If you haven’t heard of the G Force Tuning System yet, then you might be surprised to know that you can get a guitar that can automatically tune itself!The Gibson automatic guitar tuning system isn’t the only one available but it’s one of the most well-known. What is the G Force Automatic Tuning SystemEssentially it is what it sounds like it is. It is an electronic system that automatically tunes your guitar for you.Like, really.It’s not like an electronic tuner that tells you how far off you are from being in tune.It figures out how far off you are and then tightens or loosens the strings automatically until they are in tune.All you have to do is turn it on, strum the strings and it does it for you.
You can also choose to do each string one at a time. But at no point do you ever touch the tuning pegs. They are tightened and loosened automatically.Importantly you do still have the option to tune manually.
But make sure the G Force unit is turned off before you do.How it WorksBasically there are small, lightweight motors inside each of the machine head. These motors can tighten or loosen the strings. The motors are attached to a controller module.The controller can sense the vibration of the strings.
G Force String Machine Installer Download
From those vibrations, the controller calculates the frequency. If the frequency is not what the string is programmed to be, then the controller sends a signal to the machine head motor and instructs it to either tighten or loosen until the string is vibrating at the frequency that the string is programmed to be at. Tuning All the Strings at Once (speed tune)To tune all strings at once all you have to do is to push the on button, strum all of the strings open and then when the G Force is done tuning (when all the LEDs are green) it turns off automatically.If any of the LEDs remain red then simply pluck that individual string until it is green. Tune Each String Individually (precision tune)If you want to tune each string individually (for more precision) then you hold the on button until the LED for the E string turns red.
Pluck the E string – once that turns green, the next string will come up. Then pluck that string.Keep going until each string has turned green (again it will turn off automatically once all the LEDs are green (i.e. Once all of the strings are in tune. Alternate TuningsThe G Force tuning system is set to tune for standard tuning as default.However, there are also several alternate tunings that you can select – plus you can program in your own custom tunings too.The tunings that are pre-set are separated into Green and Red pre-sets. How to fix blurry pictures. The blue pre-set is where you enter in your custom tunings.
It starts out as standard tuning until you program in your custom tunings.There are also low tuning pre-sets. These are the white and the yellow pre-set banks. Then there is a Magenta pre-set banks where you can do custom low tunings. The Magenta defaults to C tuning (which is C, F, A#, D#, G, C)The pre-sets are outlined in the table below.
RedGreenBlueWhiteYellowMagentaStandardOpen ECustom (user programmed)C TuningOpen CCustom (user programmed)DADGADOpen ACustomLow COpen C6CustomWhole Step DownOpen DCustomC SharpOpen BCustomDrop DOpen GCustomB TuningDouble Drop C#CustomHalf Step DownDobroCustomDropped CDouble Drop CCustomDouble Drop DAll 4thsCustomDropped BDouble Drop BCustomOnce you select an alternate tuning and have the G Force tune to that tuning it becomes the default. So the next time you use the G Force to tune it will tune to that.To make Standard tuning the default again you simply go to the red pre-set bank and select standard tuning. Re-StringingThe re-stringing process is slightly different – and you can use the G Force to wind your strings too.However, you cannot use a string winder when you have the G Force tuning system. Other functionsYou can also set the G Force to tune to another instrument. This requires some tuning by ear – but still makes the process faster.For example – you are playing with a pianist and the piano isn’t tuned perfectly.
You just tune one of your strings to the piano and then the G Force can tune the rest based on that one string. Can I add this to an Existing Guitar?The tech that goes into this has to be pretty precise.
So currently you can’t just buy a g force unit and install it on a guitar. To take advantage of the system you need to buy a Gibson guitar that already has the system.Does it Work Properly?A lot of people are skeptical of this type of thing actually doing the job properly. But this was also the case when electronic tuners first made it to the market.Yes, a lot of those weren’t great initially but now a lot of guitarists stake their reputation on them.Now, even if you haven’t heard of guitar automatic tuning systems before, don’t make the mistake of thinking they are new to the market. They have been around since 2008. So they’ve had 8 years and counting to actually make these things good.That said, there are still people who think that jury is out on this. Whilst, there are others who wouldn’t buy a guitar without it – because they spend so much more time playing their guitar and a lot less time tuning it.What’s been your experience?
If you’ve tried, or own a guitar with the G Force tuning system, how well do you think it works? Is it a Good Thing or a Gimmick?Is this kind of technology actually helpful? Or is just a selling point?Some seem to argue that this is something for lazy guitarists who don’t want to tune themselves – or for poor guitarists who can’t tune themselves – and that everyone should tune by ear.Others say it’s simply a convenient and fast way to tune – and that it doesn’t replace tuning by ear but simply allows for quick tuning saving time – and for a quick convenient way to tune on stage or if you playing with an orchestra. You can quickly and silently get in tune.
What do I think?I think that it would be more than handy to have for a stage situation. And for tuning to other instruments.I also think that some guitarists could use it exclusively and never learn to tune by ear – which wouldn’t be a great thing – particularly if your G Force ran out of batteries! And also because it’s a skill worth knowing.However, like electronic tuners didn’t, the G Force tuning system isn’t going to breed a generation of guitarists that can’t tune by ear.There’s a bit of a debate in the link below (you can also learn more about how the G Force works there too). Check out the comments at the end of the article – there are two comments by Joe Quimby and Dlydianb7 near the top – then scroll further down and you’ll see the start of their debate – a total of 6 comments back and forth (in my opinion Dlydianb7 was the clear winner).
More importantly – what do you think?Is this a good piece of technology?Is this something that will enhance the guitar experience or dumb it down?Is this something that you’d like to have on your next guitar?Just leave a comment in the comments section below. I’d love to hear other people’s opinions on this. Hi JohnYes, if you set the unit to Drop D tuning. Once setting the G Force to Drop D it will tune the Low E to D and the rest of the strings in standard tuning (as per what drop D is). You can also choose a number of other preset alternate tunings – and even set your custom ones that the unit saves for later.Once you select Drop D, then the G Force will automatically tune to Drop D every time you turn it on. That is until you select another tuning. So if you wanted to go back to standard tuning you would just select that and the G Force will adjust the tuning accordingly.Hope this answers your question.
Just got my first Les Paul I did not realize it came with the gForce. I do not like it. When you tune manually the tuners fight you it’s not a smooth experience at all.
It seems like a really really good idea but the functionality just isn’t there. You can have the guitar tuned to standard tuning and then turn the unit on 5 seconds later and press it to tune and the keys move. It should not lose tuning that fast. Maybe I have a funky unit. Maybe it’s a production quality issue because I hear some people love it and some people don’t. So maybe the individual units just aren’t up to Snuff yet.
I would think that after two years of putting these on guitars they would know that by now. I also wonder how much Havanese units on each guitar impacts the price.
Because I certainly would not have paid extra to have this thing. I think it is interesting that Gibson would address their known tuning issue by adding a G Force tuning system rather addressing the root cause. I have fender Strats and Teles and none of them, or any I’ve ever played for that matter in my 45 plus years of playing guitar have ever tuning issues or staying in tune once tuned. But, my Gibsons, a Les Paul, a Les Paul Jr and even a Melody Maker I bought for my youngest daughter, wouldn’t stay in tune for more than one, maybe two songs on a good night.
And recording damn, just frustrating. So, why doesn’t Gibson just address the root cause. After all, we are musicians and we know how to tune a guitar, what we don’t like is to have to do it 20 times per gig. I understand that their are g-force models for after-market installation. I am desperately interested in one for a 1974 Std LP. Also, I would like one for an Epiphone kona Flying V. By eye, the headstocks are indistinguishable, and I rarely carry calipers, etc.
To music equipment stores.I have a PRS Custom 24 but think I’d prefer it remain entirely original PRS, an ’89. If, though, very minute change in the guitar’s surface would allow an auto-tuner, it wouldn’t be outside of the question.I don’t harbor any hopes at this point of there being one for a Gibson Firebird (I wouldn’t either, Stratocaster minions would retrofit the six strings on a side config. If there were by now one.This I would have done a while ago, but didn’t have reliably trustworthy backup. Since Uli Jon Roth has them on his Sky Guitars, and raves about them, I’m taking that as a fair recommendation.
By Nick MagnusLong considered to be terminally un-hip, string machines are on the brink of a revival. Will Gforce's VSM advance their rehabilitation?Sometimes the best ideas are the least complex. Nearly eight years ago Gforce were well on the money with their M-Tron plug-in, an honest recreation of the mighty Mellotron whose simplicity and immediate appeal hit the nail bang on the head with no fuss and no nonsense. Once again, GForce aim their hammer with unerring accuracy in realising Virtual String Machine, a plug-in virtual instrument that was virtually screaming out to be created. Yes, the string machine is back with a vengeance — only this time without the chipped veneers, the torn Tolex coverings or the aroma of contact adhesive and chipboard.VSM comes crammed with 17 of the most iconic machines from the past 40 years, as well as a few surprises — and, best of all, there's not a single oxidised key contact in earshot!
Considered the ultimate in 'cheese' until recently, string machines are now recognised not only as a valuable part of our keyboard heritage, but as frequently great-sounding instruments. One can only wonder how Camel might have sounded without an RS202, or Jean Michel Jarre without an Eminent 310, or the Enid without a Solina. There is so much timeless music whose character was shaped, or even defined, by a string machine of some sort.VSM's meticulously sampled collection of classic and sometimes hyper-rare vintage string synths is contained within a custom player whose feature set is highly sympathetic to the string machine genre.
While Gforce could have added a whole raft of synthesis excesses, they have opted instead for a commendably restrained blend of simplicity and flexibility. At the same time, they have mercifully freed some machines from the constraints of their original design, (see the 'On String Synths Generally' Box), extending their functions and allowing them luxuries found on more sophisticated instruments.VSM has a dual-layer structure, whereby up to two string synths can be loaded into the Upper ('A') and/or Lower ('B') areas. Essentially, VSM behaves like two independent basic polysynths running in parallel, although of course you can simply load just one instrument into a single layer and ignore the second layer if you wish.
Each layer can be edited independently of the other; in between and to the right of the red and green loading fields are three buttons: 'A', 'B' and 'Link'. Click on 'A', and all the 'independent' controls glow red (for Layer A.) Subsequent edits apply only to Layer A. Unsurprisingly, clicking on 'B' edits only Layer B, and the controls glow green accordingly.
To edit both layers identically, click on Link; the controls glow a pleasing warp-drive blue, and both layers receive the same adjustments.VSM's controls are based on straightforward subtractive synthesis, yet provide plenty of scope for tailoring the sounds. Firstly we have coarse tuning (plus or minus 12 semitones), fine tuning, pan and level for each layer. In order to let you easily appraise the changes made to each layer, a pair of mutually exclusive solo buttons for 'A' and 'B' are provided. The filter section offers a choice of low-pass, band-pass and high-pass four-pole filters with resonance control. Possibly in keeping with the string machine philosophy, the filter is deliberately designed not to self-oscillate at high resonance settings.The signal then passes through two ADSR envelope shapers, one for filter and one for amplitude. Measuring the maximum time taken to complete an attack, decay or release envelope cycle showed a figure somewhere around 24 seconds — more than enough for the most languid of ambient dreamscapes.
A filter envelope amount slider additionally controls the depth of filter sweep produced by the filter ADSR. String machines are traditionally not velocity sensitive, but in VSM they can be, via two knobs controlling velocity response for both filter and amplifier. Providing further atypical string machine behaviour is a knob governing the filter cutoff frequency's response to keyboard aftertouch.Lastly amongst the synth parameters, an LFO with speed and depth control can be used to add pitch vibrato to each layer. This is very useful when layering sounds that do not have any inherent ensemble effect (for example Freeman Strings 1 with Roland RS202 Strings 1), creating faux-ensemble textures. While some may find it surprising that there's no LFO filter modulation in VSM, this was a conscious decision made by the designers, who believe it to be outside the remit of the instrument.
If you really miss this facility, however, its effect can easily be contrived using MIDI controllers, as we'll see in a moment. Split keyboard effects can be achieved using the key-range sliders directly above the graphical keyboard — just select the 'A' or 'B' layer and drag the handles at each end of the strip to specify the key ranges of each layer.
After being asked to track down a pristine example of a Solina for the band Kasabian, Gforce realised the potential for a virtual string machine instrument. Finding functional examples of the original instruments, which could be anything up to 36 years old, proved to be a considerable challenge.
Anyone who has tried sampling a string machine will know that the longer the samples, the greater is the likelihood of finding clean loop points that take in the entire modulation cycles inherent in the sound. I asked Gforce's Chris Macleod about the sampling techniques used for VSM, and he had this to say:'We recorded everything via an RME Fireface 800 interface and Metric Halo converter. The sample length is variable; very rarely less than about eight seconds but often a lot more — anything up to 22 seconds, if my memory serves me correctly.
We tried really hard to sample full oscillator cycles, to ensure the cleanest looping. The sample rate is 44.1kHz and the bit depth is 16. Any more than that would have been overkill for instruments with limited bandwidth by default.' It's almost impossible for any true string synth aficionado not to become dewy-eyed surveying the list of instruments included in this 2.5GB library. From the grandaddy of them all, the Freeman String Symphonizer, to the popular Roland RS202; the luscious silkiness of the Solina and the New Romantic warblings of the Yamaha SS30, they each have such surprisingly recognisable and different characters.
Anyone who believes all string machines sound the same — think again! (See 'The String Machines' box for the full list.)Some of the instruments featured in VSM. Clockwise (from top left): Freeman String Symphonizer, Eminent 310, Roland RS202, Crumar Multiman.Each machine has every note of all its major sound variations sampled over a 49-note range, with and without its ensemble effect where appropriate.
The RS202, for example, has six variations — Strings 1 and 2, each with no ensemble, Ensemble 1 and Ensemble 2 settings. There are 66 sound sets altogether, comprising over 3000 individually looped samples.VSM soundsets are mapped across a 49-note range because most string synths had four-octave, C-to-C keyboards, although this was not always the case. The Elka Rhapsody 610's five-octave keyboard, for example, ran from 'F' to 'F' covering 61 notes (hence its name) and although represented in VSM by only 49 notes, is nevertheless a very welcome addition. The Cello sounds of the SS30 cover just the lower 25 notes, and this is consistent with its original range. Although the soundsets reflect the original key ranges, it is possible to stray outside these ranges — after a fashion — by detuning layers by up to an octave.
I discovered some particularly dark, moody sounds by transposing down an octave, effectively slowing the samples' playback speed (and their inherent ensemble modulation cycles) by half. Admittedly that's straying from strict authenticity, but it doesn't half sound good! There are also a few surprise entries too — the Oberheim OB8, Oberheim Xpander and Polymoog. None of these technically count as string synths, yet their string sounds are undoubtedly worthy of inclusion.As if to demonstrate that even two ostensibly 'identical' string synths can sound markedly different, I was intrigued by VSM's Logan String Melody, which sounds radically different to my old Vox String Thing (its predecessor) and other Logans of my acquaintance. Whereas Logans are generally known for their lush smoothness, VSM's take on the Logan has a comparatively rough, gritty quality. Despite this, it's still a usable sound in a cool, grungey sort of way, making for some interesting blends with other instruments in the library.VSM includes a large selection of preset patches, ably demonstrating the software's sonic possibilities.
These are arranged into 28 banks — one each for the 17 instruments, with the remaining banks each named after their guest programmer. There's even one provided by Ultravox's Billy Currie. A User bank is also provided for storing your own patches, which, I couldn't help noticing, are given a cheeky file extension that had me chuckling with mirth. No, I won't say what it is — you can discover it for yourself!Gforce are currently working on an expansion pack that we are promised should contain at least one mouth-watering surprise. There are still numerous contenders worthy of inclusion in the VSM virtual hall of fame — how about the Godwin String Concert, the Roland RS505, or one of my all-time favourites, the Elka Rhapsody 490? We'll just have to wait and see.
Perhaps by way of acknowledgement that identical string synths don't necessarily sound the same, the forthcoming expansion is slated to include an 'alternative' Logan sample set more in keeping with that instrument's signature sound. The expansion pack is scheduled for release later this year.However much you appreciate an instrument, it's unusual not to form some sort of a feature wish-list. Here are some that come to my mind. Firstly, an option to make the envelopes paraphonic would enable brutally honest recreations of machines such as the Solina and ARP Omni II. Secondly, I'd like a two-pole filter option for more subtle tonal control. Thirdly, how about a filter key-tracking control to tonally balance the top and bottom ranges? And finally, a speed control for the ensemble effect would be great — sometimes you just want to make it go faster!Finally, VSM behaved without a murmur of complaint during the review period — apart from one issue experienced using VSM within Sonar 7.
If playback of a sequenced VSM part is interrupted mid-note, the currently sounding notes 'hang'. The only way to stop them is to run your hand along the keyboard, sending individual note-off commands. Pressing Sonar's 'panic' button did not work — VSM seemingly doesn't recognise external 'all notes off' commands, at least not in Sonar 7.With virtual instruments becoming ever more labyrinthine and 'deep', it's almost a relief to find one that is refreshingly unencumbered by menus, wavetables, matrices or other quantum physics. VSM hits the nail squarely on the head, combining the immediacy of the original sampled instruments with some well-chosen sound-shaping tools that provide plenty of scope for creativity while still retaining the spirit of what string machines were all about.Whether you are a long-standing fan of string synths or an enthusiastic newcomer to the genre, it's hard to see how you could be disappointed with VSM. Considering that string machines are essentially based around the same concepts (one or more oscillators with frequency dividers, modulators and envelope shapers), it's remarkable how varied and distinctive the sound of one model can be from another. There are variations on this theme, however — the Freeman String Symphonizer and Yamaha SS30, for example, had twin oscillator banks that could be detuned against each other. Nevertheless, your typical string synth usually had little in the way of sound variation, which led them to be regarded as one-trick ponies.
Take A Tour
As more and more manufacturers joined the competition, introducing additional features and improvements to make their products more versatile and attractive, so our string machine heritage took shape.From the cheesiest wasp-in-a-jam-jar to the most luscious, gothic ensembles, there was something to suit every taste and price range. The most elementary models such as the Crumar Compactstrings and GEM Instastrings would merely provide switchable sound selections (violin, viola, cello or similar options) with some form of basic envelope control. If you were lucky, there would be faders to balance the various voices, and perhaps there would even be a tone control — usually to help smooth out the top end. More sophisticated machines would allow you to defeat the ensemble effect, or perhaps choose between two types of ensemble, whilst others included a vibrato effect that could be added to the sound.At the furthest end of the scale were more luxurious, expensive models that blurred the distinction between string machine and synthesizer, such as the Korg Trident and Crumar Trilogy, offering features such as additional waveforms, a separate bass section, a tacked-on polysynth with filter and ADSR envelope shaper, and maybe even a basic organ section; these are known as multi keyboards. Yet another subset of string synths is the paraphonic ensembles. The distinctive feature of paraphonics is that, rather than each note having independent attack and release envelopes, just one EG operates upon the whole sound, lending them a distinctive 'sucking' quality when played non-legato.
Examples of paraphonic ensembles include the Solina, the Logan Piano Strings Synthesizer and the ARP Omnis. It's undoubtedly a testimony to the quality of the Solina's sound that it came to be revered as the 'Rolls Royce' of string machines, despite being paraphonic. All contents copyright © SOS Publications Group and/or its licensors, 1985-2019. All rights reserved.The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers.
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