G2 - Guitar effect pedal ZOOM - Free user manual and instructions

USER MANUAL G2 ZOOM

Operation Manual © ZOOM Corporation Reproduction of this manual, in whole or in part, by any means, is prohibited.

SAFETY PRECAUTIONS Usage Precautions SAFETY PRECAUTIONS In this manual, symbols are used to highlight warnings and cautions for you 0 read so that accidents can be prevented. The meanings of these symbols are as follows: This symbol indicates explanations about extremelÿ dangerous matters. f users ignore this symbol and Warning handle the device the wrong way, serious injury or death could resui. This symbol indicates explanations about dangerous matters. If users ignore this symbol and handle the device the wrong way, bodil injury and damage to Caution the equipment could result. Please observe the following safety tips and precautions 10 ensure hazard-free use of the G Power requirements Since power consumption of this unit is fairly high, we recommend the use of an AC adapter whenever possible. When powering the unit from batteries, use only alkaline types. [AC adapter operation] + Be sure to use only an AC adapter which supplies 9 V DC. 300 mA and is equipped with a “center minus" plug {Zoom AD-0006). The use of an adapter other than the specified type may damage the unit and pose a safety hazard Connect the AC adapter only 10 an AC outlet that supplies the rated voltage required by the adapter When disconnecting the AC adapter from he AC outlet, always grasp the adapter itself and do not pl at the cable. During lighining or when not using the unit for an extended period, disconnect the AC adapter from the AC outlet [Battery operation] + Use four comventional IEC R6 (size AA) batteries (alkaline). ‘The G2 cannot be used for recharging + Pay close attention to the labelling of the battery to make sure you choose the correct type. When not using the unit for an extended period, remove the batteries from the unit as occurred, wipe the battery compariment and the battery terminals carefully to remove all remnants of batery fluid. + While using the unit, the battery compartiment cover should be closed. Environment LÀ, rent ter or, lie shot or malfunction, avoid using your G2 in environments where it will be exposed 10: + Extreme temperatures + Heat sources such as radiators or stoves + High humidiy or moisture + Excessive dust or sand + Excessive vibration or shock À Handino + Never place objects filed with liquids, such as vases, on the G2 since 1his can cause electric shock Do not place naked flame sources, such as lighied candles, on the G2 since this can cause fre. The G2 is a precision instrument. Do not exert undue pressure on the keys and other controls Also take care not to drop the unit, and do not subject it Lo shock or excessive pressure. Take care that no foreign objects (coins or pins etc.) or Hiquids can enter the unit. Connecting cables and input and output jacks You should always turn off the power to the G2 and all other equipment before connecting or disconnecting any cables. Also make sure Lo disconnec all connection cables and the power cord before moving the G Alterations Never open the case of the G2 or attemp 10 modify the product in any way since this can result in damage 10 the unit Volume Do not use the G2 at a loud volume for a long tim Since this can cause hearing impairment. Usage Precautions Electrical interference For safety considerations, the G2 has been designed 10 provide maximum protection against the emission of electromagnetic radiation from inside the device, and protection from external interference. However, equipment that is very susceptible 10 interference or that emits powerful electromagnetic waves should not be placed near the G2, as the possibility of interference cannot be ruled out entirely With any type of digital control device, the G2 included. electromagnetic interference can cause malfunctoning and can Corrupt or destroy data. Care should be taken 10 minimize the risk of damage. Cleaning Use a sofl, dry eloih 10 clean the G2. I necessary, slighily moisten the cloth, Do not use abrasive cleanser, wax, or solvents {such as paint thinner or cleaning alcohol), since these may dull Ah finish or damage the surface. Please keep this manual in a convenient place for future reference. ZOOM G2 SAFETY PRECAUTIONS Usage Precautions SAFETY PRECAUTIONS Usage Precautions. Features. Terms Used in This Manual Controls and Functions / Connections . Selecting a Patch. Using the Tuner Using the Rhythm Function Editing a Patch Storing/Copying Patches . Using an Optional Foot Switch or Pedal Using the foot switch (FS01) . Using the expression pedal (FP01/FP02). Restoring Factory Defaults . Linking Effects Switching between live sound and direct recording sound . Effect Types and Parameters How to read the parameter table . COMP . EQ …… . EXTRA EQ/CABIBMIC. MOD/SFX . DELAY REVERE CONTROL Specifications Troubleshooting G2 Preset Pattern

energy and, installation. determined interference in a residential installation. This equipment generates, uses, and can rad if not installed and used in accordance with the instructions, may cause harmful interference 10 radio communications. However, there is no guarantee that interference will not occur in a particular If this equipment does cause harmful interference 10 radio or television reception, which can be by tuming the equipment off and on, the user is encouraged 10 try 10 correct the interference by one or more of the following measures: The FCC regulation warning (for U.S.A.) This equipment has been tested and found to comply with the limits for a Class B di he FCC Rules. These limits are designed to provide reasonable protection against harmful te radio frequency Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consuit the dealer or an experienced radio/TV technician for help. ZOOM G2 1 device, pursuant 10

Thank you for selecting the ZOOM G2 (hereafter simply called the "G2"). The G2 is a multi effect processor with the following features and functions. © Latest processing technology for outstanding performance 96 kHz / 24 bit sampling (with 32 bit internal processing) assures excellent sound quality. Frequency response remains flat up to 40 kHz, and input-converted signal-to-noise ratio is an amazing 120 dB, demonstrating the high level of performance achieved by the G2 © Versatile palette of effects including new creations Out of a total of 54 effects, up to nine (including ZNR) can be used simultaneously. The high-quality choices provided by the G2 include distortion effects that simulate the tones of famous amps and effects pedals, 6-band guitar EQ and delay effects with "hold" controloperated by foot switch. © Great for live performances and direct recording The distortion effect module provides two different algorithms for each of its 17 effect types, one for live performance and one for direct recording. Depending on the on/off setting of the CABINET & MIC effect which simulates amp cabinet sound and mic characteristics, the most suitable algorithm is automatically selected, giving you the best sound for any application. © Integrated rhythm functions and auto-chromatic tuner A number of rhythm patterns using realistic PCM drum sounds are provided. This is convenient for use as a metronome during individual practice or to provide a simple rhythm part for a quick session. An auto-chromatic tuner for guitar is also built right into the unit, allowing you to easily tune your instrument also at home or on stage © Sophisticated user interface The combination of a rotary type selector and three parameter knobs make the effect editing process intuitive and quick. The mute interval when switching patches has been reduced to less than 5 milliseconds. Seamless patch changing is now a reality. © Dual power supply principle allows use anywhere The G2 can be powered from four IEC R6 (size AA) batteries or an AC adapter. Continuous operating time on batteries is approximately 7.5 hours with alkaline batteries. © Easy operation with foot switch and expression pedal An optional foot switch (FS01) or expression pedal (FPO1/FP02) can be connected to the CONTROL IN jack. The foot switch is convenient for quickly switching effect programs, setting the tempo for the rhythm function, or switching delay hold on and off. The expression pedal can be used to adjust the volume or the tonal quality of an effect in real time. Please take the time to read this manual carefully so as to get the most out of the unit and to ensure optimum performance and reliability. 4 ZOOM G2 Terms Used in This Manual This section explains some important terms that are used throughout the G2 documentation. IN +(COMP}-{WAH/EFX)-(2NR) DRIVE) {EQ)EXTRA EQ/CABIEMIC) {MOD/SFX }{DELAY }{REVERB }>- OUT M Effect module As shown in the illustration above, the G2 can be thought of as a combination of several single effects. Each such effect is referred to as an effect module. In addition to modules comprising compressor effects (COMP), amp simulator/distortion effects (DRIVE), and modulation/special effects (MOD/SFX), the G2 also provides a module for ZNR (ZOOM Noise Reduction). Parameters such as effect intensity can dually, and modules can be switched on and off as desired. M Effect type Within some effect modules, there are several be adjusted for each module indi different effects which are referred to as effect types. For example, the modulation/SFX effect module (MOD/SFX) comprises chorus, flanger, pitch shifter, delay, and other effect types. Only one of these can be selected at a time. M Effect parameter All effect modules have various parameters that can be adjusted. These are called effect parameters. In the G2, effect parameters are adjusted with the parameter knobs 1— 3. Similar Lo the knobs on a compact effect, these change aspects such as tonal character and e tensity. Which parameter is assigned 10 each knob depends on the currently selected effect module and effect type. m Patch In the G2, effect module combinations are stored and called up in units referred to as patches. À patch comprises information about the on/off status of each effect module, about the effect type used in each module, and about effect parameter settings. The internal memory of the G2 holds up to 80 patches Gncluding 40 patches which allow read/write). M Bank and area A group of ten patches is called a bank. The memory of the G2 comprises a total of eight banks, labelled A 10 d and 0 to 3. Banks À — d form the user area which allows read/write. Banks 0 to 3 are the preset area containing read-only patches. The patches within each bank are numbered 0 through 9. To specify a patch of the G2, you use the format "AL" (patch number 1 from bank A), "06" (patch number 6 from bank 0), etc M Play mode/edit mode The internal status of the G2 is referred to as the operation mode. The two major modes are ‘play mode” in which you can select patches and use them for playing your instrument, and "edit mode” in which you can modify the effects. The module selector serves for switching between the play mode and edit mode. Operating the G2 on batteries 1: Tum the G2 over and open the cover of the battery compartment on the bottom. Press the latch to release it and then raise the cover.

2. Insert four fresh IEC R6 3. Close the cover of

(size AA) batteries. the battery compartment. Push the cover in until the latch audibly snaps into place Four IEC R& (size AA) batteries QC Insert batteries facing h V£® in altemate directions. Use four IEC RG (size AA) batteries. "© Whenthe batteries are getting low, the indication "bt" appears on the display. ZOOM G2

Controls and Functions / Connections Controls and Functions / Connections Module selector Top Panel ner nons à nee level of effect Switches between play mode and edit mode In edit as À —— —T parameters or of the overall patch. During rhythm mode, the knob selects the module for operation. | playback, the knobs let you select a pattern, set the _. Pne PNE tempo, and adjust the rhythm volume. BANK [-J/[+] keys HO: CL. CL. On In play mode, the keys serve for directly switching to mu € cu en eee RHYTHM [»-/M] key the next lower or higher bank. @) (oO) «x (O) © Serves to start/stop rhythm playback In edit mode, the keys switch the effect type for the cafe [TAP] key G | Allows manual input of time related effect parameter [STORE] key Serves for storing edited patches in memory. currently selected module. values such as delay time, and rhythm pattern tempo. Display [Y1/[A] foot switches Shows patch numbers, setting values, and other These switches are used for selecting patches, information about operating the G2 switching effect modules on and off, controlling the | tuner, and other functions. Oo it) AC adapter [DC IN] jack An AC adapter (ZOOM AD-0006) with a rated output of 9 volts DC, 300 mA (center minus plug) can be plugged into this jack. [OUTPUT/PHONES] jack \ | = IPOWER] switch Turns the unit on and off. This stereo phone jack serves for connection to a guitar amplifier or recorder. It is also possible to use a Guitar amplifiers Headphones Y cable for sending the output to 0000 90000 two amplifiers, or to plug a pair of ] stereo headphones into this jack MTR (multitrack recorder) [CONTROL IN] jack Serves for connection of the optional foot switch (FSO1) or expression pedal (FPO1/FPO2).

Selecting a Patch Selecting a Patch To try out the various effects of the G2, we recommend that you simply play your instrument while (5) Adjust tone and volume switching patches. e To adjust the effect sound and volume levels in play mode, the Parameter [1] Turn power on knobs 1 - 3 can be used. Each knob " controls a specific parameter. + Use a monaural shielded cable to connect the guitar to the [INPUT] jack of the G2. Parameter knob 1 Parameter knob 3 ouv #2 onmiauec + When using the G2 with the AC adapter, mi MODAPE di Adjusts the GAIN Adjusts the PATCH plug the adapter into the outlet and plug parameter of the . LEVEL parameter the cable from the adapter into the [DC A tn DRIVE module (mainly (output level of the IN] jack on the G2. distortion depth). entire patch). + Set the [POWER] switch on the rear panel of the G2 to ON. rer net e Turn the guitar amplifier on and adjust the volume to a suitable position. Parameter knob 2 Adjusts the TONE parameter of the DRIVE module (mainly distortion sound character). F1 Set the G2 to play mode When you turn a Parameter knob, the + If the Module selector is set to a position corresponding LED lights up and the display other than "PLAY", set it to "PLAY". briefly shows the current value of the respective The bank and patch parameter. that were selected OÙ v mssmm À NOTE : l'the DRIVE module is set to OFF for when the power was © the currently selected module last turned off will {display shows "oF"), Parameter appear on the display. Bankname Patch number knobs 1 and 2 have no effect. + Changes made here are temporary HINT immediately after turning the G2 on, the and will be lost when you select unit will be in play mode, even if the another patch. To retain the changes, Module selector is set to a position other store the patch in the user area. than "PLAY". + The master level in common to all patches is set in edit mode (-> p. 30). €) Select a patch + To switch the patch, press one of the [V]J/[A] foot switches. O3 Directly selecting a bank Pressing the [W] foot switch calls up the next lower patch, and pressing the [A] foot e To select the banks A - d, 0 -3 directly, use switch calls up the next higher patch. the BANK [-J/[+] keys. Repeatedly pressing one foot switch cycles through patches in the order AO — A9 … d0 — d9 Pressing the BANK [-] key calls up the next lower bank, and — 00 — 09 … 30 — 39 — AO, or the reverse order. pressing the BANK [+] key calls up the next higher bank.

Using the Tuner bypassed (temporarily turned off) or muted (original sound and effect sound turned off). Q Switch to bypass or mute + Setting the G2 to the bypass state In play mode, press both [ W J/[A] foot switches together briefly and release. e Setting the G2 to the mute state In play mode, press both [ W JA] foot switches together and hold for at least 1 second. Using the Tuner €) Adjusting the reference pitch of the tuner If required, you can fine-adjust the reference pitch of the G2 tuner. The default setting after power-on is center À = 440 Hz. VAN Patch change at bypass/mute When you press both [W]/[A] foot switches together while playing your instrument, the bypass/mute condition is activated. However, the sound may change momentarily just before the condition is activated. This is because the G2 switches to the next higher or lower patch when one of the foot switches is pressed slightly earlier. (When you cancel the bypass/mute condition, the original patch number will be active again.) This kind of behavior is not a defect. lt is due to the very high speed at which the G2 responds to patch switching. To prevent the sound change caused by the above condition, do not produce sound with your instrument until the bypass/mute condition is fully established. @} V mm à @ Play the string to tune + Play the open string to tune, (DÉF and adjust the pitch. The left side of the display shows the note which is closest to the current pitch. The right side of the display shows a symbol that indicates by how much the tuning is off. Tune other strings in the + Turn Parameter knob 1. The eurrent reference pitch is shown. The adjustment range is 35 — 45 (center À = 435 10 445 Hz). + While the reference pitch value is shown, turn Parameter knob 1 to adjust it. When you release the Parameter knob, the display indication will return to the previous condition after a while. NOTE When you turn the G2 off and on again, the reference pitch setting will be reset to 40 (center À = 440 Hz). E3 Return to play mode Press one of the [W]/[A] foot switches. Pitchishigh Pitchis correct Pitch is low "24 \'i _'{ Û 4 Ni < S# Ü TX Indication turns faster the more the pitch is off

Using the Rhythm Function Using the Rhythm Function E3 Adjust the rhythm volume e To adjust the rhythm volume, turn Parameter knob 3. \ When you turn the Parameter knob, the current setting (0 — 30) is shown J on the display. w The G2 has a built-in rhythm function that plays realistic drum sounds in various patterns. The rhythm function is available in play mode or in the bypass/mute condition. O Set the G2 to play mode e Ifthe Module selector is set to a position 6 Adjust the tempo other than "PLAY", set it to "PLAY". The rhythm pattern tempo can be adjusted in the range of 40 — 250 BPM (beats per minute). our V2 emmsorasunc Cranc e To continuously change the rhythm tempo, turn Parameter knob 2. F1 Start the rhythm function e To start the rhythm function, press the PS s— + To manually specify the rhythm tempo, RHYTHM [b-/M] key. hit the [TAP] key at least three times in the desired interval. NOTE During rhythm playback, the REVERB meme At the first push of the [TAP] key, the current module is OFF. tempo value is shown on the display. The G2 then automatically detects the interval for the second and subsequent keypresses and sets the tempo accordingly. €) Select a rhythm pattern The G2 has 40 built-in rhythm patterns. For more information on the pattern contents, see the back shown after the first digit. For values of 200 and cover of this manual. VAN above, dots are shown after the first and second

+ To continuously switch rhythm patterns, em sr digits. turn Parameter knob 1. (Y) " “ o( ou ro mu run I (Lt ecom ER À While the above steps are carried out, the current tempo value (40 — 250) is shown on the display. For values in the range from 100 to 199, a dot is e To select the next higher or next lower rhythm pattern, press one of the BANK [-J/[+] keys. Dot is shown Dots are shown Tempo = 120 BPM Tempo =240 BPM When the above steps are carried out, the current rhythm pattern number (01 — 40) is briefly shown on the display. (Stop the rhythm + To stop the rhythm, press the RHYTHM [b-/M] key. The G2 returns to the previous condition.

GnemrèT When you switch to a different module, the effect type currently selected for that module is shown on the display. While the G2 is in edit mode, a dot appears in the bottom right of the display. À Dot shows that unit D is in edit mode €3 Change the parameter value e To change the setting value of effect parameters, use the Parameter knobs 1-3. Ke Which parameter is assigned to a knob depends on LL which effect module/effect type is selected. For information on parameters for effect a modules/effect types, see page 23 — 30. When you turn a Parameter knob, the corresponding LED lights up and the display briefly shows the current value of the respective parameter. Au , A CL. Le -cm

NOTE Ven a module that is set to OFF is o selected, the display will show "oF”. Ej Select the effect type FA To switch an effect module on and off + To switch the selected module between ON and OFF, press one of the [V]J/[A] foot switches. The indication "OF" appears on the display. When you press one of the foot switches again, the indication returns to the previous condition.

ZOOM G2 e To switch the effect type of the selected module, use the BANK [-J/[+] keys. NOTE you press the BANK [-V/+] keys for a module that is set to OFF, the module will be turned ON. For modules that have only one effect type, pressing the BANK [V{+] keys has no effect. ZOOM G2

Storing/Copying Patches Sto An edited patch can be stored in a bank of the user area (A — d). It is also possible to store an existing patch in another location to create a copy. © To cancel the store process + To cancel the store process, operate the Module selector before pressing the [STORE] Q1n play mode or edit key again (C3) mode, press the [STORE] - key. + The bank and patch number are shown one VE cmroureuc sn 27 sun on the display as a flashing indication. 2m Mo Da on C a] Press the [STORE] key us aan once more o «nm ve œur Couaucr me

sudo comr Ve REVERS IT — mo mo -(1Li- = LES completed, the G2 returns to the EAN ' previous mode, with the target patch NOTE Paiches of bank in the preset area (0 € o 8) are read-only. No patches can be being selected. stored or copied into these locations. If you press the [STORE] key while a patch from the preset area is selected, the patch "A0" (bank À, patch number 0) will be selected automatically as default store/copy target.

NOTE Oniy 2 bank of the user area (A — d) can OTE Ecctcd as store/copy target bank.

16 ZOOM G2 ZOOM G2 17

Using an Optional Foot Switch or Pedal The G2 is equipped with a [CONTROL IN] jack designed for connection of an optional foot switch or expression pedal. This section explains how to use these accessories.

Using the foot switch (FSO1) Connecting the optional foot switch FSO1 to the ICONTROL IN] jack allows changing banks with the foot switch while the unit is in play mode. It is also possible to switch bypass/mute on and off, control the tap tempo function, or perform other functions with the foot switch.

1. Plug the cable from the FSO1 into the

[CONTROL IN] jack, and then turn the G2 on.

2. Set the Module selector to the

"CONTROL" position. The G2 goes into edit mode. You can now make settings for the expression pedal and foot switch.

3. Tum Parameter knob 2 to select one

of the following functions for the foot switch. © bP (bypass/mute) The foot switch controls bypass or mute on/off. This has the same effect as pressing both [ W]/ [A] foot switches at the same time in play mode. © tP (tap tempo) Pressing the foot switch repeatedly can be used to set the interval for the rhythm function or to make settings for effect parameters supporting the tap function. This has the same effect as pressing the [TAP] key. © bU (bank up) Each push of the foot switch switches to the next higher bank. This has the same effect as pressing the BANK [+] key. © rH (rhythm on/off) The foot switch controls start/stop of the rhythm function. This has the same effect as pressing the RHYTHM [b-/M] key. © dH (delay hold) The foot switch controls onoff of the delay hold function. When a patch using the hold function is selected, pressing the foot switch will activate hold, causing the current delay sound to be repeated (see illustration below). Fox Pressing the foot switch once more cancels the hold condition, and the delay sound will decay names normally Original sound Delay sound

Foot switch pressed == Æ Pressed again ZOOM @2 Using an Optional Foot Switch or Pedal © dM (delay input mute) Switches the delay module input muting between on and off. HINT + Forinformation on effect parameters supporting the tap function, see pages 23 - 29. + To use the hold function, an effect type that supports the hold function must be selected in the patch. For details, see pages 23 29. While the delay module is set to hold or mute, the dot in the center of the display flashes.

4. Select the patch in play mode and

operate the foot switch. The selected function will be activated. This function applies to all patches.

Using the expression pedal (FPO1/FP02) Connecting an expression pedal (FPO1/FP02) to the [CONTROL IN] jack allows using it as a volume pedal or for adjusting an effect parameter in real time The function selection for the expression pedal is saved for each patch individually. For information on parameters that can be adjusted with the expression pedal, please refer to pages 23 29.

1. Plug the cable from the expression

pedal into the [CONTROL IN] jack, and then turn the G2 on.

2. Select the patch for which you want

to use the expression pedal.

3. Set the Module selector to the

"CONTROL" position. The G2 goes into edit mode.

The expression pedal setting is saved as part of the patch.

6. Select the patch in play mode and

operate the expression pedal. The selected function will be activated. In the bypass condition, the expression pedal always operates as a volume pedal, regardless of the setting made in step 4. ZOOM G2

Restoring Factory Defaults In the factory default condition, the patches of the user area (A0 — d9) contain the same settings as the patches of the preset area (00 — 39). Even after overwriting the user patches, their original content can be restored in a single operation ("AI Initialize” function).

1. Turn the G2 on while holding down

2. To carry out the All Initialize function,

press the [STORE] key once more. All patch settings are returned to the factory default condition, and the unit switches to play mode. To cancel All Initialize, press the RHYTHM [B-/M] key instead of the [STORE] key. NOTE When you carry out AI Initialize, any newly created patches that were stored in the user area will be deleted (overwritten). Perform this operation with care to prevent losing any patches that you want to keep. 20 ZOOM G2 The patches of the G2 consist of nine serially linked effect modules, as shown in the illustration below. You can use all effect modules together or selectively Effect module use certain modules by setting them to on or off. (EP LEE EEE Ex

PHASER US BLUE SHIFTER MULTI TAP

RING BG CAUNCH PEDAL DELAY

MobuLaroR | MS DANE PITGH

EXTREME FLANGER ISTORTION MON DIGLFUZZ PITCH ACOUSTIE SHIFTER FARMONZES : PITCH Manufacturer names and product names mentioned in this table are | ASE, trademarks or registered trademarks of their respective owners. The names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION. For some effect modules, you can select an effect type from several possible choices. For example, the MOD/SFX module comprises CHORUS, FLANGER, and other effect types. The REVERB module comprises HALL, ROOM, and other effect types from which you can choose one. Switching between live sound and direct recording sound In the above illustration, the DRIVE module is shown as having 17 effect types. But each effect type has two algorithms (one for live performance and one for direct recording) for each of its 17 effect types, so that there are actually 34 effect types that can be used. The two algorithms are switched according to the effect type selected for the EXTRA EQ/CABI & MIC module, as follows. © EXTRA EQ is selected The algorithm for live performance is selected at the DRIVE module. This is recommended when using the G2 for playing via a guitar amplifier. © CABINET & MIC is selected The algorithm for direct recording is selected at the DRIVE module. This is recommended when the G2 is directly connected to a recorder, or to a hifi system or other audio device.

Algorithm for EXTRA EQ live Snlormancel CABINET&MIC Algorithm for |e direct recording ZOOM G2

How to read the parameter table cu Attenuates high-level signal components and boosts low-level signal components, hereby keeping the overall signal level within a certain range.

SENSE - ATTACK LEVEL -

Effect parameters 1 -3 © o=10 2 Fs SL © 2798.10 Ajust he compressor SERIE CIS compresser auack speed in two These are the parameters that can be adjusted with Parameter knobs 1 - 3 when er setting values result in higher | [levels. Available setines ane *FS" (Tus0) dust he signal level after passing the the effect type is selected. The setting range for each parameter is shown. Sensitivity and "SL" (Slow) Three-digit setting values are shown with a dot between the two numerals. Example: 1 - 98, 1.0 = 1-98, 100 “ (@) WAH/EFX (Wah/Effects) module Module selector Comprises wah and filter effects as well as VCA type effects. The Module selector Effect module REA AUTO WAH symbol shows the Effect type This effect varies wah in accordance with playing intensity. position of the knob at EAN" FORGE which this | EE : : dur EL AY mod [This effect varies the frequency band of the resonance filter according to the picking intensity. module/parameier is ÎThi 15 a delay module which a [os long delay te | and'use ofthe poid function. [The no elfect types above have the same parameters. called up. TRE This 5 à la à MM EE 1 000 ma POSITION SENSE 40-1,1- RESONANCE |o- ee a eee sen [1] bF, AF a 10-4,1-10| |©) o-10 —+*) Fe pr pong pe layer re day sou ar | Ectneon ef era Selects the connection position ofthe Cm ss à effect se qe Me vb Gale des À lg Adiusts the effect semstivity. | | Adjusts ie resonance of he sound ee ame parie !"AF" (after EQ/EXTRA EQ module). Orecosacx |o_08 10 mx Len 10 = Ï e 55 DES BOOSTER Raises signal gain and creates a dynamic sound. Qrance 1-5 @TonE 0-10 O’EvEL 2-98, 1.0 " Sclecis he frequency and that is Adiust the sound qualit, Adjusts he Expression pedal boosted. Jjusts 1 quality 2 passing the mod A pedel icon (2 ) in the listing indicates a parameter that can be controlled with the expression FRE EG pedal (FPOt/FPO2). [This effect periodically varies the volume Specify the respective module as modulation target for the expression pedal (-> p. 19), and then select the respective effect type of the module. The parameter can then be controlled in real time O DEPTH 0 - 98, 1.0 a RATE 0-50 (3) WAVE a Fr e a s with a connected expression padal. Allows selection of the modulation Tap waveform. Available settings are "u" A [TAPI] key icon (@TAP') in the listing indicates a parameter that can be set by hitting the [TAP] Adjusts the modulation depth. a ©TAP Adjusts the effect rate. : key. values result in more clipping of wave peaks, which reinforces the effect. In edit mode, when the respective module/effect type is selected, repeatedly hitting the [TAP] key wil set the parameter according to the key press interval (modulation cycle, delay time, etc.). FAP PHASER In play mode, if the DELAY module is ON for the currently selected patch, repeatedly hitting the This effect produces sound with a puisating character. [FAP] key will temporarly change the parameter. OpPosmion |br, ar (21 0-50 @ coior 1-4 Hold A foot switch icon (HOLD ) in the listing indicates an effect type for which hold can be turned 1e connection posion on and off with the foot switch (FSO1). a GTAP Adjusts the modulation rate. | |Adjusts the type of sound. are "bF" (before D Set the foot switch function to "dH” (delay hold) (-> p. 18) for the respective patch. When this patch M'AF" (afier EQ/EXTRA EQ module) is then selected in play mode, the hold function can be switched on and of by pressing the foot switch.

22 ZOOM G2 ZOOM G2 23

Effect Types and Parameters

This effect produces a metalli ringing sound. Adjusting the FREQUENCY parameter results in a drastic change of sound character. 50 omx [1] POSITION |bF,AF Selects he connection position of 1he WAH/EFX module. Available seuings | | { Adiusts te frequency thatis sed] | Adjusts he Level of he elec sound are "bF" (before DRIVE module) and for modulation mixed to the original sound. "AF" (after EQ/EXTRA EQ module).

[This effect reduces the attack rate of the sound, resulting in a violin playing style sound [1] POSITION |bF,AF a TIME 50 [3] CURVE 0-10 Selects 1he connection position of the a, Adjusts the attack time. @ FREQUENCY 0-98, 1.0 WAH/EFX module. Available settings are "bF” (before DRIVE module) and "AF" (after EQ/EXTRA EQ module). Pa DEV PEDAL VX Simulates a vintage pedal wah sound. [1] POSITION |bF,AF a FREQUENCY |:-50 O’EE Selects he connection position of 1e Ajust de Frequency dat WAH/EFX module. Available settings emphasized. When no expression | | Adjusis the signal level after passing the are "bF" (before DRIVE module) and | | #Æ$ pedalis used theeflectisihe | |module. "AF" (after EQ/EXTRA EQ module). same as with a half-raised pedal.

Simulates a vintage pedal wah sound. Adjusts the attack volume change curve. 2-98, 1.0 [1] POSITION |bF,AF [2] FREQUENCY |:-50 [3] LEVEL 2-98, 1.0 Selects he connection position of 1e Ajust de Frequency dat WAH/EFX module. Available settings emphasized. When no expression | | Adjusis the signal level after passing the are "bF" (before DRIVE module) and 2 pedal is used, the effect is the module. "AF" (after EQ/EXTRA EQ module). same as with a half-raised pedal. ZNR (ZOOM Noise Reduction) module This module serves for reducing noïse during playing pauses. I offers a choice between noise reduction (reduction of noise components) and noise gate (muting during pauses). nr Din ZNR (ZOOM Noise Reduction) ZOOM original noise reduction which reduces noise in playing pauses without affecting the overall tone. GE Gt GATE [This is a noise gate which cuts off the sound during playing pauses. dE MG DIRTY GATE This is a vintage type gate with special closing characteristics. Al above effect 1ypes have 1e same param Q rHrEshoiD 1-16 Adjusts the Sensitivity. For maximum noise reduction, set Ihe value as unnaturally as possible without causing 1he sound 10 di 24 ZOOM G2 Effect Types and Parameters ne DRIVE module CABINET & MIC effect (> p. 21). his module provides 16 types of distortion and an acoustic simulator Each effect type of he module has two modeling algorithms (for live performance and direct recording). These algorithms are switched automatically according to the on/off condition of the

The rich, clean sound of a classic 1965 Fender Twin Reverb Clean sound of the Vox AC-30 combo amp, operating in Class-A

nC me MS CRUNCH Clean sound of Roland JC series with built-in chorus which gives a wide, clear tone. Big sound of a Marshall stack running between clean and crunch Et BE US BLUES LE me BG CRUNCH Crunch sound of a Fender Tweed Deluxe 53 Fat sound of the Mesa Boogie Mk! combo amp Fa Mal MS DRIVE PR BG DRIVE The High gain sound of a Marshall JCM2000-driven stack High gain sound of Mesa Boogie Dual Rectifier amp channel 2 (vintage mode). Pi BPV PV DRIVE Mod OVERDRIVE The high gain sound of the classic Peavey 5150 Simulation of the classic Boss OD-1 overdrive pedal Lu BG GUV'NOR distortion HE MHb HOT BOX Simulation of the Guv'nor distortion effect from Marshall. Simulation of the drive channel of a Hot Box tube amp.

FF FF FUZZFACE FEI ME METALZONE

Simulation of the original classic British fuzz pedal [Simulation of the classic Boss Metal Zone pedal famous for long sustain and midrange Ed Ed EXTREMEDISTORTION dE dF DIGIFUZZ (digital fuzz) Intense super-high gain distortion High gain fuzz attack AIT above effect types have 1he same parameters. 0-98, 1.0 Ocan @TONE

0-10 O!EEL 2-98, 1.0

a, Adjusts the distortion intensity. Adjusts the sound quality. Adjusts the signal level after passing the module. owners. The names are used only to ilustrate sonic characteristics “Manufacturer names and product names mentioned in this table are trademarks or registered trademarks of their respective and do not indicate any affiliation with ZOOM CORPORATION

[This effect makes an electric guitar sound like an acoustic guitar. Oro 0-10 @sooY

0-10 O!EEL 2-08, 1.0

Adjusts the spechal string 1one 2% that is characteristic for an acoustic guitar Adjusts the degree of body resonance. Adjusts the signal level after passing the module. ZOOM G2

Effect Types and Parameters Allows adjusting the three main bands (BASS, MIDDLE, TREBLE) of the six-band equalizer. Osass 412 160Hz @mooie +12 800Hz O TRES 412 8.2kHz Adjusts the low frequency range level FAdjusts the mid Frequency range level. Adjusts the high frequency range level.

EXTRA EQ/CABINET & MIC module MIC his module allows adjusting the three remaining bands of he six-band equalizer. In addition, the module contains a cabinet simulator that produces sound suitable for direct recording on a MTR or for reproduction via headphones or a studio monitor.

Adjusts the three remaining bands of the six-band equalizer. The HARMONICS control allows adjustment of the harmonics frequency range level. Q'ouo #12 400Hz @PRESENCE |+2 Gaz @HarMonics «12 12kHz Adjusts the mid-low frequency rang level. Adjusts the extremely high frequency range level. Adjusts the harmonies Frequency range level. L'h BCb: CABINET & MIC This effect type simulates amplifie recording on a muli-track recorder x cabinet sound and mic directional characteristics, suitable for direct r. The cabinet characteristics are automatically set either to Combo (12* x 1, 12" x 2) or to Stack (12* x 4), depending on the selected drive type. The on/off condition of this effect in turn automatically switches the modeling algorithm of the DRIVE modul le (> p. 21) [1] MIC TYPE dy, Co @ mic posirion|o - 2 Selects the mic type. "dy" simulates the frequency response of a dynamic mic and "Co” simulates the frequency response of a condenser mic. characteristics ac bickup position. The following settings are available. 0: Mic pointed at speaker center 1: Mic pointed halfway between speaker edge and center Mic pointed at speaker edg MOD/SFX(Modulation/SFX) module Comprises modulation and delay effects such as chorus, pitch shifter, delay, and echo. L'HCH: CHORUS [This effect mixes a variable pitch-shifted component to the original signal resulting in full-bodied resonating sound! 0-98, 1.0 Ooer“ 1-50 QPRATE 0-98, 1.0 om"x Adjusts the modulation depth. 2%, Adiust he modulation rate Adjusts the level of the effect sound mixed 10 the original sound. SC ISC STEREO CHORUS [This is a stereo chorus with clear sound. 0-98, 1.0 Over“ 1-50 QPATE Adjusts the modulation depth. lAdjusts the modulation rate. sound.

[This effect produces a resonating and strongly undulating sound. 0-98, 1.0 Over“ 0-50

-10--1,0, @rEsonance 0 Adjusts the modulation depih. a ©TAP Adjusts the modulation rate: Adjusts the modulation resonance intensity [This effect shifts the pitch of the original sound up or down.

Qsurr -12--1, dt, 1-12, 24 @TonNE 0-10 0-98, 1.0 o"x CR Shi amount in ecting "dl" gives a Adjusts the sound quality. Adjusts the level of the effect 2 sound mixed t the original sound

[This effect allows using a pedal to shift the pitch in real time. See Table 1 © coton Q@more UP, dn @TONE o-10 Selects 1he type pitch change type ffected by the pedal. Selects the direction of the pitch change. Adjusts the sound quality Fable 1 COLOR MODE = Pedal minimum value = Pedal maximum value COLOR MODE = Pedal minimum value 2 Pedal maximum value UP] _-100cent Griginal sound only UP |[-Toclave+ DAY | +1 oclave + DAV 1 | dn [Original sound onty -100 cent 5 | an |+toctave+DRY | -1 octave + DRY UP] DOUBLING Detune + DAY UP |-700cent+ DAY | 500 cent + DAY 2 [an] Detune + DRY DOUBLING: $ Jan | 500cent+DRY | _-700 cent + DRV UP D cent +1 octave UP | 2 (OH?) + DR +T octave 3 [an +1 octave 0 cent T7 Jan +1 octave 2 (0 Hz) + DRV UP Ocent 7 octaves UP | OHJ)+DRY | +octave+ DAV 4 Jan -2 octaves 0 cent 8 | an |+1octave+DRV | - (0 Hz) +DRV

Adjusts the level of he effect sound mixed 10 the original sound. Special effect that changes the sound in a staircase pattern. (21 0-50 @ RESONANCE 0 - 10 a, GTAP Adjusts the modulation rate. Adjusts the modulation resonance intensity SE Est STEP Over 0-98, 1.0 Adjusts he modulation depih. di Idb DELAY [This is a delay with a maximum setting of 2000 ms. OT" 50 @reeosack |0-08,10 0-98, 1.0 om"x CP Ads de delay me. In te TP ange from 10 — 990 ma, the adiusument is made in 10-ms steps (1 9). For 1 second and above, he adjustment is made in 100-ms steps (1.0 2.0) Adjusts the feedback amount. Adjusts he level of the effect 2% sound mixed to the original sound. ZOOM G2

Effect Types and Parameters second and above, the adjustme made in 100-ms steps (1.0 — 2.0)

[This effect simulates a tape echo. TIME 1-00, FEEDBACK |o- Mix - [1] 15220 [2] 0-98, 1.0 [3] 0-98, 1.0 GP AUS He dy time In he ange from 10 990 ms, the adjustme Adjusts the level of the effect made in 10-ms steps (1 99). For 1 | |Adjusts the feedback amount. 2% sound mixed to the original sound. dd dd DYNAMIC DELAY This is a dynamic delay where the effect volume changes depending on the input signal level. With positive settings, the effect volume increases at higher input signal levels. With negative settings, the effect volume increases at lower input signal levels. 1-99, Oo TIME 10-20 @avounr lo-10 OSENSE 40--1,1-10 GAP Dust lie delay time, In the ange SIA Gom 10 090 ms, te adjusument is made in 10-ms steps (1 — 99). For 1 second and above, the adjustment is made in 100-ms steps (1.0 — 2.0) Adjusts the level of the el sound mixed 1o the original sound] Adjusts the effect sensitivity. dF Ed DYNAMIC FLANGER This is a dynamic flanger where the effect volume changes depending on the input signal level. With positive settings, the effect volume increases at higher input signal levels. With negative settings, the effect volume increases at lower input signal levels. OQoert“H 0-98, 1.0 QPATE 0-50 OSENSE 40--1,1-10 Adjusts the modulation depih. 2 CTP Adjusts the modulation rate Adjusts 1h ee Sensitivity. [PMP

[This is a monophonic pitch shifter with low sound modulation, suitable for single-note playing. 12-44, OsHrT 1-12,24 @ToNE 0-10 Omx 0-98, 1.0 Adjusts the pitch Shi amount in semitones. Selecting "a gives a detuning efiect. lAdjusts the sound quality Adjusts the level of the effect sound 2 mixed to the original sound. HP DHP

HARMONIZED PITCH SHIFTER

Deicrmines Ie interval For the pitch Deiermines the one for the scale used Adjusts the leve of the ellect sound shified sound (see Table 2) for pitch shifting (see Table 3). 2 mixed (0 the original sound Table 2 Table 3 Setting [Type ofscale] _Interval_|Setting [Typeofscale] _Interval | [Setting [Tonic _[Setiing [Tonic 6 Sixth down | 3 Third up G G Fo | E Eh down Four u C G S_| Major scale 4} Major scale P Se S _ 4 Fourth down | 5 Fifi up a D Go | 3 Third down | 6 ch up do | D# A A E Third down, E M] Minor scale E È Ao | ñ* m Third up F F Bb B 28 ZOOM G2 Effect Types and Parameters wur |DELAY mod This is a delay module which allows long delay times and use of the hold function. SE DDDIDE AY. =H0D This is a delay with a maxi imum setting of 5000 ms. Fo Pa PINGPONG DELAY LD This is a ping-pong type delay where the delay sound altemates between left and right.

D This is a warm sounding long delay of up to 5000 ms duration. [These 1hree ellect 1ypes have 1he same paramelers 1-99, QE 1% @reeosack |0-08, 1.0 ox 0-08, 1.0 op Adsts he delay time. In the range from 10 — 990 ms, the aë Adjust 1 sdjusment à made in 10m À Adjusts the feedback amount. 2 sound mixed Lo the original steps (1 or 1 second and und above, the adjustment is mad sounc 100-ms steps (0 — 5.0) REVERB REVERB module fm This module comprises various rever functions such as hall reverb, early reflection, and multi-tap delay.

[This reverb simulates the acoustics of a concert hall. c {M ROOM [This reverb simulates the acoustics of a room.

[This effect simulates a spring-type reverb. [The above three effect types have the same parameters. QoecaY 1-30 (2100 0-10 0-98, 1.0 o"x Adjusts the duration of the reverb. Adjusts the sound quality. Adjusts the level of he effect sound 2 mixed 10 the original sound. Er BsEr EARLY REFLECTION [This effect isolates only the early reflection components of the reverb. QoecaY 1-30 @snre #10 0-98, 1.0 om"x Adjusts the envelope of the effect sound. In the negative ran nvelope is Adjusts the mixing ratio of Adjusts he duration of the reverb fctis a gate rever. | | JG, Adi he moimernoon fig EMI [This effect produces several delay components with different delay times. O7" 1-2. @pParrenn |i-5 ex 0-08, 1.0 Adjusts the delay range from 10 adjustment is made in 10-ms steps (1— 99). For 1 second and above, the adjustment is made in 100-ms steps (1.0 — 3.0). GTAP 990 ms, the Selects the combination pattern for the tps. The selection ranges from rhythmical 10 random patterns. Adjusts the mixing ratio of 2% original sound and effect sound. ZOOM G2

Effect Types and Parameters CONTROL module level setting applying to all patches. Serves for making pedal settings and lets you control the foot switch function and master © AM DESTINATION | See Table 4 @rs See Table 5 © MASTER LEVEL |0 - 08, 1.0 When an expression pedal (FPOL/FPO2) is connected 10 the [CONTROL IN] jack, this selects the mou he foot switcl When a foot switch (FSOI) à & Lo the [CONTROL IN jack, this selects he function that can be operated with ‘Table 5). The cied Adjusts the master level for all patches. module for he RTM function function selected here applies 0 al patches. Table 4 Table 5 Setting Modulation target Setting Function of OFF bP_|[BypasMuie VE Volume æ WU, Wa, WH, WL. [WAH/EFX module (7 BU [Bankup GU, Gd, GH, GL_ [DRIVE module () FH [Rhythm function owo MU, Md, MH, ML [MOD/SF module (5) dH__ [Delay hold dU, dd, dH, dE [DELAY module (°) dM__ [Delay mute FU, rd, rH, FL [REVERB module (°) The operation of modules denoted by (*) changes as follows, according to the letter at right. LL] up The parameter is at minimum when the pedal is fully raised and at maximum when the pedal is fully pushed down {[ d) Down The parameter is at maximum when the pedal is fully raised and at minimum when the pedal is fully pushed down #) HIGH When the pedal is fully raised, the parameter is at the value set in the patch. When the pedal is fully pushed down, the parameter is at maximum: CE] Low When the pedal is fully raised, the parameter is at minimum. When the pedal is fully pushed down, the parameter is at the value set in the patch. up" Maximum value Minimum value "DOWN" Maximum value Minimum value "HIGH" Maximum value Value set in patch “LOW" Value set in patch

Max. 9 simultaneous modules User area: 10 patches x 4 banks Preset area: 10 patches x 4 banks 96 kHz 24 bit, 64 times oversampling 24 bit, 128 times oversampling 32 bit 20 Hz - 40 kHz +1 dB -3 dB (with 10 kilohms load) 2-digit 7-segment LED Parameter LEDS Standard mono phone jack -20 dBm 1 megohm Standard stereo phone jack (doubles as line and headphone jack) Line: +5 dBm (output load impedance 10 kilohms or more) Phones: 20 mW + 20 mW (into 32 ohms load) For FPO2/FSO1 9 V DC, 300 mA (center minus plug) (ZOOM AD-0006) Four IEC R6 (size AA) batteries, Approx. 7.5 hours continuous operation (alkaline batteries) 162 mm (D) x 156 mm (W) x 65 mm (H) 700 g (without batteries) Expression pedal FPO2/ Foot switch FS01 + Design and specifications subject to change without notice. Troubleshooting © No power Refer to “Turn power on" on page 8. © Reverb effect does not operate While a rhythm pattem is playing, the reverb el (p.12). © High level of noise tis not available. Stop the rhythm pattern first Is ZOOM AC adapter being used? Be sure to use only adapter for 9 V DC, 300 mA with center minus plug (ZOOM AD-0006). © Battery life is short Are manganese batteries being used? The use of kaline batteries is recommended. ZOOM G2

G2 Patch List Please use patches “for Live" when you use guitar amp, and use patches "for Recordi when you connect your guitar directly to a recorde Name of patches for Live for Recording Descriptions Key effect RECTIFYING This patch is modeled after the powerful sound which uses the silicone rectifier section of that popular amplifier. You 80 Î co may want to play fs and solos with this sound valued by heavy rock guitarsts. BG DRIVE i Ü Referenced album: "Hybrid Theory" by Linkin Park (2001) LUSH LIFE This sound features the high-quality sound of our G2' signal processing technology with a clean and lush chorus plus É | delay patch. Try to use it for accompaniments in pop music, or solo music with your favorite guitar. CHORUS i ! y patch. Try Pi pop Ü g The Pie We have already started to call this sound of the UK rock band “traditional”. This patch is modeled after the punchy 5 sound of the overdriven JCM 800 amplifier and thus it is suitable also for the hard plucking of modern punk rock guitar Ms Ae Ce style. This is the sound of Humble Pie in later years with Dave Clemson as its guitar player. CRUNCH Î Referenced album: “Smokin”” by Humble Pie (1972) SynthDaze We took advantage of a newly developed fast tracking pitch shift algorithm and created this simulated synthesizer sound. a ! We hope you will come up with great solos using this sound reminiscent of Jan Hammer's exciting trades with Jeff Beck. METAL 3 Î C3 Referenced album: “Wired” by Jeff Beck (1976) ZONE FENDER CLEAN This patch is a straightforward modeling of the sound of that black-face Fender Twin Reverb and provides a clean sound ! that is indispensable for the ensemble. With the EX module switched on, you can add that unique tremolo effect to get | FENDER A4 ! Cy4 that retro-sound instantiy. We have selected a room ambience as default to make this patch suitable for current musical CLEAN i style but, of course, you can replace it with the spring reverb simulation. Mr. Fripp This wildiy fat sound with infinite sustain is modeled truthfully after the sound created by the combination of MXR's Dyna i Comp and Dallas’ Fuzz Face. Designed for using your guitar's front pick-up. FUZZ AS CS M Ton K u FACE i Referenced album: ‘In The Court Of The Crimson King” by King Crimson (1969) FUNK PLANET This patch is suitable for the funky chordiing. The most popular effects for the funk guitar sound are the wah-wah pedals ! but here we have chosen the phase shifer to create à unique feel. We have ak refreshed the flavor of this vintage | in A6 € 6 stomp box sound to fit more modern styles. i Referenced album: Ship Ahoy” by O'Jays (1973) NUANCE DRIVE This patch is the simulation of the legendary tone of the BOSS OD-1 that is considered the de-facto standard for the 5 overdrive stomp box. The patch can provide high playability and retains the nuances of the guitarists' touches. The a1 : en p pi jgh playability g op1 Î L addition of the chorus effect will enable the guitar players to adapt to virtually any musical situations. © MAJOR HARMONY This patch provides à mild lead sound accompanied by the harmonies based on the C major scale and makes our G2 the ! world's first effective device in the class that features the HPS (harmonized pitch shifter) function. You can select the key | pv DRIVE AB i CB and the scale according to the phrase you play. ACOUSTIK With this patch selected, your electric guitar will start to sound like an acoustic electric guitar. We would recommend you ag ! cg 40 combine this patch with the single-coil type front pick-up. You can also use this patch actively to create the clean AGoTSTIC Î ensemble effect POWERED BY Even if you are the type of guitar player who is proud of wailing solos, you may sometimes want to use thrash power 5 chords (with some muting-technique on the bridge). The distorted sound of this patch provides the best playability for bO ; Hi that purpose. PV DRIVE Î Referenced album: "Dookie” by Green Day (1994) BREATH YOU TAKE This patch provides you with à clean sound with effective use of the compressor. If you add the delay effect with delay bi ! di time set to synchronize with the 8h notes, you will get Andy Summers' signature sound for arpeggios. JC CLEAN 5 Î Referenced album: "Synchronicity" by the Police (1983) SANTANA Many people through the years have favored Carlos Santana's guitar sound. This patch is modeled specfically after his ! wailing lead sound with sweet distortion. Any of his hits like "Black Magic Woman”, Europe” or "Adouma” will sound BG be de pleasant if you make use of this patch. CRUNCH ! Referenced album: "Amigos” (1976) and “Shaman” (2002) by Santana ORANGE CRUSH This patch provides the jet sound from the good old days created by the combination of the edgy vintage distortion stomp 5 box and the flanger. We have rearranged that sound to give a hybrid tone that is retro sounding and refreshing at the . b3 d3 same time by combining the dry distortion, flanging jet-effect and lush reverb. GUVNOR Referenced album: “Barracuda” by Heart (1972) This patch is modeled after the classical Brit clean sound of the VOX AC series guitar amps operated in the class À Pi 9 i without the negative feedback. The sound of those amps became enormously popular in the British musical industry of | CLASS A b4 î d4 the 19605, continued through many famous British groups in the 19705 and has remained popular to this day. CLEAN ! Referenced album: “1962-1966...Red Album” by the Beatles BIG WALL This powerful sound is the result of the deepest distortion ever created by any multi-effect pedals. The overwhelming b5 i d5 presence of the power chords in lower registers and the smooth responses to the tapping technique will be favored by the | BG DRIVE i connoisseurs of the high-gain sound. VibroCrunch This patch is modeled after the sound that utilizes the 50-called Leslie effect for its vibrato-like character and it is popular LG ! d6 among the American blues-rock players like the late S.R.V. Itis suitable for crisp rhythm playing or the dynamic chording. | VIBRATO Î Referenced album: ‘Texas Flood” by Stevie Ray Vaughan (1983) 1984 Recently E.V.H. is known as the user of the 5150 amps but in the past he used to create that big crunchy sound with his i specally modified Marshall amp. This patch is the consummate simulation of that EV.H. sound from his early years. The | LS DRIVE 51 i d7 name of this patch is, of course, borrowed from that greatest album of V. H. with David Lee Roth H Referenced album: "1984" by Van Halen (1984) The SPYwnoloved me (onSpagettiWestem) | The sound will remind you of the soundtracks of the James Bond series or Spaghetti Western movies. FENDER LB Î dB Referenced album: The soundtracks from “007, Dr. No” (1962) CLEAN HEAD LONG This sound is ZOOM'S original that became a favorite of the guitarist Brian May. The patch has à very strong character ! but you can hear how it is effectively used in his actual recordings. If you are big-fan of Brian May, you may also want to i ty the sound with the “step” tumned “off” and the "delay" tumed “on”. You will be transported to the world of my P Y pi STEP LE] d5 “Brighton Rock” with that incredible guitar orchestration. With the additional use of the HPS set to the minor 3rd in the gl g key ofE, you will be able to perfect the simulation!! Referenced album: “Innuendo” by Queen (1991) Note 1 : The default patches stored in the pre-set area from the bank No. 0 to No. 3 are the same as those stored in the banks from À to d. Note 2 : We recommend you to adjust the parameter for the noise reduction according to your guitars and amps. Marshall 1CM-2000 In case of patches for Live (AO—A9,bO-—b9 ) n popular guitar amps In case of patches for Recording (CO-—-C9,d0-—d8 ) Eavausaron CLASSIC GAIN us Eavausaron GLASSIE GAIN à Le Ok de de mn OL Ok ch den LL de

LOS LOU “© MOLOE FO. = Æ. “©

cs meuf ER æ meuf ER In case of patches for Live (AO—A9,bO-—b9 )

1 2 BRIGHT 4 . © © KO NORMAL ‘ OL

VOLUME TRUE IDD BASS

In case of patches for Recording (CO-—-C9,d0-—d8 ) CHANNEL Bu, VOLUME | TREBLE | MIDDLE Bass )OCEC When you use guitar amp for recording patches, not only intended modeling sound will not existing, but also you hear harsh-sounding sometimes. Please adjust guitar amp setting as above reference. oduction for newly developed effects ) Early Reflection Early Reflection is the component of the reverb sound that reaches to the listener first after the original sound has bounced off the wall. The reverb sound consists of this early reflection and the late reflection, and the former characterizes the size of the room. The early reflection effect extracted from the whole reverb sound has been quite popular among the rack-mounted signal processors but we have arranged this effect on the G series especially for the guitar. To get the most popular type of this effect, you can set the “SHAPE" parameter to the plus value (decaying effect) and adjust the "DECAY" parameter to decide the size of the simulated room. If you would like a wild effect, set the “SHAPE" parameter to the extreme minus value and you will get the special effect that sounds like the tape machine played in reverse. @ EXTRA EQ In addition to the frequency ranges of 160Hz, 800Hz and 3.2kHz (LOW, MID and TRÉBLE respectively.) controlled by the normal EQ module, you can boost or cut the ranges of 400Hz, 6.4kHz and 12KHz using the LOW MID, PRÉSENCE and HARMONICS controls respectively in the EXTRA EQ module. These frequency ranges are rarely controllable with other effect devices made for guitars. With "PRESENCE" you can adjust the high frequency range that affects the projection of the sound and with “HARMONICS" you can tweak the overtone contained in the cipped sound. The overdriven sound of tube ampliiers is rich in overtone and this EXTRA EQ module is indispensable for the simulation of this aspect of the sound. ©) Multi Tan Delay With this effect, you can utilize up to eight independent delay lines whose delay times can be set separately to make rhythmical pattes. We also provided eight practical settings ranging from the constant rhythmic pattern to the random one. Try pattem 2 for example: the played notes are fed back like rhythmical patterns that will inspire you to come up with various phrases one after another. You could apply this effect to your solo performances as something different from the sound-on-sound effect. This effect is programmed as a stereo ping-pong delay and thus we strongly recommend you to try it using headphones. The delay time can be set to 3 sec. maximum. ) Dynamic Delay/Dynamic langer This is the s0-called ducking effect: the mix balance of the dry signal and the effect signal of a delay or a flanger is controlled by the envelope of the original signal of the guitar. In the Dynamic Delay section, you can set the "SENSE” parameter to the minus value to get the ducking delay effect: the feedback component in the delayed signal is not put out while there is an input signal and the feedback component arises as soon as the input signal is muted. This effect is very handy when, for example, you play fast phrases on the guitar and the feedback component gets in the way. On the other hand, you can set the "SENSE" parameter to the plus value and you will have the feedback component while you are playing the guitar and you can cut off the feedback as soon as you mute the guitar, which should be very handy in the break of a song where you want to mute all of the sound. The same thing goes with the “Dynamic Flanger": you can set the "SENSE" parameter to the minus value and you will get no flanging effect while the input signal is high and you will get flanging effect when you lower the signal level of the input. You can get a unique effect like a long note that is completely dry at the beginning and then the langing effect is gradually added as the signal level of the note decreases. On the other hand, you can have the flanging effect only when you play loud if you set the “SENSE" parameter to the plus value. This effect works great when you want to embellsh the accents in your arpeggios and riffs or to add à hidden flavor to your lead guitar sound. Such as product names and company names are all (registered) brand names or trade marks of each respective holders, and Zoom Corporation is not associated or affiliated with them. All product names, explanation and images are used for only purpose of identifying the specific products that were referenced during product development.

Modeling Description © MESA/BOOGIE Mark IL The origin of the MESAIBOOGIENmplifenWasMthenmodIfedUFENder Princeton. Randall Smith, an amp tech iniSaniFrancisco "souped up those small guitar amps to put out 100w power and sold themaThé first model Was called "Mark 1'# Carlos Santana tried one and Said, "Shit man, that litle thing really Boogiesl =-whichigave the amplifier the brand name “BOOGIE." The second model “Märkll” had lead and rhythm channels and a band equalizer to give wider variety to the güitar tone. The speciallfeature of this model was an accomplished simul- power circuitry (the operation could be switched between-class A and dass AB). The power amplifier sectiohadisix power tubes. When-the class A'operation is selected, two EL34 power tubes arefäctivated andithe amp puts out a really smooth sound. When the class AB operation is selected, these two EL34s'andother four 6L6GC power tubes are all activated and the amplifier puts out its fullpotential power. Until the model Mark Il MESA/BOOGIE amps were quite expensive, hand-made amplifiers, but the next model "MakIll”was more affordablenlthas one 10" oudspeaker and 60w output power but retains allofrthe classic BOOGIE features: Simül-power circuitry, the graphic EQ, and three (Rhythm1, Rhythm2 and Lead) separate channels. With this Zoom G series, you can select the modeling of the combo type of this “Mark IL."

The very fist Fender amplifier was dévelüpediby. Leo Fender and his trusty partner, the engineer Doc Kaufman in 1945-46. Actually, the éarliëstmodels were not made under the “Fender” brand but the “K&F Manufacturing Corporâtion” named after the Initials of the two. The first amplifiemusing the “Fender” brand was the “Model 26" in 1947. In 1949, the entry models called "Champion 400/600! series followed. The s0-called “Tweed Amps” covered literally with tweeds all over were developed during the 1950 and the 1960s.. In these years, the company put out various tweedemodels like the /’Bassman” or the "Bandmaster".… The program of this G series is modeled after, among others, the most representative “Tweed Deluxe" aka the “Wide Panel” from 1953. This amplifier has à 12AY7 and a 2AX7 pre-tubes, two 6V6GT power-tubes, à 5Y3GT rectifier tube and à 12" Jensen loudspeaker andits output power is 10w. Recently the original amplifier is priced quite highly and is very difficult to find in good condition: This amp has two inputs but one is the input for à microphone. It has just one tone knob for treble control. Therefore, it is advisable to use this program on the G series with a flat tone setting except for the treble parameter so that you can enjoy the characteristic sound in the lower registers and the unique sound in the higher registers of the original Fender amp.

Marshall has continued to produce. gréat amplifier foraup-to-date musical trends in cooperation with the musiciens This brand started With its "JIM- 45 (stands for JimäTerry Marshall} in 1962 and fiowits productsrareindispensablelitems in the modern Rock scene. Marshall seems to havelbéemexperimentingiithaifferentireuit designs of amplifiers but 1981 was the most proliiéyeanfonthebrandbecauseitieleasedimany new models like the "1959" and "1987" with founinputs.M2203%and.#2204Muith (master volumes. In 1983, Marshall added the "2210endM2205%with to (Normelland Boost) channels as well as effect send/retun connéctors tonitsaliteuperulheseumodels also carried the collective designation "JCM (stands fohim&Charles Marshall) 800"MThe} hed three ECCB3 pre-tubes and four EL34 powrer-tubes/Mhéttone control\cireuit Was placed after the pre-amp section and this design seems to/haVebécomeithe standardifonthe modem Marshall ampliiers. For the modeling on this GseriesAwesselectedthe 22032 ithhe master volume and it is quite easy to get the distortion-Bystoday!s standards the amplifier's distortion is rather moderate, but the sound'is Verpfat-thelowendiis quitetight end, above all, the sound cuts through very well. Whêh higher gaihs-required.this-amplifler is often combined with overdrive or booster pedals. For the modeling, we used the head with à 19604” cabinet © M h Il G w' EFFECT TYPE : GUV'NOR arshail GUV Or ŒS (Lu) Gv The initial sales talk for this serious distortion pedal "Guv'nor" bearing the Marshall brand was that you could get the distortion sound of the Marshall amps with this small stomp box. Depending on which guitar amslyolcoribinefiÿoutéan actually get the Marshall amps distortion. There are two differentwersionssofthedGuwnor: the Britain-made ones from 1988 and the Korean-made ohesifrom" 1998-Mhelprogräm On this G series is modeled after the original version from 1988-MThe Güv'nols characteristic feature is the frequency point you can tweak using the “TREBLE“ control Even ifÿounlower this parameter value, the sound will get fat instead ofgétting-duilish. AS Youiraise the value, the sound will get sweeter and clearer.

EFFECT TYPE : BG DRIVE

© MESA/BOOGIE Dual Rectifier The “Rectifier” model has the improved simul-power-circuitry (see the “Mark Ill” section) and the increased gain in the preamp-section. This amp/puts out 100w power and has five 12AX7 tubes for the pre-amp and four 6L6GC tubes.forthepower-amp. As opposed to the “Mark” series, the Rectfier haSits tone control\circuit aftenthe volume circuit for better effect on the sound. Since this*amp hadsbeensintroduced, the brand image of MESA/BOOGIE has changed from beingithe premiere amp manufacturer for fusion music to that for heavy metal music. The most prominent featuré*of this-ampis its rectifier circuitrÿ after which it was named. The “Dual Rectfier" employs, aslitsname suggests, two different rectifier circuits: one uses silicon diodes and another uses tubesWhensthe diodes are Selected, the amp gives you tight and highly powerful sound When thertuberrectifiencireui is selected, you will get a warmer sound. This program is-modeled after the combination of à four-12” BOOGIE cabinet and the Dual Rectfier headlusing the vintage channel and the silicon-diode rectifier circuit.

EFFECT TYPE: FD CLEAN

© Fender Twin Reverb "65 (D rc

In the later half of 1965/ à reverbunit Was addéd tOthé)"Twin"/ampswhich wes the birth of the “Twin Reverb” {model In 1965, Fender company was sold toCBS because of Leo Fender health probler The program on this G series is modeled after the pre-CBS “Twin Reverb” from 1965 aka “Black Panel* This amp has four 7025 (12AX7), a 12AX7 and two 12AT7 pre-tubes, four 6L6GC polver-tubes and silicon diodes for the fectfier circuit. The diode rectifier is believed to give tighter sound to the amplifier than thé tube rectifier does, which should be the key to the characteristic glittering sound of this "Twin Reverb”. This guitar amplifier has: two 12” loüdspeakers by Jensen andpus out 80w power. On the program in this G séries, you canthave the sound with the Bright” switch on by tweaking the “Harmonics" parameter in the "EXTRA EQ" section. When you tuin the reverb effect on, you will get that} Tin Reverb sound you have been longing for. that has four 12” loudspeakers and works very well with the "2203"

[e) Cd) od The “OD-1” released by BOSS in 1977 was originally developed for the simulation of the natural overdrive sound of tube amplifiers, but this stomp box turned out to be popular as the booster unit to connect to thelinpüt of thesreal tube amplifier to get tighter and more punchy sound with the increased /Gaine The “OD-1” employs the asymmetrical “cipper” section in its circuit design thatluses three diodes to créâte.the overdrive sound that is mild and rich in nuances. The pédal'had been in produétionsfroma1977 to 1985, but now it is unexpectedly difficult to even find.a used oneAndhfÿoureould locate one, it would be astonishingly expensive. There have been mahyStomp boxes known as overdrive units. The most famous one is probably the “Tube Screamer#hbutWe chose this very original overdrive pedal “OD-1”.. if you are lucky enough to use the réal "OD-1”, we invite you to try blind test to turn off all of the effect module except the “OD-1” on the G series and compare the sound of the modeling and that of the real one. We think that you will not hear any difference.

EFFECT TYPE : HOT BOX

© MATCHLESS HOT BOX or The “HOT BOX" was released as apedakpreamp.bearing.the MATCHLESS brand. it uses two 12AX7A tubes for the truthfulreproductiontofsthe-sound of the “MATCHLESS” guitar amplifiers. It has the compressed/oundsandithe quidéresponse, which are distinctive characteristics of tube amps.… ts Soundhissfat andlcuts through very well, too. Even if you crank up the gain to get a distorted sound, you will retain the nuances of the original guitar sound. Although it is categorized as preamp, the ideal way to get the best possible sound is to connect it, like usual stomp boxes, to the input of your guitar amp. lis design is also attractive: the case is polished like à mirror and the "MATCHLESS" logo lights up when you tu it on. This “Hot Box” is iterally a magic box: you can get the signature sound of the “MATCHLESS" amps regardless of the guitar amplifier you connect it to.

EFFECT TVPE : JC CREAN

© Roland JAZZ CHORUS Gà GÜuc Simply put, thepRolanda#iG:120"isathemostefamiliamiguitattamplifier among both professionals afdiemateurs. Released in 1975 from Roland, this amp became known as “portable”, “lolid" and ‘almost trouble-free” {which are-the veryicharacterstics Japanese products are knôln for!) You are pretty.sure to findyonein any.livelhouses or studios all over the worid.Mlhe key to that soundof "JC-120" is its unique chorüs effect: the slightly delayed vibrato found comes from one of two 12” loudspeakers andithe dry sound from another and boffiésounds are combined in-the air; which} creates thêt distinctive spacey mood. This efféebbecame very popular wihichiis why Roland decided forrelease the chorus circuit independéntly &s the "CE-1” pedal.. Incidentallythe chorus efféct on the G series is modeled after itéfollower “CE 2". Another unique feature of JC-120 is its “Bright” switch. This function is fobincluded in this modeling program but you can apprôkimate the effect of this switch by taking the “Harmonics” parameter in the Extra EQ" section

The "5150" and the "5150 MkIl® were very famous guitar amplifiers originally developed as the signature models for Eddie Van Halen. Unfortunatelÿ, he doesn't use it anymore because of the expiration of thé endorsement contract. The program on this G series is modeled after the first version ofthe "5150". This amplifier has two (Rhythm and Lead) channels and puts out 120w power using five 12AX7 pre-tubes and four 6L6GC power- tubes. The rectifier cruit employs silicon diodes. The uniquenéss of the sound of this amplifier is characterizedlbyits sharp attack, deep and smooth tone, fine distortion and fat and dinging low registerse The program is modeled after th) combination of the Lead channel of the 5150 head and a "5150SL”, a four-12% cabinet Must crank up the gain and play one of Van Halen's hit "Top Of The World”! sonner _ PARN © BOSS MT-2 (e)m The “MT-2" ("METAL ZONE”) has the strofigest distortion. Its unique distortion sound has very fat mid to low range and it hasfäMpärämetrie, FQ in addition to the Hi and Low EQs, which is the key to the scoopediétal Sotnd This Stomp box is reputed for its flexibility in sound because you can natfônlÿ/gebthat scooped metal sound by cutting the mid range and boosting the high and low rangé but also the overdrive Sound by reducing the gain and boosting the mid range. This is one of the bestsselling stompiboxes among many of the popular line-ups of BOSS products. Once connected, the Stratorthe Les Paul will have the "MT-2" sound regardless of the typès of guitar pickups. IEWas fitstintroduced in 1991 and is still in the BOSS's catalog; a trulÿ a long-seller!

EFFECT TYPE : EXTREME DISTORTION

© 100M Extreme Distortion Cd)ea This distortion program is developed especially for the G series. We deliberately made use ofthe characteristics of digital devices,and.even.emphasized the edge of the digital sound to get the distortion to the maximüm. #he "TM-01" (ri Metal) was the pedal that had the deepest distortion sound among thelstomplhoXessffom ZOOM but was discontinued. It had as much as three diode-clipping Stages and had Very high gain. The "Extreme Distortion” is programmed to get the gain evenihigher Itraisesthéssighal level to the maximum at the input stage and gets the wild distôition sound at the clipping stage. In fact, you won't change the distortion rate even ifyoulowerthewolume-onour guitar! Its distortion is that deep. Contrary to the usual distortionseffects Whose Sound gets thinner as you raise the gain, this “Extreme Distortion” wionfblosethe fatnessanditightness of the sound.

The long historyçof the VOX company harks backtoithesfoundätiôntof “Jennings Musical Instruments” (MI) in 1958: Originally, this company made amplifiers with 10-15w output power but the musical trend required more powerful amplification, which resulted in the birth of the revered:"AC30" guitar amp. The very original AC30 had two Celestion 12" loudspeakers using alnico magnets, EF86 pre-tubes, EL84 power-tubes and a GZ34 rectifier tube. The Shadowis and the Beatles used this model and their influence helped this amp become popular among many guitarists. Later, as the musical trend required amplifiers with even more gain, he company developed an add-on device called "Top Boost Unit”. The “AC30-6T8”, which this program in our G series is modeled after, is the later version of the AC30 with an integrated "Top Boost Unit”. After the JMI had sold the VOX brand, the sales of the amplifier tegrettably began to decline. However, the KORG Inc. acquired the VOX name recently and rejuvenated the brand by starting to manufacture truthful reissue models. In this G series, the program is modeled after the sound using the Hi input of the normal channel that will give you that clean guitar sound of the Beatles and the Shadows, which are the best examples of the distortion-free sound of the class-A'operated ampliiers.

EFFECT TYPE : MS DRIVE

© Marshall JCM2000 fà) Go) ma “JCM2000” is based on the feputedPlexi#samp{aka Old Marshall) whose rich overtones and powerful sound were legendary. it has very flexible sound and can produce the traditional Marshall sound, "modembheavymetalisoundhomsounds" suitable for any musical genre. It has the modern Marshall's standard circuitwith.foursECC83 pre-tubes and four EL34 power-tubes. It is an all-tube amplifier that can produce clean or heavily distorted sound and you can use it in all kinds of music. The sound is rather grainy but the response is fast and the guitar sound euts through very well. “JCM2000* series has two different models: the TSL and the DSL. The program on the G series is modeled after the simply designed “DSL-100". As with the modeling of the *JCM800", we combined the head with a “1960A" cabinet and usedhthe Lead channelthat has moredistortion.

EFFECT TVPE : FUZZ FACE

© Dallas-Arbiter FUZZ FACE EN (EFDFF "EUZZ FACE" was originall released from the Dallas-Arbiter company in 1966 encased in a uniquely designed housing that iterally-lookedlike.a face. t is also famous as legendary guitarist Jimi Hendrix's favorite gear. He combinédhthis "FUZZ FACE” with his Marshall amps because it was hard to getdistorted sound from.them at that time, and created avant- garde tones. The heavy and fatilowr end and-the fuzz sound with long sustain are the characteristics of this effective device. Thesearliest model used two PNP germanium transistors and was very different in soundlfromithe later models using silicon transistors. The theory of creating distorted sound is simple» Have you tried to connect the guitar to a microphone input on your radio cassette récorder to emulate that sound? You cannot go 00 wrong if you think that the circuitry ofthis deviceisssimilar to that. The program on this G series is modeled after this earliest version mostsatisfactorly.

EFFECT TVPE : DIGI FUZZ

© 100M Digital Fuzz sound and make other guys offthe band virtually deaf at the end of the rehearsal. When it wes difficult to get the distortedIsoundloutofthe amplifiers likesin those days, some guys made cuts in the cone loudspéakets to,makethesound distorted, which was the origin of the sound of fuzz effects. Mhelfuzz pedalsNere developedito reproduce that distortion-like sound. In other wordsthéitiick Of Fuzz effect is to simulate the ditty distortion and that “broken” feel. This/"Digital Fuzz” has the very effect described above. Its drastic distortion, relentless cut-offs and noises in theldecay are the charactérstics that one could simply describe as “brôken#. lt fat and tight Soundican be seriously recommended for the fuzz maniacs to try. This iSliterally the Digital Dirty Fuzz that is only possible in the digital domain (are you brave enaughito make cuts infyour loutspeakers?). Such as product names and company names are all (registered) brand names or trade marks of each respective holders, and Zoom Corporation is not associated or affiliated with them. All product names, explanation and images are used for only purpose of identifying the specific products that were referenced during product development.