B2 - Guitar Effects ZOOM - Free user manual and instructions

USER MANUAL B2 ZOOM

A4 fm2A—-S 20065#7A27A KR ÆFHkAHISS Ver e + High humidity or moisture ive vibration or shock In this manual, symbols are used to highlight warnings and Handling cautions for you to read so that accidents can be prevented. The + Never place objects filed with liguids, such as vases, on meanings of these symbols are as follows: {he B2 since this can cause electric shock + Do not place naked flame sources, such as lighted candles, on the B2 since this can cause fire. + The B2 is a precision instrument. Do not exert undue pressure on the keys and other controls. Also take care not Lo drop the unit and do not subject it Lo shock or excessive This symbol indicates explanations about extremely dangerous matters. If users ignore this symbol and Warning. Mandie the device the wrong way, serious injury or death could resutt. pressure. This symbol indicates explanations about dangerous Re gare (hat no JoreiEn objects (coins or pins etc.) or matters. If users ignore this symbol and handle the quids can enter the unit uon device the wrong way, bodiy injury and damage to Connecting cables and input and output the equipment could result. N mn _jacks Please observe the following safety tips and precautions to You should always turn off the power to the B2 and all ensure hazard-frce use of the B2. other equipment before connecting or disconnecting any cables. AIso make sure to disconnect all connection Power requirements cables and the power cord before moving the B2. Since power consumption of this unit is faily high, we |. War secommend the use of an AC adapter whenever & Alterations possible. When powering the unit from batteries, use ÉR Never open the case of the B2 or attempt 0 modify the Guy alkaline types product in any way since this can result in damage to the unit [AG adapter operation]

• Bee use on an AC adapter we upper OV DC, |. Volume à 300 mA and is equipped with a "center minus” plug LR Do not use the B2 at a loud volume for a long time & @ {Zoom AD-0006), The use of an adapter other than 1he since this can cause hearing impairment @) specified type may damage 1he unit and pose a safety hazard. + Connect the AC adapter only Lo an AC outlet that supplies the rated vollage required by he adapter. = When disconnecting the AC adapter from the AC out Usage Precautions always grasp the adapter itself and do no pull at the cable extended period, disconnect ie AC adapter from he AC Electrical interference outlet For safety considerations, the B2 has been designed to provide maximum protection against the emission of electromagnetic [Battery operation] radiation from inside the device, and protection from external + Use four conventional IEC R6 (size AA) batteries interference, However, equipment that is very susceptible to (alkaline). interference or that emits powerful electromagnetic waves + The B2 cannot be used for recharging. should not be placed near the B2, as the possibility of + Pay close attention to the labelling of the battery to make interference cannot be ruled out entirely. sure you choose the correct type. When not using the unit for an extended period, remove With any type of digital control device the batteries from the unit. + Ifbattery leakage has occurred, wipe the battery compariment and the battery terminals carefullÿ 10 remove all remmants of battery fluid Wie sing the ui the btly comparimet ver Cleaning Use a soft, dry cloth to clean the B2. If necessary, slightly moisten the cloth. Do not use abrasive cleanser, wax, or solvents (such as paint thinner or cleaning alcohol), since these may dull the finish or damage the surface. the B2 included, electromagnetic interference can cause malfunctioning and can corrupt or destroy data. Care should be taken to minimize the risk of damage. Environment To prevent the risk of fire, electric shock or malfunction, avoid using your B2 in environments where it will be exposed to: Please keep this manual in a convenient place for + Extreme temperatures future reference. + Heat sources such as radiators or stoves 2 ZOOM B2

Li rm 3%-2% 2005#7A27H HA #F#4#159 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/FPO2) Restoring Factory Defaults Linking Effects Effect Types and Parameters How to read the parameter table COMP/LIMIT WAH/EFX DRIVE /SYNTH ZNR/MIX LO EQ.. HIEQ MOD/SFX DELAY . REVERE . CONTROL Specifications Troubleshooting … B2 Preset Pattern The FCC regulation warning (for U.S.A.) This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to

Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful

interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, 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 installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: + 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. + Consult the dealer or an experienced radio/TV technician for help. ZOOM B2

din sa 2005#7R27H AE FHkAM154 4. 1 Thank you for selecting the ZOOM B2 (hereafter simply called the "B2"). The B2 is a multi effect processor with the following features and functions. © Latest technology for outstanding performance 96 kHz / 24 bit sampling (with 32 bit internal processing) assures excellent sound quality. The B2 carves out a sonic outline in superb detail while preserving the original sound character of the bass © Versatile palette of effects Out of a total of 47 effects, up to nine (including ZNR) can be used simultaneously. The dazzling choices provided by the B2 include distortion effects modeled on famous amps and compact effects, or/limiter effects for dynamic punch, a parametric equalizer essential for working on sonic s, as well as various delay and modulation effects. Both in quality and versatility, the B2 far surpasses anything in its class. You can even transform the output into a cool synth bass or fretless bass sound. © Really usable patches straight out of the box Effect module combinations are stored and called up in units referred to as patches. The B2 comes with à full complement of 40 read-only plus 40 user-programmable patches, giving you 80 great reasons to start grooving © Great for live performances and direct recording The distortion effects have a special parameter that selects whether to apply only the head amp characteristics or add also the cabinet sound. This lets you use the B2 effectively not only for a live performance but also when feeding the signal directly to a recorder. © Integrated auto-chromatic tuner and rhythm functions Realistic PCM sound sources are available to auto-play a number of rhythm patterns. This is convenient à metronome during practice or to provide a simple rhythm part for a quick session. An auto- chromatic tuner for bass guitar is also built right into the unit, including a function for silent tuni which lets you easily tune your instrument 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 8 milliseconds. Seamless patch changing is now a reality. © Dual power supply principle allows use anywhere The B2 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 B2

rm 5SN—- 2005#7A27A ME +416 Terms Used in This Manual This section explains some important terms that are used throughout the B2 documentation. IN + (COMP/LIMIT}-{WAH/EFX) (DRIVE/SYNTH} {ZNR/MIX){LO EQ}{Hi EQ }{MOD/SFX}{DELAY }{REVERB}> OUT M Effect module As shown in the illustration above, the B2 can be thought of as a combination of several single effects. Each of these effects is referred to as an effect module. In addition to modules comprising compressor and limiter effects (COMP/LIMIT), amp simulator/synth bass effects (DRIVE/SYNTH), and modulation/special effects (MOD/SFX), the B2 also provides a module for ZNR (ZOOM Noise Reduction). Various parameters such as effect intensity can be adjusted for each module individually, and modules can be switched on and off as desired. M Effect type Within some effect modules, there are several different effects which are referred to as effect types. For example, the modulation/SFX effect module (MOD/SFX) comprises chorus, langer, pitch shifier, delay, and other effect types. Only one of these can be selected at a time. M Effect parameter AI effect modules have various parameters that can be adjusted. These are called effect parameters. In the B2, effect parameters are adjusted with the parameter knobs 1 — 3. Similar to the knobs on a compact effect, these change aspects such as tonal character and effect intensity. Which parameter is assigned to each knob depends on the currently selected effect module and effect type. mPatch In the B2, 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 B2 holds up to 80 patches (including 40 patches which allow read/vrite). Bank and area A group of ten patches is called a bank. The memory of the B2 comprises a total of eight banks, labelled À to d and 0 to 3. Banks À — d form the user area which allows read/write. Banks O 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 B2, 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 B2 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 B2 on batteries À. Turn the B2 over and open the cover of the battery compartment on the bottom.

Latch Press the latch to release it and then raise the cover.

2. Insert four fresh IEC R6

(size AA) batteries. B2 @ Four IEC R6 bottom view Q (size AA) batteries

3. Close the cover of

the battery compartment. Push the cover in until the latch audibly snaps into place. Insert batteries facing © in alternate directions.

Use four IEC R6 (size AA) batteries. When the batteries are getting low, the indication "bt" appears on the display.

ols and Fun ns / Connections Top Panel Module selector Switches between play mode and edit mode. In edit mode, the knob selects the module for operation. BANK [-J/[+] keys In play mode, the keys serve for directly switching to the next lower or higher bank. In edit mode, the keys switch the effect type for the currently selected module.

[STORE] key Serves for storing edited patches in memory. [Y1/[A4] foot switches These switches are used for selecting patches, T switching effect modules on and off, controlling the Or LES tuner, and other functions. Oo

— à — Rear Panel [INPUT] jack Serves for connecting the bass guitar. Bass guitar [OUTPUT/PHONES] jack This stereo phone jack serves for connection to the bass guitar amplifier or for monitoring with headphones. It is also possible to use a Ÿ cable for sending the output Headphones to two amplifiers, to produce a spacious stereo effect sound. = Bass guitar amplifier | 6 ZOOM B2 l à à

Parameter knobs 1 - 3 These knobs allow changing the level of effect parameters or of the overall patch. During rhythm playback, the knobs let you select a pattern, set the tempo, and adjust the rhythm volume. RHYTHM [>/M] key Serves to start/stop rhythm playback. [TAP] key Allows manual input of time related effect parameter values such as delay time, and rhythm pattern tempo. Display Shows patch numbers, setting values, and other information about operating the B2.

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. [POWER] switch Turns the unit on and off. [CONTROL IN] jack Serves for connection of the optional foot switch (FSO1) or expression pedal (FPO1/FP02). ps FPO4/FPO2 EE rs01

à fm 8) 2005#7A27A AMAR ÆFHkAHISS +||@ Selecting a Patch To try out the various effects of the B2, we recommend that you simply play your instrument while switching patches. © Turn power on + Use a shielded cable with mono phone plug to connect the bass guitar to the [INPUT] jack of the B2. LE bee MoPAX + When using the B2 with the AC adapter, plug the adapter into the outlet and plug the cable from the adapter into the [DC IN] jack on the B2. + Set the [POWER] switch on the rear panel of the B2 to ON. e Turn the bass guitar amplifier on and adjust the volume to a suitable position. F1 Set the B2 to play mode e Ifthe Module selector is set to a posi other than "PLAY", set it to "PLAY". The bank and patch that were selected when the power was last turned off will appear on the display. Bankname Patch number HINT immediately after turning the B2 on, the unit wi be in play mode, even if the Module selector is set to a position other than “PLAY”. €) Select a patch e To switch the patch, press one of the [V]/[A] foot switches. Pressing the [ W] foot switch calls up the next lower patch, and pressing the [A] foot switch calls up the next higher patch. Repeatedly pressing one foot switch cycles through patches in the order A0 — A9 … d0 — d9 — 00 —09 … 30 — 39 —> A0, or the reverse order. 8 ZOOM B2

Parameter knob 2 Adijusts the TONE parameter of the DRIVE/SYNTH module (mainly distortion sound character). ‘When you turn a Parameter knob, the corresponding LED lights up and the display briefly shows the current value of the respective parameter. NOTE : lie DRIVE/SYNTH module is set to OFF for the currently selected module {indication “oF* is shown on the display), Parameter knobs 1 and 2 have no effect. + The higher the setting value of Parameter knob 1 (CABINET parameter), the more will the cabinet character be emphasized. + Changes made here are temporary and will be lost when you select another patch. To retain the changes, store the patch in the user area. + The master level in common to all patches is set in edit mode (— p. 30). O3 Directly selecting a bank + To select the banks A - d, 0 - 3 directly, use the BANK [-J/[+] keys. Pressing the BANK [-] key calls up the next lower bank, and pressing the BANK [+] key calls up the next higher bank. Selecting a Patch ZOOM B2

IE 10K-Y 20065#7A27A KE ‘FH4#154 Using the Tuner The B2 incorporates an auto-chromatic tuner. To use the tuner function, the built-in effects must be bypassed (temporarily turned off) or muted (original sound and effect sound turned off). © Switch to bypass or mute + Setting the B2 to the bypass state on! In play mode, press both [ W J/LA] foot switches together briefly and release. + Setting the B2 to the mute state In play mode, press both [W J/LA] foot switches together and hold for at least 1 second. Fa LOF ra EU Mo/s F1 veut

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 B2 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. It is due to the very high speed at which the B2 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. P Play the string to tune A=A D-=d G=£ Play the open string to tune, D#-= G#=f, and adjust the pitch. A. d. b. b E=E C F-F The left side of the display shows the C#= FT F#= E note which is closest to the current pitch. TL. l, ZOOM B2

€ Adjusting the reference pitch of the tuner If required, you can fine-adjust the reference pitch of the B2 tuner. The default setting after power-on is center À = 440 Hz. + Turn Parameter knob 1. The current reference pitch is shown. The adjustment range is 35 — 45 (center A = 435 to 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 Ven you turn the B2 off and on again, the reference pitch setting will be reset to 40 (center À = 440 Hz). 3 Return to play mode + Press one of the [V]/[A] foot switches. The right side of the display Pitchis high Pitchis correct Pitch is low shows a symbol that indicates Li, by how much the tuning off. © (un . = D D ) NZ T1 “M D — TV } re D — TA Tune other strings in the Indication turns faster the more same way. the pitch is off + ZOOM B2 11 QE + #1

Rhythm Fun The B2 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. f Set the B2 to play mode + Ifthe Module selector is set to a position other than "PLAY", set it to "PLAY". 2 NET

& Select a rhythm pattern The B2 has 40 built-in rhythm patterns. For more information on the pattern contents, see the back cover of this manual. AON + To continuously switch rhythm patterns, o(() Ov ms turn Parameter knob 1. (Y) + To select the next higher or next lower ec rhythm pattern, press one of the BANK [-J/[+] keys. When the above steps are carried out, the current

Using the Rhythm Function 3 Adjust the rhythm volume + To adjust the rhythm volume, turn Parameter knob 3. ‘When you turn the Parameter knob, the current setting (0 — 30) is shown on the display. 6 Adjust the tempo The rhythm pattern tempo can be adjusted in the range of 40 — 250 BPM (beats per minute). e To continuously change the rhythm tempo, turn Parameter knob 2. + To manually specify the rhythm tempo, hit the [TAP] key at least three times in the desired interval. At the first push of the [TAP] key, the current tempo value is shown on the display. The B2 then automatically detects the interval for the second and subsequent keypresses and sets the tempo accordingly. 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 shown after the first digit. For values of 200 and above, dots are shown after the first and second digits. sua À |O TT, (Lot Les 14 | Li [ru Dot is shown Dots are shown Tempo = 120 BPM Tempo =240 BPM GStop the rhythm + To stop the rhythm, press the RHYTHM [b-/M] key. The B2 returns to the previous condition. ZOOM B2 13 2005#7A27H MA #H4#159 &|| QE + #1

2005#7A27H MA #H4#159 +||@ Editing a Patch The patches of the B2 can be freely edited by changing the effect parameter settings. Try editing the currently selected patch to create your own sound. O Select the effect module + Turn the Module selector to select the CC effect module to edit. The following settings are available.

# Dotshows thatunit Effect type D is in edit mode a To switch an effect The indication "oF" appears on the display. When you press one of the foot switches again, the indication returns to the previous condition. module on and off + To switch the selected module between ON and OFF, press one HT The ZNR/MIX module cannot be of the [W]/[A] foot switches. turned off in this way. To disable ZNR, set the effect parameter value to "oF”. | 14 ZOOM B2 l

2005#7A27E *kMA F#4#159 _4||@ Editing a Patch E Terminate the edit mode + To terminate the edit mode and [NOTE When you return to play mode and return to the play mode, set the select another patch, the changes Module selector to the "PLAY" you have made in edit mode will be lost unless you store the patch position. first. To retain the changes, store the patch as described on page 16. € Change the parameter value ° To change the setting value of effect parameters, use the Parameter knobs 1-3. Which parameter is assigned to a knob depends on which effect module/effect type is selected. For information on parameters for effect 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. GNT sos us ver Den

NOTE Ven a module that is set to OFF is o selected, the display will show "oF". fSelect the effect type + To switch the effect type If you press the BANK [-J/[+] keys for of the selected module, NOTE a module that is set to OFF, the use the BANK [-J/[+] keys. module will be turned ON. For modules that have only one effect type, pressing the BANK [-J/[+] keys has no effect. À ZOOM B2 15 OI + +1

À à | Sto Copyin 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. On play mode or edit mode, press the [STORE]

+ The bank and patch number are shown on the display as a flashing indication. um Éesroi

NOTE Patches of banks in the preset area (0 —

3) are read-only. No patches can be

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. F1 Select the store/copy target bank e To select the store/copy target bank, use the BANK [-J/[+] keys. on he AN, — L}- NOTE On 2 bank of the user area (A — d) can OTE Edcieu aa store/copy target bank. | 16 ZOOM B2 l Ps à

6 To cancel the store process + To cancel the store process, operate the Module selector before pressing the [STORE] key again (£3). € Press the [STORE] key once more + When the store/copy process is completed, the B2 returns to the previous mode, with the target patch being selected.

The B2 is equipped with a [CONTROL IN] jack designed for connection of an optional foot switch or expression pedal. Thi

Using the foot switch (FS01) Connecting the optional foot switch FSO1 to the [CONTROL IN] jack allows changing banks with the foot switch while the unit is in play mode. Itis 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

ICONTROL IN] jack, and then turn the B2 on.

2. Set the Module selector to the

"CONTROL" position. The B2 goes into edit mode. You can now make settings for the expression pedal and foot switch

3. Turn Parameter knob 2 to select one

of the following functions for the foot switch. ction explains how to use these accessories. © 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>-/] key. © dH (delay hold) The foot switch controls on/off 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). Pressing the foot switch once more cancels the hold condition, and the delay sound will decay NE normally. © dM (delay input mute) ms Ca Switches the delay module input muting between on and off. Original sound Delay sound Foot switch pressed ==

Æ Pressed again ZOOM B2 I &

IE 19-52 2005#7A27A MA Fk4#15# Using an Optional Foot Switch or Pedal HINT For information 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/FP0O2)

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 expre: saved for each patch individually. For information on parameters that can be adjusted with the expression pedal, please refer to pages 23- 29. sion pedal is

1. Plug the cable from the expression

pedal into the [CONTROL IN] jack, and then turn the B2 on.

2. Select the patch for which you want

to use the expression pedal.

3. Set the Module selector to the

"CONTROL" position. The B2 goes into edit mode.

4. Turn Parameter knob 1 to select one

of the following modulation targets for the expression pedal (see page 30). e0F Pedal is inactive. evL Volume © WU, Wd, WH, WL WAH/EFX module © bU, bd, bH, bL ZNR/MIX module NOTE When the modulation target is set to the ZNR/MIX module, the mixing balance between the original sound and effect sound of the DRIVE/SYNTH module can be adjusted with the pedal. (If the DRIVE/SYNTH module is set to OFF, the pedal has no effect.) © MU, Md, MH, ML MOD/SFX module © dU, dd, dH, dL DELAY module © rU,rd,rHrl REVERB module HINT + Which parameter changes when the expression pedal is operated depends on the selected module. For details, see pages 23 - 29. + The pattern in which the expression pedal alters the parameter can be selected in edit mode. There are four choices (> p. 30).

5. If necessary, save the patch.

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 B2

IE 20K-> 2005#7A27E ME ‘FA 154 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 B2 on while holding down

the [STORE] key. The indication "AL" appears on the display.

2. To carry out the AI 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 [D/M] key instead of the [STORE] key. _n NOTE Î When you carry out All 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 B2

• Manufacturer names and product names mentioned in this table are 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 +_The mixing balance of the DRIVE/SYNTH module type from several possible choices. For example, original sound and the effect sound/synth sound, as : : well as the signal level after passing the module can the COMP/LIMIT module gives a choice between be adjusted with the ZNR/MIX module. COMPRESSOR, LIMITER, and other effect + When “STDSYN", "SYNTLK", or “MONO SYN' is types. The REVERB module comprises HALL, selected as effect type for the DRIVE/SYNTH ROOM, and other effect types from which you module, the action of the COMP/LIMIT module and an choos Beca he ZNR/MIX modul WAH/EFX module (connection position set to "bF"} can choose one. Because the module will apply only to the original sound after passing has only one effect type, you cannot choose the the DRIVE/SYNTH module and not to the synth type for this module. sound +_The ZNR/MIX module cannot be turned off with the foot switch. To disable ZNR, set the effect HINT parameter value to "oF”. + The DRIVE/SYNTH module has a "CABINET" parameter that controls how the speaker cabinet characteristics are reproduced. This allows you to match the cabinet character effect to various requirements of a live performance or of direct recording. ZOOM B2 21 c c

2 20065#7A27H MH ÆFk4#15# Effect Types and Parameters How to read the parameter table Effect parameters 1 - 3 These are the parameters that can be adjusted with Parameter knobs 1 - 3 when the effect type is selected. The setting range for each parameter is shown: Three-digit setting values are shown with a dot between the two numerals. Example: 1 - 98, 1.0 = 1-98, 100 Module selector The Module selector Effect module symbol shows the Effect type position of the knob at ch is D. ES | module/parameter is called up. æ

Pa PINGPONG DELAY T5 à ping-pong type delay where Ie delay sound item] between lt and non. This ee [aimuiates a tape echo wi Liong delay time of up 10 8000 me. Te tee one pornn, IME =. FEEDBACK |o- MIX - [io e o-s10 | |@: 08, 10 [si a dolay module which a [ons Tong delay tm | and use oftho hold function. (Expression pedal A pedal icon ( 2h in the listing indicates a parameter that can be controlled with the expression pedal (FPO1/FPO2). 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 with a connected expression pedal. Tap A [TAP] key icon (@TAP) in the listing indicates a parameter that can be set by hitting the [TAP] key. In edit mode, when the respective module/effect type is selected, repeatedly hitting the [TAP] key will set the parameter according to the key press interval (modulation cycle, delay time, etc.) In play mode, if the DELAY module is ON for the currently selected patch, repeatedly hitting the [TAP] key will temporarily change the parameter. Hold A foot switch icon (== HOLD ) in the listing indicates an effect type for which hold can be turned on and off with the foot switch (FS01). Set the foot switch function to "dH" (delay hold) (- p. 18) for the respective patch. When this patch is then selected in play mode, the hold function can be switched on and off by pressing the foot switch L J

fm 23 K—5 2005#7A27A KE Æ4H159 Effect Types and Parameters COMP/LIMIT (Compressor/Limiter) module This module includes a compressor that keeps the overall signal level within a certain Far range by attenuating high-level signal components or boosting low-level signal components, and a limiter that suppresses peak components.

The compressor attenuates high-level signal components and boosts low-level signal components to keep the overall signal level within a certain range. 0-10 OsENsE @QaTTaxk 1-10 2-98, 1.0 (31 Adijusts the compressor sensitivity Higher setting values result in higher Sensitivity Adjusts the time between the sound attack point and the start of compression. Higher setting values result in faster compression action. Adjusts the signal level after passing the module. LM LIMITER

This is a limiter that suppresses signal peaks above a certain reference level. OQrHrEsHoLD 0-10 @raTio 1-10 O:EEL 2-98, 1.0 Adiusts the reference signal level for the limiter action Adjusts the Timiter intensity. Higher setting values result in stronger compression of the input signal. Adjusts the signal level after passing the module. æ WAH/EFX (Wah/Effects) module Comprises wah and filter effects as well as VCA type effects.

This effect varies wah in accordance with playing intensity. Ar bar

AUTO RESONANCE FILTER

This effect varies the frequency band of the resonance filter according to the picking intensity. The wo effect 1ypes above have 1he same parameters. @ Pos or mx|20 be. A0 -A9 -10--1, 1-10) @SENSE @ RESONANCE 10-10 Selects the connection position of the WAH/EFX module. The bO - b9 settings specify connection before the DRIV SYNTH module, and the AO - A9 settings specify connection after the HI EQ module. The numbers 0 - 9 specify the original sound mixing balance, w

a, Adjusts the effect sensitivity When set to a negative value, the filter characteristics are inverted. Adjusts the resonance of the sound. higher values resulting in stronger original sound. HET 0€ OCTAVE This effect adds a 1-octave lower component to the original sound. @OocTiv lo-08,10 @omivL lo-08,10 OT 0-10 Adjusts the mixing balance ofthe _ effect sound (1-octave lower Adjusts the mixing balance of the Adjusts the sound quality after mixing. original sound. sound) : ZOOM B2

This effect periodically varies the volume. (1 LEA 0-98, 1.0 QMATE OA uO-u8, do - do, 10-19 Adjusts the modulation depth. a ETAP Adjusts the effect rate. Allows selection of the modulation waveform. Available settings are "u” Gising sawtooth), "d' (falling sawtooth), and "*" (triangular). Higher setting values result in more clipping of wave peaks, which reinforces the effect.

This effect produces sound with a pulsating character. @Oprosmon }br,ar QRTE 0-50 ©@ coLor Selects the connection position of the WAH/EFX module. The bF setting specifies connection before the DRIVE/ SYNTH module, and the AF setting specifies connection after the HI EQ module. sk ©TAP Adjusts the modulation rate. Adjusts the type of sound

RING MODULATOR change of sound character. This effect produces a metallic ringing sound. Adjusting the FREQUENCY parameter results in a drastic [1] POSITION |bF, AF [2] FREQUENCY |:-50 @sALANCE 0-98, 1.0 Selects the connection position of the WAH/EFX module. The bF setting specifies connection before the DRIVE/ SYNTH module, and the AF setting Adjusts the frequency that is used for modulation. Adjusts the balance between the original sound and the effect specifies connection after the HI EQ sound. module. dF dF DEFRET This effect changes the sound of any bass into a sound resembling a fretless bass. OsENsE 1-50 @ToNE 1-10 @ cocon Adiusts the effect sensi &, Adiusts the sound quality Adjusts the amount Of harmonies. Higher setting values result in stronger sonic character

Simulates a Vox wah pedal bO-b9, OQPos or mx A0 -A9 @FREQUENCY 1-50 (31 2-98, 1.0 Selects the connection position of the WAH/EFX module. The bO - b9 settings specify connection before the DRIVE/ SYNTH module, and the AO - A9 settings specify connection after the HI EQ module, The numbers O - 9 spec the original sound mixing balance, w higher values resulting in stronger original sound a, Adjusts the frequency that is emphasized. When no expression pedal is used, the effect is the same as with a half-raised pedal. Adjusts the signal level after p module.

Effect Types and Parameters DRIVE/SYNTH module of their respective owners. The names are any affiliation with ZOOM CORPORATION. This module provides special effects such as 13 types of amp and stomp box simulations and a synth bass sound. The mixing balance of original sound and effect sound/synth sound, and the signal level after passing the module are adjusted with the ZNR/MIX module.

• Manufacturer names and product names mentioned in this table are trademarks or registered trademarks used only to ilustrate sonic characteristics and do not indicate

Shi Sb SUPERBASS Simulation of the AMPEG SVT that is one of the most popular bass guitar amps in Rock. Simulation of the MARSHALL SUPER BASS, a milestone in the history of Rock.

AC INACINACOUSTIC Simulation of the SWR SM-900 famous for its hi-fi sound. Simulation of the ACOUSTIC 360 known for its special midrange sound. Hi bM BASSMAN HA HA HARTKE Simulation of the HARTKE HA3500 famous for its Simulation of the FENDER BASSMAN 100. Suminum con

LE RBME TRACE ELLIOT

Simulation of the TRACE ELLIOT AH-500. Al above effect types have the same parameters. (1 ZEUS @TONE oF,1-3 @san 0-10 0-98, 1.0 With the character setting a etting, only the head amp tics are applied. À nun cabinet sound of differing, Adjusts the sound quality Adjusts the distortion intensity. intensity as well E L'EMUI TUBE PRE GA SA SANSAMP Simulation of the SANSAMP BASS DRIVER DI, ver ZOOM original tube preamplifier sound. Popular among bassists. y E 5 ESS nd) od ODB3 Simulation of the Tube Screamer used by many guitarists as a booster. Simulation of the Boss Overdrive ODB-3 for bass guitar. 15 ds MXR BASS D.I. +

Simulation of the distortion channel of the MXR Bass Di+. Simulation of the Fuzz Face that made rock history with its zany look. Al above effect types have the same parameters. O casier @TONE oF,1-3 0-10 Ocan 0-98, 1.0 With the “OF” setting, only the stomp box characteristics are applied. À numeric setting adds cabinet sound of differing intensity as well Adjusts the sound quality Adjusts the distortion intensity. SSSS STDSYN (Standard Synth) ZOOM standard synth bass sound (1 ZEUS oF,1-3 @ran 1-4 OSENSE 0-98, 1.0 de settings select different cabinet| | $clects the synth sound variation. Adjusts the trigger detection sensitivity. SE St SYNTLK (Synth Talk) This effect produces a synth sound like a talking modulator using vowels for vocalization. OCASINET Lo. 1-3 avan iA, UE, UA, oA | |@) DECAY 0-98, 1.0 FS settings select different cabinet| | Selects the type of vocalization. Adjusts the rate of sound change. ZOOM B2 25

Effect Types and Parameters Ï 5 MS MONO SYN (Mono Synth) This is a monophonic (single-note) bass synthesizer that detects the input signal pitch. CABINET - VARI si-ss pie DECAY - o ss ||le Len | [© os 10 Selects the waveform type and sound Numeric settings select different cabinet} | variation. *s” produces a sawtooth wave, | | jus {he rate of sound change types. p' produces à square wave, and "m' uses PWM (pulse width modulation). Le ZNR/MIX module This module serves for reducing noise during playing pauses. The module also is used to control the mixing balance of original sound and effect sound for the DRIVE/SYNTH module, and the signal level after the module. The ZNR/MIX module cannot be tumed off with the foot switch. To disable ZNR, set the effect parameter value to "oF". nr. nr ZNR(ZOOM Noise Reduction) This is ZOOM'S original noise reduction that suppresses noise in playing pauses without affecting the tonal quality of the sound. Also allows adjusting the mixing balance and level of the DRIVE/SYNTH module. Oz" oF.z0-z9 | | (3 MIX BALANCE 0-08, 1.0 O!xEL 2-98, 1.0 Ajust the mixing balance 2% between the signal before input 10 the DRIVE/SYNTH module and | | à juste the signal level after passing the the signal after passing the DRIVE/SYNTH module. Wien the module. Higher setting values SN ren result in stronger WET sound. DRIVE/SYNTH module is set t0 Of, 8 de indication "oF” is shown When the DRIVE/SYNTH | Adjusts the ZNR sensitivity. For maximum noise reduction, set the value as high as possible without causing the sound to cut in or decay unnaturally module is set 10 Of, the indication "oF s shown

LO EQ module This is an equalizer for the low frequency range. You can select eïfher a 3-band equalizer or parametric equalizer. LE LE LOEQ(LowEQ) This is a 3-band equalizer that adjusts the frequency range below 450 Hz. O7’ #12 (2 AE #12 @O:s07 #12 T0 Hz, shelving type equalizer 150 Hz, peaking type equalizer 450 Hz, peaking type equalizer LP LP LO PARAMETRIC EQ (Low Parametric EQ) This is a parametric equalizer that adjusts the frequency range below 650 Hz. O TYPE 1,2, SH a FREQUENCY |See Table 1 [3] GAIN # Selects the type of filter 2e type filter with narrow Q, "2 king type filter with wide Q. produces a shelving type LO Selects a frequency within the range of

100 - 650 Hz Adjusts the gain

Effect Types and Parameters Ï HI EQ module This is an equalizer for the high frequency range. You can select eïfher a 3-band equalizer or parametric equalizer. HE HE HIEQ(HighEQ) This is a 3-band equalizer that adjusts the frequency range above 1 kHz. O1 #12 [2 ESC #12 Or #12 TKH?, peaking type equalizer SKH?, peaking type equalizer GHz, shelving type equalizer HF HP HIPARAMETRICEQ (High Parametric EQ) This is a parametric equalizer for the frequency range above 800 Hz. O7TrE 1,2, SH MFREQUENCY |sec rable2 | | €) GAIN # Selects the type of filer. T à peaking type filter with narrow Q,

Selects a frequency within the range of gives a peaking type fier with wide Q af Adjusts the gain and "SH" produces a shelving type LO || 800 Hz 4.8 kHz Table 2 Display | Frequency |_ Display | Frequency 80 SOU 36 | sur 12 T2RHz 18 | dur 24 TRE mont MOD/SFX(Modulation/SFX) module Comprises modulation and delay effects such as chorus, pitch shifter, delay, and echo.

This effect mixes a variable pitch-shifted component to the original signal, resulting in full-bodied resonating sound. 1 LEA 0-98, 1.0 QPATE 1-50 O"x 0-98, 1.0 Adjusts the level ofthe effect sound mixed to the original sound. Adjusts the modulation depth. a, Adjusts the modulation rate.

This is a stereo chorus with clear sound. Over“ 0-98, 1.0 QT 1-50 Oom"x 0-98, 1.0 Adjusts the level of the effect sound mixed to the original sound. Adjusts the modulation depth. Adjusts the modulation rate. FLMEE FLANGER This effect produces a resonating and strongly undulating sound! -10--1,0, (1 LEA 0-98, 1.0 QMATE 0-50 @ resonance 0 Adjusts the modulation depth. a GTAP Adjusts the modulation rate. RS modulation resonance ZOOM B2 27

This effect allows using a pedal to shift the pitch in real time. ©@coor See Table3 | [MODE UP, dn @ToNE 0-10 Selects the type pitch change type effected by the pedal Selects the direction of the pitch change. || Adjusts the sound quality. Table 3 COLOR MODE 2% Pedal minimum value 2 Pedal maximum value COLOR MODE 2 Pedal minimum value =, Pedal maximum value UP] -100cent Original sound only UP [-foctave+DAY | +1 octave + DAY 1 | dn [original sound only -100 cent 5 | dn |+1octave+DRY | -1octave + DRY UP | DOUBLNG Detune + DRY UP | -700cent+DRY | 500 cent + DRY 2 Jan | Detune + DRY DOUBLING $ | dn | 500cent+DRY | _-700 cent + DRY UP 0 cent +1 octave UP | -> (0 Hz) + DAY +1 octave 3 | dn +1 octave 0 cent 7 [an +1 octave -æ (0 Hz) + DRY UP Ocent 7 octaves UP | OH): DAY | +foctave: DAY 4 [an -2 octaves 0 cent 8 |dn | +1 octave + DRY = (0 Hz) + DRY ut BNbEVIBRATO Effect with automatic vibrato.

(1 LEA 0-98, 1.0 QMRATE 0-50 @BALANCE |0-08,10

: “Adjusts the balance between original Adjusts the modulation depth. GAP Adjusts the modulation rate. | | and effect sound GE St STEP Special effect that changes the sound in a staircase pattern.

(1 EAU 0-98, 1.0 QPATE 0-50 © FESONANCE 0-10

Adjusts the modulation depth. ax GTAP Adjusts the modulation rate. RS modulation resonance GL dE DELA This is a delay with a maximum setting of 2000 ms. O7" 1% Qreeosack |0-08, 1.0 O"x 0-98, 1.0 Grp Ads he delay time, In the range from 10— 990 ms, the adjustment is Adjusts the level of the effect made in 10-ms steps (1— 99). For 1] | Adjusts the feedback amount. sound mixed to the original second and above, the adjustment is sound. made in 100-ms steps (1.0 2.0).

This effect simulates a tape echo. 1-99, O7" 5% Qreeosack |0-08, 1.0 omx 0-98, 1.0 “orp Ads de delay me, In de range from 10 — 990 ms, the adjustment is 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 second and above, the adjustment is sound made in 100-ms steps (1.0— 2.0). FE Pt PITCHSHIFIER This effect shifts the pitch of the original sound up or down. SHIFT 122 -1, dt, TONE - BALANCE - [1] 1 [2] 0-10 [3] 0-98, 1.0 Adjusts the pitch Shift amount in Semitones. Selecting "dt" gives a detuning effect. Adjusts the balance between AAdjusts the sound quality original sound and effect sound. 28 ZOOM B2

HP HP HARMON/ZED PITCH SHIFTER

This is an intelligent pitch shifter that automatically generates harmonies according to a preset key and scale -6,-5,-4,-3, Oscar -m,m,3,4, (2757 C, Co, d...b O"x 0-98, 1.0 5,6 Dacmesthe interva for the pin |. [Determines the ton for he scale used Aus the eve of eu ound shifted sound (see Table 4) For pitch shifting (see Table 5). 2% mixed to the original sound. Table 4 Table 5 Setting] Type ofscale] _Interval | Seting| Type ofscale| _Interval Setting]_ Tonic [Setting | Tone -6 Sixth down 3 Third up C Lei Fo F# -5 Major scale Fifth down 4 Major scale Fourth up Co C# G G 4 Fourth down 5 Fifth up d D Go G# 3 Third down | 6 Sith up do D# À EN -m Third down E E Ao A# Minor scale m Third up F F b B “ur |DELAY module This is a delay module which allows long delay times and use of the hold function. dl dl DELAY Ho This is a delay with a maximum setting of 5000 ms. Fa Pd PINGPONG DELAY =s#0 This is a ping-pong type delay where the delay sound alternates between left and right.

==#0 This is a warm sounding long delay of up to 5000 ms duration. These three effect types have the same parameters

TIME 1-88, FEEDBACK |0- MIX -

[1] 15° %0 [2] 0-98, 1.0 (3) 0-98, 1.0 @Tap Adjusts the delay time. In the range from 10— 990 ms, the Adjusts the level of the effect adjustment is made in 10-ms Adjusts the feedback amount. LS sound mixed to the or steps (1 99). For 1 second and und. above, the adjustment is made in sou 100-ms steps (1.0 — 5.0) REVERB REVERB module “8 |This is a module with various kinds of reverb effects.

This reverb simulates the acoustics of a concert hall.

This reverb simulates the acoustics of a room:

This effect simulates a spring-type reverb. The above three effect 1ypes have he same parameters. OrecaY 1-30 @TonE 0-10 Om"x 0-98, 1.0 Adjusts the duration of the reverb. Adjusts the sound quality A see iecheet sound ZOOM B2 29

A A o K®EBZ.fm 30 N—2 2005#7A27A AMF FH4H154 SA e Effect Types and Parameters CONTROL module Serves for making pedal settings and lets you control he foot switch function and master OMR level setting applying to all patches. Q AMDESNNATION | See Tabie 6 | |@DFS See Table 7 | |) MASTER LEVEL 0-06, 1.0 a E When a foot switch (FSO1) is connected When an expression pedal (FPOL/FPO2) | | ie [CONTROL IN] jack, this selects is connected to the [CONTROL IN] 1e function that can bé operated with jack, this selects the modulation target ie ps th | See Table The ù Adfjusts the master level for all patches. module for the RTM function (See Table| ton velect (See Tat & function selected here applies to all patches. RTM (Real Time Modulation): The effect parameter can be changed with the expression pedal in real time. Table 6 Table 7 Setting Modulation target Setting Function oF OFF bP__|BypassMute VL Volume tP_ [Taptempo WU, Wd, WH, WL [WAIHEFX module (*) EU [Bankup bU, bd, bH, bL |ZNR/MIX module (*) H Rhythm function on/off MU, Md, MH, ML |MOD/SFX module (*) dH Delay hold dU, dd, dH, dl |DELAY module (*) dM [Delay mute rU, rd, rH, rl REVERB module (*) The operation of modules denoted by (*) changes as follows, according to the letter at right. "up" Maximum value Li) UP N The parameter is at minimum when the pedal is fully raised and Î at maximum when the pedal is fully pushed down. Miniraum value [ 4] Down "DOWN" The parameter is at maximum when the pedal is fully raised and Méximum value at minimum when the pedal is fully pushed down. [4 HIGH Minimum value > When the pedal is fully raised, the parameter is at the value set in ne Te ‘ “ "HIGH" the patch. When the pedal is fully pushed down, the parameter is Maximum value at maximum. ae Value set in patch [L£] 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. “LOW" Value set in patch HINT When the ZNR/MIX module is selected as modulation target, the pedal adjusts the mixing balance of the DRIVE/SYNTH module (— p. 26). 30 ZOOM B2

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 (FPO1)/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 FP02/ Foot switch FSO1 + 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 pattern is playing, the reverb effect is not available. Stop the rhythm pattern first Cp. 12). © High level of noise 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 maï nese batteries being used? The use of alkaline batteries is recommended. ZOOM B2

B2 Patch List Category |[No.|Patch name Desc Main effect ao | rock Based on the ultimate rock bass amp, the AMPEG SVT, this sound is great both for bare finger playing and when | \ypeg using a pick A | Heavy Comp Simulates the sound of a HARTKE HA3500 with 4.5XL that became the Will Lee trademark. COMP & HARTKE A2 | No Holds Bared | All-rounder distortion sound. Turn on pedal wah, flanger, and echo for even more excitement. 083 A3 | AUTOWAH Traditional-style auto wah, Transform percussive play with ghost notes straight into a funky sound. AUTO WAH DEMO A4 | Yes! Progressive rock sound, taking a hint from Yes bassist Chris Squire. CHORUS & ECHO A5 | Pop Style Straightforward but addictive sound for pop and rock. À slight dash of room reverb is the secret ingredient BASSMAN A6 | -12Below Classic sub-octaver sound created by Pino Palladino. OCTAVE AT | No Womies Frelless bass sound using the defret effect, Add a slide to a phrase and turn your instrument into a fretless Das DEFRET A8 | Stream Flanging sound for those smooth and flowing phrases, supported by a solid backbone. FLANGER A9 | Synth Bass PAD type synth bass sound. Great for lead bass and for programing sound during live play MONO SYN B0 | svr Combines the all-tube SVT from AMPEG with an 810E cabinet, Experience that gutsy tube amp sound. AMPEG S la TI 35 a ct a -Ci u B1 | Hank Simulation of HARTKE HA3500 head amp combined with aluminum-cone cabinet 4.5XL. Note the HARTKE characteristically straightforward punch of aluminum. m2 |oupengass | Simulation o MARSHALL 1992 Super Bass head amp combined with 1935À cabinet, tailored into Marshall style | pen gass drive-oriented sound. Simula T heu à 300 & TER ne 83 | rrace Simulation ot ACE ELLIOT head amp AH-500 combined with two cabinets (1048H & 1518), producing the TRACE ELLIOT typical midrange character of British rock. Ba | sassuan Simulates the Fender Bassman 100 also used by Paul MeCarney. Enjoy that special Beatles sound with | a icyan Rickenbacker and Hofner violin basses. B5 | ACOUSTIC Simulation of ACOUSTIC 360 head amp combined with 301 cabinet, characterized by a tight midrange. ACOUSTIC mooeune | 86 | sur SR sound madeed on a SM-90O head amp combined vite Goliath cabinet. Rich low range and ler Hi ar | sg ound 10 impress. B7 | T8 Simulates a high-class tube preamplifier such as used in recording studios. The fat and supple sound fits every genre. | TUBE PRE B8 | sANSAMP Simulates the lightly distorted sound of the SANSAMP BASSDRIVER DI, beloved by many bass players. SANSAMP TUBE Simulation of the Tube Screamer used by many guitarists as a booster. Get that cool overdrive sound, whether B9 G TS9 SCREAMER picking or fingering. co lux Simulates the MXR BASS D.I. + distortion channel. À gutsy low end plus the right amount of original sound creates | ue Bass Dis distortion with a solid core. Simulates 3 overdrive bass machine fi ss. P g of original $ res fa c1 los Simulates the ODB-3 overdrive bass machine from Boss. Proper mixing of original sound gives fat overdrive [Cons without losing bass response ce l'ruzzrace Simultes the Fuzz Face Famous or unique ook, WA distant Fax sound is great or one ageresite bass | 22 ge als Chorus sound ofen used by Jaco Pastonus in the late seventies, Lets you play his ‘Slang” loop solos with hold | CHORUS& ‘ang delay. ACOUSTIC Ca | siapstck Rock style sound as personified by Flea of the Red Hot Chili Peppers. Use a Stingray or Modulus bass and whip up | ape some slap bass action. C5 | Bootsea Bootsy Collins sound'using auto wah, Dress up in a fancy costume, wear star-shaped sunglasses, and let it ripl AUTO WAH & PITCH C6 | Mo'Soul Motown sound made famous by James Jamerson. Sixties Motown comes alive again. TUBE PRE arrisT [C7 | Milers Crossing | Marcus Miller type slap sound. Typically deep SWR bass sound is complemented by glossy highs Sur C8 | Lead Simulation of distortion sound suitable for Tony Levin style lead play. Connect an expression pedal and turn pedal | pen gass Wah on 10 create highly effective wah sound Co | nyournger | eat the midrange-oriented fingering work Of artists such as MeShell Ndegeocello or Jeff Berlin. Styled as à | une one tube preamplifier sound. Groovin With | Designed to sound like Sting when he was playing with The Police. Fairy traditional approach covers a wide variety Do h TUBE PRE Vinny. of genres. D1 | Little Muddy Blues sound from the days of Muddy Waters. The range is low-fi, but the impact is powerful. SANSAMP D2 DRE TA Collaboration of synth and step may surprise at first, but will show its potential when played with long tones. MONO SYN & STEP D3 | PHASERSLAP | Phaser sound lets you embellish your slap playing with modulation effects. PHASER Sub bass sound such as used for Techno, Electronica, and Drum'n Bass. Experience a sine wave so low it seems 10 | MONO SYN& D4 | Sublime hug the ground. PHASER D5 | A Major Harmony | Harmonized pitch shifter sound in an À major key. Good for bass solos. PARMTER VARIATION D6 | Dark Sider Combination patch of fuzz and octaver, Heavy sound lets you lay down the rhythm with wild picking or play a | FUZZFACE& Octave strong lead OCTAVE D7 | Tremolo Enchanting tremolo sound with reverb creates a dreamy backdrop or enhances a moody solo. TREMOLO D8 | ManTap Stereo chorus and delay in the style of Michael Manring, Control hold delay with a foot switch to play loop solos. | PSPONG-DELAY Modeled on the typical slap style of Primus frontman Les Claypool, this sound combines TS9 and resonance filter. | AUTO RESONANCE D9 | Les Thumbs Use it to create your very own style. FILTER The preset area of banks 0 - 3 contains the same patches as À - d. The ZNR value may need to be adjusted depending on the bass guitar and amplifier. In play mode, parameter knob 1 can be used to adjust the CABINET parameter of the DRIVE/SYNTH module. Higher values result in stronger cabinet character. When using a bass amplifier, selecting the flat EQ setting is recommended. Manufacturer names and product names mentioned in this patch list are trademarks or registered trademarks of their respective owners. These names as well as artist's names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION. B2 PATCHLIST 1.0