO

SCHECTER GUITAR RESEARCH

Transplanted New Orleans native Michael Ciravolo moved to Los Angeles in 1987 as

guitarist and founding member of the perennial gothic group Human Drama. Ciravolo

left the band after the group’s two RCA releases to concentrate on producing and to

launch his Trauma Ward Studio. Recent productions include releases by Shadow

Project, I Found God and Drain the Doves. Michael has recently returned to the

Human Drama line-up to record the band’s new live CD on Triple X Records. The

band, including Ciravolo, are also recording tracks at Trauma Ward for their next

studio release.

The guitarist had also joined the British group Gene Loves Jezebel for their

recent U.S. anniversary tour. Michael continues to work with GLJ’s lead vocalist

Michael Aston on some upcoming live appearances and a possible 1998 release. In

all his “spare” time, Ciravolo is the director of Schecter Guitar Research, a Los

Angeles based guitar manufacturer.... and is also working on Stun Gun, which is his

new duo with fiance Tish Carter. They plan to release the CD in the early summer.

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MATTE HENDERSON

Guitarist, Matte Henderson did undergraduate work at Simon’s Rock College,

studying North Indian Classical, Balinese Gamelan, Turkish as well as traditional

Western Classical Music. Matte was one of two teaching assistants chosen by

Robert Fripp(guitarist for the group King Crimson) for the League of Crafty Guitarists

Program. He compiled his MFA requirements at Bennington College while pursuing

his studies with Robert Fripp. He currently lives and works in the Woodstock, New

York area where he records and writes with a variety of artists. Matte appeared on

the multi-platinum debut solo album by Natalie Merchant(10,000 Maniacs) entitled

“Tigerlily”. He recently engineered and performed on two tracks on a Mercury

Records project with artist Kinnie Starr, whose performances at the 1997 Lilith Fair

Tour reaped critical acclaim from publications such as Rolling Stone and Spin. The

album, “Tidy”, was released in the summer of 1997.

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MICHAEL SEMBELLO

Originally groomed to be a jazz guitarist, Michael Sembello started in the music biz

with Stevie Wonder in the seventies.

His friend was auditioning as bassist for an upcoming live tour and Michael

tagged along, despite not knowing of any of the songs. To his surprise, Stevie

recognized his musical proficiency and hired him on the spot (the bassist,

incidentally never made the tour). Before being widely recognized by the world for

his work on the Flashdance soundtrack writing, playing and singing the hit single

“Maniac”, Michael had already established a relationship with such artists as Sergio

Mendez, George Duke, Quincy Jones, David Sanborn, Diana Ross, Seals and

Crofts, The Jacksons, Minnie Ripperton, Donna Summer, Chaka Chan, Kimiko,

George Benson, Jeffrey Osbourne and many others. His current release is

Backwards in Time which is available on Nippon Columbia records offers a mix of

R&B, jazz and pop. Between conducting sleep deprivation experiments and

awakening helices, he has also managed to lead the group, The Bridge which

features Nate Watts, Daniel Jobim, Vinnie Colaiuta, Paulinho Da Costa and Edu

Falcao.

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YLON 5 THS

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SEAN BALLOU

SOLDANO CUSTOM AMPLIFICATION

Sean Ballou has been a musician for nearly all of his life with wide ranging

experience as a guitarist and guitar technician. After years of honing his skills

building guitar rigs and working as a guitar amplifier and rack specialist in retail

stores, he is now plying his trade building amp rigs at Soldano Custom Amplification,

where he currently holds the position of Vice President.

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SEAN BERESFORD

MESA/BOOGIE

Sean Beresford has worked for Mesa/Boogie in the capacity of Artist Relations

Manager for the past five years. Before settling down in Northern California, he was

a touring guitar technician with the likes of Living Colour, Lou Reed, Ministry and

Level 42. Sean has built many guitar and keyboard rack systems for artists that he

has toured with in the past, and since working for Boogie has set up his own rack

building company named Radical Rack Design. Since the inception of the company,

Sean has built systems for Metallica, Neal Schon, Bodycount, Ministry, Testament,

Vernon Reid, Rob Wasserman and others. As a rack builder and programmer, Sean

says he recommends TC’s G-Force and other TC signal processors to his artists

because of “their uncompromising fidelity and unmatched beauty of tone”. Thanks

Sean!

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BOB BRADSHAW

CUSTOM AUDIO ELECTRONICS, INC.

Bob Bradshaw, the master builder of custom guitar rigs, established himself with his

invention of an effects-switching system that didn’t degrade a guitars signal.

Bradshaw’s anonymity was short lived, as raves about his switcher spread through

the musical grapevine. Session players, whose work demanded noise-free sounds

on command, were his earliest regular customers. Studio applications were fine, but

Bradshaw always envisioned his gear as performance oriented. Eventually, word

reached some of rock’s most dynamic players – Steve Lukather, David Gilmour, and

Edward Van Halen. As founder and CEO of Custom Audio Electronics, located in

North Hollywood, California, Bradshaw recently wrote a letter to us at TC about the

G-Force. He commented, “I must tell you, this unit really restores my faith in what a

multi-effects processor should be able to do! The sound quality and especially the

control capabilities are the best I have ever seen at any price.” Thanks Bob!

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PAUL JACKSON JR.

Artist, Guitarist, Producer, Composer, Arranger, Paul Jackson Jr. is all of these. Paul

has been an “A” list recording session and live concert Guitarist-for-Hire for the best

and biggest acts in the music business. His recording session and live appearance

credits read like a who’s who of the music biz: Michael Jackson, Quincy Jones,

Whitney Houston, Barbara Striesand, Luther Vandross, Lionel Ritchie, Anita Baker

and innumerable other musical legends. Paul has also been busy playing on music

scores for films such as: “Tootsie”, “Nightshift”, “The Golden Child”, “Rain Man”,

“Endless Love” and for television shows such as:”Moonlighting”, “Designing

Women”, “St. Elsewhere”, “Heat of the Night”.

Paul also has composed, produced and/or arranged songs for Natalie Cole,

Bobby Brown and Jermaine Jackson among others. Paul currently resides in the Los

Angeles area.

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JUSTIN MELDAL-JOHNSEN

Justin Meldal-Johnsen is an L.A.-based musician/songwriter/producer Justin Meldal-

Johnsen is an L.A.-based musician/songwriter/producer who’s activities center

around playing bass guitar for artists as diverse as Beck(on Geffen Records) and

Tori Amos(on Atlantic Records). Justin has been prominently featured in recent

articles in Bass Player Magazine, Bass Frontiers, and Livewire Magazine. Always a

“sound” person, he frequently uses unusual sonic treatments on his bass mostly

reserved for guitarists or keyboardists both live and in the studio. The G-Force

processor is in his rack supplying a broad range of interesting textures. He recently

completed work for Tori Amos on her upcoming album, and is about to commence an

Austrailian Tour with Beck to round out the worldwide success of Beck’s “Odelay”

album. In addition, Justin is currently recording his own material for a solo project in

his home studio, collaborating with the band Amnesia for their forthcoming single

“Lingus” on Island Records, and collaborating with Ken Andrews, former

singer/songwriter for the band Failure on Warner Bros. Records. In 1998, Justin will

be doing more touring as well as playing on Beck’s next album release.

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TREY GUNN

Trey Gunn, a native Texan who now resides in New Mexico, began his musical life

at the age of 7 years playing classical piano. His interest in music grew through

various instruments – electric bass, electric and acoustic guitar, keyboards, and now

the touchstyle guitar. Trey has toured and recorded with many modern day masters

in their fields -- Robert Fripp, David Sylvian, Michael Brook and Toni Childs. He is

currently a member of one the most unusual bands in rock history, King Crimson. For

his role in this configuration of the group(an unusual ‘double-trio’ line-up with two full

rhythm sections) Gunn has helped evolve a new and unique instrument. Designed

and built by Mark Warr of Warr Guitars, this instrument is an 8-string guitar with the

range of a piano. It can be heard in depth, on Trey’s recently completed 2nd solo

album “The Third Star” on Discipline Records. Trey also is the leader of The Trey

Gunn Band, a quartet including Chris Cunningham (also on 8-string Warr guitar),

Tony Geballe(electric & acoustic guitars) and Bob Muller(drums, tabla & hand

percussion).

C2 64 S

US4 PEDAL

C2 65 H

OPE

DDL DYNAMIC P AN

C2 66 8VA S WEEPS

C2 67 PEDAL+8VA DDL DYNPAN

C2 68 8VA U P D YNAMICS

C2 69 5+8VA U P D YNAMICS

C2 70 CHORD D ESTROYER

C2 71 8

VA U P D YNATTACK

C2 72 P

ANSQUISH

D YNAMIC

C2 73 RHYTHMIC P ITCHA SCEND

C2 74 PITCH M OD P AN S ICKO

C2 75 WILD D UCK

C2 76 LFO FUNK

C2 77 BIG S OFT P ITCHER

26

ERIC JOHNSON

Eric Johnson has the remarkable ability to create music that ranges from blistering

to soothing. Filled with vibrant, rich textures, Johnson’s playing transports listeners

to places beyond the imagination. His many accolades include the Grammy for “Best

Rock Instrumental” and six Grammy nominations (including this year’s nomination

for “Best Rock Instrumental”). Voted “Best Overall” guitarist by the readers of Guitar

Player Magazine for 4 consecutive years, Johnson was then inducted into the

magazine’s “Gallery of Greats”. Due to be released this year, are two historic

releases of early material and Eric’s new album on Capitol. Watch for them!

C2 62 C

HORUS G ROOVE

C2 63 E

CHOPLEX

27

VERNON REID

Vernon Reid was born in England but spent most of his childhood on Brooklyn, New

York. At the age of fifteen Vernon’s career as a guitarist began. Vernon, who

attended Brooklyn Tech, had the opportunity to study guitar privately with jazz

masters Rodney Jones and Ted Dunbar. When Vernon was not busy mastering the

the “harmelodic” theories of Ornette Coleman as guitarist of the group Decoding

Society, he spent his time gigging with a wide array of artists ranging from the pop

producer Kashif, to the jazz-punk-dance band Defunkt. The group Living Colour

began as a trio in 1984. Around the same time, Vernon and journalist Greg Tate

formed the Black Rock Coalition. Living Colour released four albums, sold over four

million records worldwide, and have won numerous awards including two Grammy

Awards, and two MTV Music Video Awards. Since the formation, and subsequent

disbanding of Living Colour in January 1995, Vernon has appeared as a guest

guitarist on the records of many diverse artists. He has also been involved as

composer on several feature film projects. In December of 1995, Vernon completed

work on his first post-Living Colour record, titled “Mistaken Identity”, which Vernon

co-produced with legendary jazz producer Teo Macero, and Prince Paul Houston,

one of the premier producers of hip-hop and rap music. Vernon is still a New York

City resident and is currently producing an album for Salif Keita, a phenomenal

singer and composer from the African country of Mali.

C1 73 GHOST H EART

C1 74 ODD B ALL

C1 75 WHAT RU LAUGHING AT

C1 76 AMNIOTICA 1

C1 77 AMNIOTICA 2

C1 78 S

ARGGASSO T RENCHCOAT

C1 79 SNAPS YNAPSE

C1 80 CHORV YRBE

C1 81 THE B IG C

C1 82 WAHEKOW AHD ELAY

C1 83 SECRET M ISSIONARY

C1 84 T

HEO NLYG OODI N YOUISME

28

29

STEVE VAI

Steve Vai isn’t happy unless he’s pushing his personal and musical boundaries to the

extreme. Whether he’s donning the hat of a guitar player, songwriter, producer or film

score composer, all of his projects share a common thread of intensity. Following

Steve Vai’s career is like winding through a labyrinth. The creative genesis during his

early years at Berklee College and five years working with mentor Frank Zappa laid a

musical foundation from which Steve still draws upon. Within five years of establishing

himself as a solo artist, Steve released his own independent record, recorded an

album with Alcatrazz, recorded two albums and toured with veteran rocker David Lee

Roth, recorded and toured with multi-platinum act Whitesnake, and appeared in the

feature film “Crossroads”. The Grammy-nominated “Passion and Warfare” album

released in 1990 broke all solo guitar boundaries. In 1993 Relativity Records released

“Sex and Religion”, a collection of songs written, engineered and produced by Steve.

In March of ’95, Relativity released “Alien Love Secrets”, which earned Steve a

Grammy nomination once again. Between all of his projects, Vai has sold over ten

million records to date. In March of 1994, Steve was awarded a Grammy for Best Rock

Instrumental Performance for his work on the critically acclaimed “Zappa’s Universe”.

Steve’s most current album “Fire Garden” was released in September of 1997 on Epic

Records. A world tour was set in motion, which included over 120 shows, 40 of which

were in coordination with guitar greats Joe Satriani, Eric Johnson, and Kenny Wayne

Shepherd. The G3 Live album was released June 3rd on Epic Records.

C2 84 BELOVED C2 85 SOUL R APE C2 86 W

ARM P

LACE

C2 87 MASSACRE C2 88 WAVES OF L IGHT

C2 89 HIPNESS C2 90 UPSY-DAISY C2 91 F

LASHBACK

C2 92 HER L ITTLE

S ECRET

C2 93 DRY A S A CLOUD C2 94 WALKING IN THE

W

ORLD

C2 95 VOODOO P UKE C2 96 DOWN TO E ARTH

30

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31

Run Like Hell

Tremendous Delay

Drunk at Sea

VibroVerber

Rhyhmic

Wah Octadelay

Harmonizer Pedal

Heavens Arpeggiator

Hells Arpeggiator

Aural Vertigo

Revvy Chorus Delay

Basie Envelopes

Revwapanic

High Life Delay

Subtle Jazz Reverb Delay

Transwah Organ

Philly Wah

Rhythm Spread

PJs Autowah

Pedal Martians

Instant Pumpkin

Blues Drive Delay

VariSpeedFlangeOrgan

Mutron Bass Pedal

PhaserBass VariSpeed

Power Sweeper

Funky Mosquito Buzz

Jimi's Cry Baby

Woo Power

Fuzy's ARPsynthLead1

VintageARPsynthQuack

Clean/Dirty

Clean

Clean/Dirty

Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Dirty

Clean

Clean/Dirty

Clean

Dirty

Clean/Dirty

Clean

Clean/Dirty

Dirty

Clean/Dirty

Clean

Clean/Dirty

Clean

X

CARD NUMBER NAME PREAMP SETTING PEDAL

Card 1

31

Rhythmic Chorus/Delay reminiscent of the Pink Floyd song of the same name

Tremolo with rhythmic Delay

Sea sick drunken Chorus/Reverb/Compressor/Filter.

Ethereal Tremolo set to 100% wet. Sound fades in.

Short repeating Delay with modulation. ASDR1 assigned to control Pitch

Ext 1 controls Mix level of Pitch2 Voice

Works better on lower registers. Ext1 > Pitch Voice1 & Voice2

Cascading fifths going in an upward direction; Great for bending notes

Cascading seconds going in a downward direction; Great for bending notes

Head spinning auto-panner. Best with headphones.

Reverb, Delay, Chorus for big washy chords

Pitch shift octave below w/ touch sensitive envelope filter

Touch sensitive; attack kicks in Wah and Reverb

Delay and Chorus for clean African or Calypso sound

Delay and Reverb; for use with tone rolled off guitar

Pan, Pitch and Filter; harmonized w/ touch sensitive envelope

Pitch detuned and delayed auto wah with that Philadelphia sound

Tempo controls Dual Delay after Pitch detuned and compressed sound

Ping Pong delayed wah wah

Pedal controls Pitch 1 Voice before Dual Delay

Instant Smashing Pumpkins sound.

Slight crunch with delay in back for soulful leads

Organlike Flanger - pedal controls "Leslie speed"

For Bootsy Collins fans - Pedal controls "Gulp"

Phaser Bass - Pedal controls Phaser speed

Distorted Resonance Pedal

Synthy sound for Bernie Worrell & P-Funk fans.

Distorted Wah Wah. Are You Experienced?

More synthy sounds for the P-Funk fans.

Arp synth sound focusing on the attack.

That classic Arp "quack" that Frank Zappa hated!

CL/DL

CR/DR

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DESCRIPTION TYPE

32

33

34

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60

61

62

Psycheledic Sweeper 1

Psychedelic Sweeper 2

Real Auto Wah

Flanged Cry Baby

Guitar Trio

Funk Rick O Shea

Bionic Seagulls

FazeTrem PedalShadow

Franks PanWah

Swell Strings Pedal

Sweltering Pedal

Tele Something Good

Tap Swell In

Pedal Major to Minor

Syntharpeggiator

PanningOctaveChorus

Thin Surfer Dude

Whales-Tap Delay

Piggy

Vital Idol

Ambient Stutter

Wash

Eno/Mono

Spider Talk

Visionary

Bridge of Size

Jezebel in Hell

Spazz Monkey

Miked JC120 Lator

Miked JC120 Lator 2

Miked Ampulator

Clean

Clean/Dirty

Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Dirty

Clean/Dirty

Clean

Clean/Dirty

X

CARD NUMBER NAME PREAMP SETTING PEDAL

Card 1

33

A searing pedal controlled alternative to a Fuzz-Wah lead sound

Variation on Psychedelic Sweeper 1

Strong well-defined Auto-Wah

Flanged Fuzz-Wah

E Dorian - Great Pitch-shift basic patch

Auto Wah + Slap Delay; Very cool combination for rhythm guitar

Guitar up an octave; reminiscent of Pat Metheny's GR-500

Phaser + Trem (interesting) pedal for slap delay; Very cool!

Wah plus Pan; Check it out with headphones or spread your speakers. Yeah!

Volume swell strings; beautiful; careful with the delay; use a pedal!

Very majestic swell chord sound with Tap Tempo Delay.

Basic country studio preset with quickly added options; Ext1 > Delay Mix

Big sound with phased chorus repeat. Tap for repeat tempo.

Solo sound. Control your own harmony.

Arpeggiates a 5th and 8va up in a sequence-like pattern.

Rich Panning Chorus with octave added

Reminiscent of 60's surf guitar.

Pedal swell into Delays, upper register sounds like whales.

Plug Direct for 'infamous' little amp tone

Pseudo 12 String Chorus

Verbed out rapid fire tremolo

Distant textural padding

Eno-esque delay into verb for E-Bow

Chorused delay dances into 'verbed space'; Pedal > Effect Mix

Evil Pitchshift FXed to hell; Pedal > Surround Pan speed

Trower-esque phased Strat

Pedal up & down for 'musical torture'

Quad Tap Delay; move pedal for interesting backwards 'verb' effect

Miked up amp simulation (Roland)

Miked up amp simulation (Fender)

DL/CL/CR

DL

CR

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CR

CL/DL

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DESCRIPTION TYPE

34

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90

91

92

93

Leslie Pedal

Pedal Board

Cyclopanner

Ambient Bloom 3

Ambient Bloom 4

Wonderful Life

Talk To Me Fuzz

FuzzFadeIn

FuzzWahPedal

Fuzz Funn

Ghost Heart

Odd Ball

What RU Laughing At

Amniotica 1

Amniotica 2

Sarggasso Trenchcoat

SnapSynapse

ChorVyrbe

The Big C

WahEkoWahDelay

Secret Missionary

TheOnlyGoodInYOUisME

Martino 1

Martino 2

Martino 3

SciFi Soundtrack

Nylon 4ths

Nylon 5ths

Engulfed

Sembello Blue EZ

Stringy 5ths

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Dirty

X

CARD NUMBER NAME PREAMP SETTING PEDAL

Card 1

35

Rotary speaker simulator (pedal rate and amount)

Multi FX Setup

Single Block Auto Panner

Random trails of delayed Octave up

Variation on above

Delayed fifths

Octave down with fuzz, and formant

Ext1 > Pit Mix Level, Drv. Fuzzy octave down

Ext1 > Formant Age/Sex, Sweep. Fuzzy formant wah

Violent sounding fuzzy harmonies in G major

Heavy long reverb with a light tremolo, notes drop over time slightly

Rapidly modulating C major scale with delayed oct up, and fourth

Ext1 > In level, Dly Feedback1. Sounds like tape run backwards at high speeds

Long shimmering reverb, slight popping reaction to loud notes

Variation on above with longer shimmering tail

Produces scary cello effect

Ext1 > Delay In level. Pitch shifted notes smoothly sweep up and down

Ext1 > Delay In level. Chorus and reverb rythem tone

Fast pan creates fast warbling tremolo effect with chorus

Auto wah with medium delay, reverb, and flange, good for funky rhythms

Long sustaining reverb w/slight detune, good for chords

Ext1 > Delay In level. Creates a harmony when playing a scale. Palm mute it!

Arpeggiates major chord down then up when playing a single note.

Variation creates dissonant sounding arpeggio over single note.

Variation creates upward major arpeggio over single note.

Variation creates diminished arpeggio. Play sing. Notes 3 frets apart

Dual 4th harmonies, good for modern sounding leads

Variation on Nylon 4ths only with 5ths instead

Creates a flanged delay effect similar to a car passing by.

Emulates the old blue MXR box, adding an octave lower. Try single note runs

Adds a fifth up and down creating a euphoric symphony effect

CR

CR/DR/DL

CR/CL/DL

SFX

DL

SFX

CR

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CR

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DL

DESCRIPTION TYPE

36

94

95

96

97

98

99

100

1

2

3

4

5

6

7

8

9

10

11

12

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14

15

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20

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23

24

Backwards in Time

SembelloPulse

Double Mint

Lots of Overtones

Medium Phuz + Mutron

Sweepin Repercussion

Swirling and Wet

Infinite Filtersweep

Clean Tele + Vibe

Alice Warble

LFO Surround Pan+Dly

Play 1 Low Note

Jangle King

Rich and Clean

Hillbilly Hippy Yeah

Trancer Blaster

The Crystal Cave

Im Down There

Echo 5 Buz Chamber 2

Pik n Pedal Paintbox

Hi5Buzz

Trem-o-Verb-a-tail

Vapor Trails

Chicken Dust

Raver Rezz Guitar

Fart Jello

Sexy Chicken

Funky Pigeon

Space Albatross

Big Soft

Play in 5ths Please

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

X

CARD NUMBER NAME PREAMP SETTING PEDAL

Card 1

Card 2

37

Fuzz tone with a doubling effect that is attack dependent

Dual pulsing high octaves, like a keyboard at a sporting event

Ext1 > Cpr Adv. In level. Doubling effect on delay, good for leads

Short flanged effect with doubling effect on delay. "Playing inside a can"

Creates a funky sci-fi sound that is watery.

70's funky auto wah feel ala Starsky and Hutch or Shaft

Slow modulated flanger-Vibey when clean, swooshy when dirty

Adds an octave up and down in C Maj, produces laser gun effect

Creates an old 50's Fender Rockabilly feel w/slapback delay

Sounds like a fast spinning leslie

Surround panner with an irregular spin cycle

Makes a sound effect like a synthesizer volume swell

Stereoized 60's California sound

This is a good overall patch for both clean and dirty tones, rhythm or lead

Ext 1 > Many. Adds an octave lower, and a long complex quad delay trail

Ext 1 > Many. Dynamic wah with 4th down, 5th up creates out of tune feel

Ext 1 > Pit 2Voice Lvl 1, Dly One in Level. Chattering sound in the background

Ext 1 > Dly In lvl. LFOs on pitch create random note chaos

Ext 1 > Many. Added fifth with delay and phaser-like American Indian music

Ext 1 > Many. Tremolo sound similar to "The Smiths" factory preset

5ths kick in on softer notes, disappear when playing louder

Ext 1 > Many. Fast tremolo while playing, strange reverb trail when not

Ext 1 > Dly Quad Mix Lvl. Creates horrific reverb trail when playing stops

A driven modulated phaser into a slight underlying pitch change w/ comp.

Ext 1 > Fil Res hi cut freq. Light drive with slow surround panner

Slight reverb into driven panning with a spatializing pitch shift

Compression into drive & tempo controlled LFO wahwah.

Same path as "Sexy Chicken" with the formant filter driven by ADSR input

Compression into octave down pitch-shift w/ resonance filter into slap delay

Computer-like sound effects

Ext 1 > Cho Fl mix lvl. When playing in fifths notes warble 1/2 step

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DESCRIPTION TYPE

38

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

54

55

Dark+Subtle

Purty Sizic Shpace

Slowfar

Barroom Splatter

Float Around

Sweeping Saw Pulse

Medieval Space

Slow Vibro Sweep

Alaska

Corrines Shimmer

Dis-Orient

Shimmering

ECM After Dark

Mellow Blue

Groove Pick

Metropolis

Depth

Animal

Strat Gotyer Tongue

Stratocas Maximus

Waffles

Cat Bark

Reverse Suck

Hibandfunkatron

HiQmuchron

Methane Knee

SquelchPappyPedal

Neptune

Funkadeliciousness

Retro-Verb

Talk Talk

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

X

CARD NUMBER NAME PREAMP SETTING PEDAL

Card 2

39

Produces wraith like noises while emulating a reverse reverb

Good overall patch for leads with a little delay

Try beginning of "Sweet Emotion" in A. Heavy ambient reverb trails

Doubling detune effect good for leads

Leslie like liquid with heavy reverb.

Distorted tremolo with ADR on wah filter creates slow phase like wah sweep

Laser-like space sound effects

Similar to "Sweeping Saw Pulse" but with less distortion

Deep reverb and shimmering chorus contribute to this cold sounding patch

Sounds like an old Fender amp with tremolo

Warbly Disoriented Flange/Tremolo

Bright shimmering Chorus (good for chords)

Mellow Harmonized Ambience (one-note Metheny)

Very reverberant-use with chords

Touch sensitive resonant filter with Pan and stereo slap Delay.

Classic Flanger with Reverb. Pedal controlled Delay mix.

Heavy Reverb, Chorus and Delay with a slow Panner

C major pitch-shifter set down a 5th with Reverb, Chorus and Delay

A little bit o' crunch

Direct Stratocaster Tone

Phasing Tremolo, Good for Chords

Squashed Filter; Cool funky sound

Cool backwards filter sound

The true funk joint

Think GCS

Ask for the French Toast recipe

Shut up and play your guitar some more

Think Maggot Brain

Delay modulated by Phasing and Flanging

Spring Reverb w/ delay slaps to imitate the "sproing" of springs.

Emulates my old talking Wah pedal from the mid-70's.

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DESCRIPTION TYPE

40

56

57

58

59

60

61

62

63

64

65

66

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68

69

70

71

72

73

74

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76

77

78

79

80

81

82

83

84

85

86

Pannergeist

Slingblade

Wow and Flutter

Cowboys

Head-East

Swingphase

Chorus Groove

Echoplex

Sus4 Pedal

Hope DDL Dynamic Pan

8va Sweeps

Pedal+8va DDL Dynpan

8va Up Dynamics

5+8va Up Dynamics

Chord Destroyer

8va Up Dynattack

Pansquish Dynamic

Rhythmic PitchAscend

Pitch Mod Pan Sicko

Wild Duck

LFO Funk

Big Soft Pitcher

Wahchoplexx

Womanizer

Two Tone

Bob's Auto Womp

Shimmer Without You

Trem-O-Vibe

Beloved

Soul Rape

Warm Place

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Dirty

Clean

X

CARD NUMBER NAME PREAMP SETTING PEDAL

Card 2

41

Backwards type FX.

Dark, mysterious tone ala Daniel Lanois. Expression pedal controls tremolo

Used an old tube Echoplex for comparison.

The Spaghetti Western Lives!

A patch which Zen Masters have used in their guitar rigs for centuries!

Another chordal pad sound

Chorus and delay, ideal for leads

Same as Same as "Chorus Groove" but without chorus

Ext 1 > Many. 4th and 5th added with pitch creating sus 4 feel

Fast panning occurs as signal decreases

Ext 1 > Formant Age/Sex, Sweep. Sounds similar to "Talking Whales"

Ext 1 > Many. Slow pan, pressing pedal down mixes in octave up

Adds an octave up during middle level notes. Disappears over loud & soft

Same as above but add a fifth

Very thick heavy metal type distortion patch

Only softer notes are processed an octave up

Sounds like the Doppler effect when playing-like notes speeding by you

Notes slowly rise at the end of a passage

Creates a chaotic jumble of notes with heavy reverb

Sounds like a gated short reverb

Rhythmic sounding funky wah staccato picking effect

This patch bends notes in a crazy random fashion

Auto wah with medium delay

Auto pan with dual detune. Add distortion, try "Day of the Eagle"

Low 5th and low octave w/different delay times creating random feel

Medium speed sci-fi pulsing on formant filter

Ext 1 > Rev Adv In Level. Pedal controlled reverb trail shimmers

Old Fender amp tremolo effect

Phasing & tremolo create rhythm to compliment the echoing of delays

Modulating spherical images with the fundemental tone an octave higher

Played in rhythm with delays, you can create a linear chordal flurry

SFX

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DESCRIPTION TYPE

42

87

88

89

90

91

92

93

94

95

96

97

98

99

100

1

2

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4

5

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7

8

9

10

11

12

13

14

15

16

17

Massacre

Waves of Light

Hipness

Upsy-Daisy

Flashback

Her Little Secret

Dry As A Cloud

Walking in the World

Voodoo Puke

Down to Earth

Staccato Funk

Chorusroom + Delay

Extreme Dual Delays

Simple Blues Delay

Talking Guitar

Ghengis Cohen

Sunset Drive

Back Seat Slap

Fretless Heaven

Down n Up Delays

Chorusplate Echo

Chatta Cross

Mod-u-lator

Wah Booty Room

Grungesweep Echos

ECM Echoverb

Brite Doubled Room

Glistener

1200 Below Zero

Voxsweep Spacedelay

Slap Happy

Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

Clean/Dirty

Clean

X

CARD NUMBER NAME PREAMP SETTING PEDAL

Card 2

Card 3

43

Played in rhythm with delays, you can create a bizarre sort of call & response

The plucking of nice chords gives an ethereal kind of phased tremolo heaven

A dynamic sensitive wha-wah with Mixolydian pitchshift makes it funky

A sustain sensitive octave jumping harmonizer with hard panned delays

Play lightly and leave a little space to kick in a distorted & demented universe

Phaser and Chorus speed that corresponds to Delay time

Delay, Pitch Detune & Tremolo feeding a Chorus, creating a watery feel.

Massive phasing & chorusing with harmonizing & inconsistent tremolo

This one uses the kitchen sink! The shifting of the tremolo is unique.

Clean rhythm tone with slight detuned Chorus.

Env > Formant Sweep. Compressed rhythm sound w/ a touch of flanging.

Medium Compression, Chorus, Room Reverb, short Delay

Two short, slightly compressed delays with reverb.

Distorted rhythm with short delay.

Pedal > Formant Resonance, Sweep & Age/Sex

Pedal > Formant FilterSweep; Deep Reverb w/ Chorus

Vintage fuzz sound with Chorus and Reverb for lead or rhythm.

Slapback delay with slight detuning; C Major harmonies

Slightly detuned Chorus

Distorted lead with Phaser panned delay; Env > Wah Wah Filter Freq

Emulates Plate Reverb

Env assigned to speed & depth of Phaser. 4 Tap Delay w/ 5 crosspan repeats

Watery sounding Chorus, highly compressed; C maj octave up

Tight Wah feel; Env > Filter Wah Wah Freq

Distorted phase echos with chorus; Pedal > Filter Phaser Speed

Short compressed stereo delays in reverb; LFO1 > Delay 1 Pan

Detuned Room Reverb with compression; Pedal > Fil Phaser Mix

Phased detuned chorus with medium delay; Pedal > Fil Phaser Speed

Phased octave lower

LFO1 assigned to Formant Sweep; detuned Chorus with long Delay decay

Large square room reverb with dual short delays

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Ducked Tape Delay

Emotional Lead

Lead 1

Wa Lead

Bombastic Raunch

Big Generator

Ping-Pong

Celestial Solo

Clean Dream Lead

Stereo Vibrato

Strum Chorus

Fusion Bass

Rick Bass

Echowobble

Refractions

Discipline

Roto Vibey

Sub Bass Earthquake

Q36 Space Modulator

James Brown Rhythm

Super Stereo Rhythm

Novo Tremolo

Rez-o-matic Rhythm

Rock n Rhythm Guitar

Metal Flange

Martian Lead Sitar

Big Lead

Panned Pitch

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CARD NUMBER NAME PREAMP SETTING PEDAL

Card 3

45

Env > Stereo Delay Out Level. Medium delay time

Smooth Lead with short delay

Oct up, 2nd voice slightly detuned, short delay, slight chorus.

Env > Wah Wah Filter Frequency.

Brown sounding rhythm with a touch of phaser.

Distorted lead w/ low octave, and 5th set to D Dorian mode.

Slow crosspan with long delay decay

G# Phrygian mode in huge square room.

Pitch Shift(4ths) with long reverb decay; Env > Delay out level.

Depth of vibrato assigned to envelope. Louder Playing=Deeper Vibrato

Compressed chorus w/ detuning; Env > mix level; short dual delays.

1 octave down; compressed feel.

Emulates Rickenbacher Bass Guitar.

5th and octave down with tremolo. Big sounding.

Ext 1 > Pit 2Voice Mix Level. 5th up, 4th down, sounds like a symphony

Delayed octave up and down creates illusion of several instruments

Medium fast chorus with tiny square room reverb

Octave down with chorus plus reverb

Marvin the Martian's ray gun

Bright, clean rhythm guitar sound w/o reverb. Some Comp., Env on Mix level

Env > Phaser speed & Flanger speed and depth. For dry stereo rhythm.

Medium speed deep tremolo. Dry sound, no reverb or delay.

Env > Formant Filter Sweep; Short delay & reverb; Good jazz guitar rhythm.

Dry rhythm guitar with chorus.

Slow speed Flange with metal distortion; Env > Formant Sweep

Env > flanger depth; Highly compressed work in progress

D Dorian mode set to 5ths & octave down; distorted lead tone.

Play scales with notes same length apart as delay. This will create harmony

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46

TC electronic G Card User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual