B91UT - Audio Effects ZOOM - Free user manual and instructions

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USER MANUAL B91UT ZOOM

I O804B9Eindb 1 —{s es )û4 ©ZOOM Corporation Reproduction of this manual, in whole or is prohibited.

in part, by any means,

08.425 10:57:10 AM Il

Safety Precautions / Usage Precautions SAFETY PRECAUTIONS In this manual, symbols are used to highlight warnings and cautions for you to read so that accidents can be prevented. The meanings of these symbols are as follows: This symbol indicates explanations about extremely dangerous matters. If users ignore this symbol and Warning handle the device the wrong way, serious injury or death could result This symbol indicates explanations about dangerous matters. users ignore this symbol and handle the Caufon device the wrong way, bodily injury and damage to the equipment could result. Please observe the following safety tips and precautions to: ensure hazard-free use of the B9.lut Power requirements + Be sure to use only the AC adapter which is supplied with the B9.lut. The use of any other adapter may lead to malfunction and damage and pose a fire hazard or other safety hazard + Connect the AC adapter only to an AC outlet that supplies the rated voltage required by the adapter When disconnecting the AC adapter from the AC outlet, always grasp the plug and do not pull at the cable. + During lightning or when not using the unit for an extended period, disconnect the AC adapter from the AC outlet. + Do not pinch the power cord, bend it forcedly, or place heavy objects on the power cord. War Environment A Prier the risk of fire clerc shock LR or malfunction, avoid using your B9.lut in environments where it will be exposed to: + Extreme temperatures + Heat sources such as radiators or stoves + High humidity or moisture + Excessive dust or sand + Excessive vibration or shock Keep a minimum distance of 5 em around the unit for sufficient ventilation. Do not impede the ventilation openings with objects such as newspapers or curtains. Handling + Never place objects filled with liquids, such as vases, on the B9.lut since this can cause electric lace naked flame sources, such as lighted O804B9Eindb 2 À candles, on the B9.lut since this can cause

A: The B9.lut 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 to shock or excessive pressure + Take care that no foreign objects (coins or pins ete.) or liquids can enter the unit. Caution Connecting cables and input and output jacks You should always turn off the power to the in B9.1ut and all other equipment before connecting or disconnecting any cables. Also make sure to disconnect all connection cables and the power cord before moving the B9.ut. Alterations Never open the case of the B9.lut or attempt to éry modify the product in any way since this can result in damage to the unit. Volume A, Do not use te B9.lu at a loud volume for along Éa time since this can cause hearing impairment Usage Precautions Electrical interference For safety considerations, the B9.lut has been designed 0 provide maximum protection against the emis of electromagnetic radiation from inside the device. and protection from external interference. However, equipment that is very susceptible to interference or that emits powerful electromagnetic waves should not be placed near the B9.lut, as the possibility of interference cannot be ruled out entirely.

With any type of digital control device, the B9.lut included, electromagnetic interference can cause malfunctioning and can corrupt or destroy data. Care should be taken to minimize the risk of damage. Cleaning Use a soft, dry cloth to clean the B9.Iut. If necessary slightly moisten the cloth. Do not use abrasive cleanser, ax, or solvents (such as paint thinner or cleaning alcohol), since these may dull the finish or damage the surface. Please keep this manual in a convenient place for future reference.

• MIDI is a registered trademark of Association of Musical Electronics Industry(AMEI) ZOOM B9.lut

Using the Tuner (Bypass/Mute Mode) Using the chromatic tuner . Using the bass tuner .…. Changing the Sound of a Patch (Edit Mode) . Patch configuration Basic edit mode steps Changing a patch name .… Storing Patches and Banks (Store Mode Storing/swapping patches . Storing/swapping banks Retuming patches to factory default condition Using the Expression Pedal . About the expression pedal … Assigning control targets to the expression pedal ....... . Adjusting the expression pedal Using an external expression pedal … Adjusting the expression pedal torque Using the Foot Switches. Making settings for function foot switches Assigning modules to foot switches 1 - 4 Specifying the tempo for a patch Using the Effect Loop

• Windows, Windows XP, and Windows Vista are registered trademarks of Microsoft Corporation.
• Macintosh is a registered trademark of Apple, Inc.
• All other trademarks, product names, and company names mentioned in this document are the property Manufacturer names and product names mentioned in this document 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. ZOOM B9.lut O804BSEindb 3

+ I | Features __ Thank you for selecting the ZOOM B9.lut (simply called the "B9.Jut" in this manual). The B9.lut is a sophisticated Multi Effect Processor with the following features. © Latest technology for top performance Excellent sound quality is assured by signal processing featuring 96 KHz/24 bit sampling and internal 32-bit processing. Frequency response remains flat to 40 KHz, and input converted noise is an amazing 120 dB or better. © Ready-to-use patches Effect module combinations and settings can be stored and recalled as "patches". The B9.lut offers 80 patches in the read-only preset group, plus 80 patches in the user group which can be freely rewritten, resulting in a total of 160 choices. © Tube powered Accelerator The analog input stage features an Accelerator that lets you freely mix the signal amplified by a vacuum tube circuit to the solid-stage signal. In this way, you can add characteristic tube compression and distortion to a clean sound. © Versatile array of effects Out of a versatile palette of 112 effects, up to ten (including ZNR) can be used simultaneously. Recreate the distortion sound of famous amps and compact effects, apply compressor effects to spruce up the sound, use the 6-band equalizer, control delay, add modulation, or select from many other great effects. Both in quality and versatility, the B9.lut far surpasses anything in its class. You can even transform the output into a cool synth bass or fretless bass sound. © Two selectable operation modes (manual mode/play mode) In manual mode, you can use the foot switches to turn individual effects in patches on and off. This makes it easy to simulate playing with an array of compact effects and stomp boxes. In play mode, the foot switches serve to quickly move between patches. © XLR connectors for direct output In addition to the OUTPUT jacks, a set of XLR connectors lets you send a balanced line-level signal directly to a PA mixer or recording console. The signal can be branched off either before or after effect processing. À switch for uncoupling the direct signal from ground in case of hum problems is also provided. © Z-Pedal senses not only vertical but even horizontal movement The B9.lut comes with a built-in Z-type expression pedal that offers great functionality. The pedal senses not only conventional up/down but also sideways movement. This lets you explore a whole new realm of pedal performance. If you connect an additional expression pedal (FPOI/FP02) to the CONTROL IN jack, this can be used as a dedicated volume pedal. © Programmable function foot switches Three user-programmable function foot switches further enhance flexibility and let you optimize the unit for a range of applications. Use them to set the delay time, turn hold delay on and off, or for various other tasks. Please take the time to read this manual carefully, in order to get the most out of your B9.lut and to ensure optimum performance and reliability. 4 ZOOM B9.lut

Terms Used in This Manual This section explains some important terms that are used throughout the B9.lut documentation. Effect module As shown in the illustration below, the B9.lut can be thought of as a combination of several single effects. Each of these is referred to as an effect module. The B9.lut offers a compressor effect module (COMP), amp simulator/synth bass effect module (PRE-AMP), external effect loop control module (EXT LOOP), and more. Parameters such as effect intensity can be adjusted for each module individually, and modules can be switched on and off as desired. The five modules EXT LOOP, ZNR, PRE-AMP, EQ,. and CABINET operate as a virtual preamplifier which is controlled with the knobs and keys on the pre-amp section of the panel. MEffect type Most effect modules comprise several different effects which are referred to as effect types. For example, the modulation effect module (MOD/ EFX2) comprises chorus, flanger, pitch shifter, delay, and other effect types. Only one of these can be selected at any time. REffect parameter All effect modules have aspects that can be controlled. These are called effect parameters, adjusted with the parameter knobs 1 — 4 on the panel. When thinking of an effect module as à compact effect, the parameters change the tone and effect intensity similar to the knobs on the device. BPatch In the B9.lut, effect module combinations are stored and called up in units referred 10 as patches. A 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. Expression pedal settings and tempo settings are also stored for each patch individually. SEND RETURN & Bank and group Patches are organized in the user group (U) which can be modified, and in the preset group (P) which is read-only.. Since each group comprises 80 patches, there are a total of 160 patches. In the B9.lut, patches are called up four at a time and selected with the four foot switches. These four patches are together referred to as a bank. There are 20 banks in à group, numbered 0 — 9 and À — 1. User group (U) Preset group (P) a a ——

E Modes The B9.lut has five different operation modes, as listed below. + Manual mode In this mode, you play your instrument while using a specific patch and turning modules in that patch on and off with the foot switches. This is the default mode of the B9.lut that is always active when power is turned on. Play mode In this mode, different patches can be selected quickly using the foot switches. + Edit mode In this mode, the effect parameters of a patch can be edited (changed) + Store mode This mode serves for storing edited patches. It also allows changing the store positions of patches. + Bypass/mute mode When the B9.lut is in the bypass condition, effect processing is temporarily turned off and only the original sound is heard. In the mute mode, all sound is turned off. The tuner can be used in either condition. nr) 9 { MOD/EFX2 }-{DELAY } {REVERS} oUTPUT ZOOM B9.lut O804B9Eindb 5

B9.iut Top Panel + Pre-amp section (see next page) + Control section (see next page) + Accelerator section (see next page) Expression pedal [VOLUME PEDAL] LED (see page 33)

O804BSEindb 8 Getting Connected Refer to the examples shown below when making connections. HE Connection example (1) Use a mini phono plug stereo Y adapter cable to connect a rhythm machine (ZOOM SB-246 or similar) or a CD/MD player. The signal at the AUX IN jack is not processed by the internal effects but supplied to the outputs as is. This signal is also sent to the USB port. Use mono cables for connection to bass amplifiers. When using only one bass amplifier, use the OUTPUT L/MONO jack. Rhythm machine or similar Connect the optional expression pedal (FP01/FP0; a Psion pedal AC adapter Bass amplifier Use a shielded mono cable to connect the bass B9.tut patch switching and pedal operation information can be pr == ca) | sent and received as MIDI messages. By connecting the USB port to a computer, the B9.ut can be used as an audio interface. HE Connection example (2) (Using the B9.1ut as a DI) OUTPUT GAIN switch ( fthe unit is connected to a mixer or to recording ss) Bass guitar and input signal distortion occurs, set this switch to "-10dB: GROUND switch This switch affects only the BALANCED OUT R and BALANCED OUT L/MONO connectors. In the "LIFT" position (switch engaged), the ground pin is uncoupled from the signal path. In the "CONNECT" position (switch disengaged), the ground pin is enabled. This switch affects only the signal at the BALANCED OUT R connector. In the "POST" position (switch engaged), the signal after effect processing is output. In the *PRE* position (switch disengaged), the signal after the accelerator but before effect processing is output. The BALANCED OUT L/MONO connector always carries the post- processing signal. 8 ZOOM B9.lut

Getting Connected / Power-On HE Connection example (3) (External effect connection) When an external effect is connected to the SEND/RETURN jacks, settings such as effect on/off and send/return level can be stored as part of a patch. For details, see page 40. EXT LOOP GAIN switch When connecting to an effect that has Eau instrument effect or a compact effect, use the "-10 dBm" setting. a rated input level of +4 dBm (rack- The steps for turning on the B9.lut are described below. [External effect | effect mount effect or similar), use the “+4 dBm" setting. When connecting to an

1. Make sure that any connected 5, Play your bass guitar and adjust the

bass amplifier is turned off. volume control on the bass amplifier, In addition, fully turn down the volume control on the bass guitar, and the LEVEL knob on the rear panel of the B9.1ut to obtain optimum listening volume. 2, Plug the AC adapter into an AC | outlet and plug the cable from the Rear panel HT adapter into the DC IN connector at the bass amplifier. of the B9.tut. XX "LEVEL knob

3. Use a monaural cable to connect

the bass guitar to the INPUT jack NOTE of the B9.1ut. Use a monaural The Accelerator setting also has an influence on cable to connect the OUTPUT L/ the volume (— p. 17). MONO (or R) jack to the bass amplifier. HINT The B9.Jut has a so-called "Pickup Select" feature that lets you match the unit 10 various HINT kinds of bass guitar pickups. If necessary, select To monitor with headphones, plug the the appropriate setting for your bass guitar the headphone cable into the PHONES jack of the first time you use the B9.lut (— p. 61). B9. lu. “ 6, To shut down the system, turn power 4, Turn power on in the following to the respective components off in the order: B9.1ut —> bass amplifier. reverse order than during power-up. NOTE NOTE Procced with care wh ; h + When the LEVEL knob on the rear panel is oCeer WIR care MER pORENRE HP Ie System turned 10 maximum, the output level of the If you turn on power to the B9.lut while the bass B9.lut is +6 dB. amplifier is already on, there is a risk of hearing + For information on Accelerator settings for damage and damage to the speakers. unity gain (output level is the same as input level), see page 17. ZOOM B9.lut 9

Qu ck Gu d (Manual Mode/Play Mode Operati This section explains various basic steps, allowing you to use the B9.lut right away. [1] Switching modules on and off with your foot (manual mode) Immediately after power-on, the unit will be in manual mode, where you can use foot switches 1 — 4 to switch modules on and off.

1. Use the PATCH/BANK [Y]/[A] foot switches to select a patch.

Each push on one of the PATCH/BANK [W/J/[A] foot switches changes to the next patch. [ldentical display items in manual mode and play mode] Group name/Bank number/Patch number Bank number Patch name Patch number

Distortion ° intensity Lo-mid range boost/cut High range boost/cut €) Pre-amp operation The pre-amp section allows you to adjust distortion intensity and EQ.

1. Turn the knobs of the

pre-amp section to make adjustments. The B9.lut goes into edit mode.

2. To return to manual

mode or play mode, press the [EXIT] key. A Selecting patches (play mode)

1. Press the [MANUAL] key so that the key is off.

The B9.lut is in play mode.

2. To select a patch, use the PATCH/BANK [Y]J/[A] foot

switches to select a group/bank, and then use foot switches 1 - 4.

3. To return to manual mode, press the [MANUAL] key

again so that the key is on. ZOOM B9.lut 11

Qu ck Guide 2 «ait Mode/Store Mode Op This section explains how to edit a selected patch and how to store the changes you have made. (1)] 0 Editing a patch (edit mode)

adjustments. [TYPE] knob Changes the effect type. HINT

The major parameters of the PRE-AMP/EQ EI EU ER as mat module can be edited with the knobs of the pre-amp section, in the same way as in manual mode or play mode. Parameter knobs 1 — 4 NOTE Change the respective parameter. The changes that you have made to a patch will be lost when you select another patch. To For information on parameters assigned keep the changes, store the patch first. to the knobs, see page 64 — 79. 12 ZOOM B9.lut I O804BSEindb 12 en 08.425 om ||

2. The indication "PATCH" appears in the

top right of the display and the indication "STORE?" in the bottom left. In this condition, you can store individual patches. If the display is different, use parameter knob 1 to bring up the "STORE?" indication and parameter knob 2 to bring up the "PATCH" indication. HINT In store mode, you can swap patches as well as store or swap entire banks (— p. 27).

3. Select the store target bank/patch

number. © When activation sequence was manual mode — store mode © When activation sequence was manual mode LR Z mm En l 7 —7) — edit mode — store mode Use the PATCH/BANK [w]/[A] foot switches to select the bank and patch. © When activation sequence was play mode — store mode © When activation sequence was play mode — edit mode — store mode Use the PATCH/BANK [Y J/[ A ] foot switches to select the bank, and then use foot switches 1 - 4 to select the patch. NOTE : Only user group patches can be specified as store target. + When a patch from a user group is selected, this patch becomes the default store target. + When a patch from a preset group is selected, the first user group patch becomes the default store target.

4. Press the [STORE/SWAP] key once more.

The store process is carried out, and the B9.lut returns to manual mode or play mode. HINT You can return the user group patches easily to the factory default settings (— p. 29). ZOOM B9.lut 13

Switching Modules On and Off nana mode) The condition where foot switches 1 — 4 are used to switch the modules in the currently selected patch on and off individually is called "manual mode". When turning on the B9.lut, it will start up in this mode. B Panel display In manual mode, the following information is shown on the panel. Group name/Bank number/Patch number Bank number Th group name "P'indicates the preset group, and the group name "UP the user group. (0-9, A-4) symbol If a setting of the currently selected patch differs from the original To setting, the indication "E" (for Edited) appears. Patch name _ sonore SE UN HN T U-8i:E9 Drived GBBursEhuteEHBPN Functions assigned to function Shows the operation that will be carried out when pressing the respective function foot switch (— p. 36). Patch number t-4) foot switches 1-3 PRE-AMP

Effect module keys Keys for modules that are active in the currently selected patch li in red. When the module assigned to the foot switch is on, the LED is lit When the module is off, the LED flashes. Foot switch 1-4 LEDS Foot switch 1-4 LEDS key will be lit and the B9.lut will be in manual O804B9Eindb 14 B Selecting patches This section explains how to select patches in manual mode.

1. Make sure that the [MANUAL] key

is lit. Immediately after power-on, the [MANUAL]

mode. If the key is out, press it so that it lights up. MANUAL | IMANUAL] key (lit) ZOOM B9.lut

switches to select a patch. For example, pressing the PATCH/BANK [A] foot switch repeatedly will cycle through the groups, banks, and patches as shown in the above illustration. HINT + The [BANK/PATCH] indicator shows only the bank number and patch number. To identify the current group name, check the display. + You can also switch the group/bank/patch by turning the [TYPE] knob Turning a module on and off In manual mode, you can use foot switches 1-4 to switch specific modules on and off. The main modules of the currently selected patch can be controlled in this way. Each foot switch is marked with the names of two modules. One of these modules is controlled by the switch. The top and bottom LEDs of the foot switch indicate which module is being controlled and its current status, as follows. LED lit: module on. LED flashing: module off. The illustration below shows the foot switches and respective modules. HINT + You can change the modules assigned 10 the foot switches 1-4 (— p. 38). + The module onloff settings are not automatically retained when you change to another patch. If necessary, store the patch to retain the new settings (— p. 27). COMP module PRE-AMP module Foot switch 2 Foot switch 1 WAH/EFX1 module EXT LOOP module LED for controlled module is on or flashing Foot switch 3 MOD-EFX2 module DELAY module Foot switch 4 [CE

Switching Modules On and Off (Manual Mode) BAdjusting the sound In manual mode, you can use the knobs on the panel to adjust the basic parameters of the pre- amp section (distortion intensity, EQ boost/cut etc.), as well as the overall volume level (patch level).

1. Select the patch in manual mode.

2. To change major parameters in

the pre-amp section, operate the respective knob (see illustration below). ‘When you turn a knob, the name and the current setting of the respective parameter appear on the display. Operating the [SUB-BASS], [BASS], [LO- MID), [HI-MID], [TREBLE], or [PRESENCE] knob will boost or cut the respective band, and the setting is reflected in the graph on the right side of the display. Name of currently adjusted parameter

Pregence #léll® G= 1248 Elvitél Parameter value Graphic representation of boost/cut setting in each band HINT + When you perform this operation, the B9.lut switches 10 edit mode. To return to manual mode, press the [EXIT] key. (For details on edit mode, see page 23.) + If" Off" is shown on the second line of the display, the pre-amp module or EQ module is set 10 off. Press the respective module key 10 turn the module on and then change the parameters.

3. To adjust the overall volume level

(patch level), turn parameter knob 1 in manual mode. “4 Parameter knob 1 The patch level is a parameter that controls the output level of the respective patch. The setting range is 2 — 100. À setting of 80 results in unity gain (no level increase or decrease).

4. To adjust the mixing balance

between original sound and effect sound (total balance), turn parameter knob 2 after step 3.

ns" Parameter knob 2 The total balance is a parameter that controls the ratio of effect sound to original sound for each patch. The setting range is 0 — 100. À setting of und only, and a setting of in effect sound only. 100 resu [BASS] knob Low range bo [Pre-amp section] ILEVEL] knob Pre-amp module output level

Switching Modules On and Off (Manual Mode) HINT module and the distortion depth of the PRE- + The patch level and total balance are AMP module also will change. parameters of the TOTAL/FUNCTION module ( p.79). When you change one of these The following setting examples show how to parameters, the B9.Iut switches 10 edit mode. achieve unity gain (same input and output level To return to manual mode, press the [EXIT] y gain ( pl P! )] key. for using the tube or solid state controls only. + The changed patch settings are not We recommend using these settings as à starting automatically retained when you change to point for making adjustments to the Accelerator. another patch. If necessary, store the patch to retain the new settings (> p.27). © Tube control unity gain setting

BuUsing the Accelerator The input stage of the B9.lut incorporates an Accelerator function that amplifies the D An analog signal before effect processing using à tube or solid state circuit. This lets you mix © Solid state unity gain setting characteristic tube compression and distortion with clean solid state sound and then send the signal to the effect circuitry. ETES HINT The Accelerator is active in all modes Accelerator settings are not stored as part of the patch. NOTE When both controls are set 10 minimum, no To adjust the Accelerator, use the controls of the signal will be input to the B9.lut. Accelerator section on the panel. The control functions are explained below. © [TUBE] control This control adjusts the input signal gain of the tube circuit, Turning the control clockwise increases the volume level and the typical tube sound character. © ISOLID STATE] control This control adjusts the input signal gain of the solid state circuit. Turning the control clockwise increases only the volume. At the maximum position, gain is about +6 dB. This can be used to increase the gain for the signal before effect processing. Depending on the settings made for the Accelerator, the effect intensity of the COMP ZOOM B9.lut 17 O804BSE indb 17 en 08.425 10:57:37 AM

Selecting Patches for Playing (127 mode) This section describes how to use the play mode where you can quickly change patches by using foot switches 1 —4.

1. Make sure that the [MANUAL] key When the [MANUAL] key is out, the B9.lut

is out. is in play mode. In play mode, the followi information is shown on the panel. MANUAL Group name/Bank number/Patch number The group name "P" indicates the preset group, and the group name "U" the user group. Bank number sou PASSE ETONP: sou su (0-9,A-9) Patch name "E" symbol If a setting of the currently selected patch differs from the original p setting, the indication °E" (for Edited) appears. F0 MONITOR —

U-DitE9 Drive (5: GE PsEMutSEBPM Patch number Functions assigned to function Shows the operation that will be carried out q-4 foot switches 1-3 when pressing the respective function foot switch (— p. 36) PRE-AMP DOO0O0O0O0O0O0OO

Effect module keys Keys for modules that are active in the currently selected patch are lit in red. The LED of the foot switch for the currently selected patch is lit. Foot switch 1-4 LEDs

Selecting Patches for Playing (Play Mode)

2. Press a foot switch 1 - 4 which 4. To return to manual mode, press

corresponds to the patch you the [MANUAL] key. want. MANUAL The LED of the pressed switch lights up, indicating that a new patch has been called up. HINT When you press a foot switch whose LED is lit, îhe same patch is called up once more.

3. To switch to a patch in another

bank, use the PATCH/BANK [w]/ [A] foot switches to change the bank and then use foot switches 1 - 4 to select the patch. PATCH/BANK [w//[A] foot switches HINT + You can also switch the group/bank/patch by turning the [TYPE] knob + In play mode, as in manual mode, you the knobs on the panel 10 control major parameters of the pre-amp section (distortion intensity, EQ boostlcut, etc.) and the Accelerator. For information on how to do this, see "Adjusting the sound" on page 16. + From play mode, vou can switch to edit mode for editing patches. For details on edit mode, see page 23. can us ZOOM B9.lut 19 O804BSEindb 19 en 08.425 10:57:39 AM

(Bypass/Mute Mode) The B9.lut incorporates a chromatic tuner and a standard type bass tuner. This section describes how to use the tuner functions. Using the chromatic tuner To use the chromatic tuner function, proceed as follows. 1 In manual mode, play mode, or edit mode, press and hold the [BYPASS/TUNER] key. Brass TUNER To use the tuner, the B9.lut must be set to the bypass mode (effect sound off) or mute mode (original sound and effect sound both off). © To switch to the bypass mode Briefly press and release the [BYPASS/ TUNER] key so that the key lights up. The B9.lut is now in the bypass mode.

2079 [PYPRES HINT In the default condition, each patch of the B9.Jut has the bypass onloff switching function assigned 10 function foot switch 1. @ To switch to the mute mode Hold the [BYPASS/TUNER] key until the indication "BYPASS" changes to "MUTE". Then release the key. The B9.lut is now in the mute mode.

I O804BSE:indb 20 PASS 5 [HUTE Release key when "MUTE" is shown After "BYPASS" or "MUTE" is shown, the B9.lut automatically switches to the tuning display. Tuner type Reference pitch DCHROMATE EOHz HINT + In bypass mode, the built-in expression pedal functions as a volume pedal. (In the mute mode, the pedal has no effect.) + By turning the [TYPE] knob, you can switch between the chromatic tuner and the bass tuner. For information on the bass tuner, see the next section. + The reverse "T" or number indication on the display indicates that the [TYPE] knob or the corresponding parameter knob can be used for adjustment.

2. Play the open string to tune.

The left digit of the [BANK/PATCH] indicator shows the note which is closest to the current pitch.

+ 1 The right digit of the [BANK/PATCHI indicator shows how the pitch differs from the displayed note. Pitch is high Pitch is correct Pitch is low Y- fi LC 8 x

Indication turns faster the more the pitch is off The "><" under the display also shows by how much the pitch differs. LCHROMATC 846 Hz

PTE Pitch is correct Li < Pie is high

3. Tune the string of your instrument

while checking the note and pitch indication. HINT First you should perform rough tuning to bring up the desired note indication. Then fine tune the pitch while watching the right digit of the IBANK/PATCHI] indicator and the lower part of the display. ZOOM B9.lut I O804B9Eindb 21 Using the Tuner (Bypass/Mute Mode)

4. To change the reference pitch of

the tuner, turn parameter knob 1. CHROMATE E42Hz

Parameter knob 1 After the B9.lut is turned on, the tuner reference pitch is always "440 Hz (center À = 440 Hz). The adjustment range using parameter knob 1 is center À = 435 - 445 Hz, in 1-Hz steps. HINT When the B9.lut is turned off and on again, the reference pitch will be reset 10 440 Hz. You can change the default frequency that will be used after a reset (= p. 59).

5. When tuning is completed, press

the [BYPASS/TUNER!] key. The B9.lut returns to manual mode or play mode. BUsing the bass tuner Besides chromatic tuning, the B9.lut also offers Standard tuning for bass. To use this function, proceed as follows.

1. Switch the B9.1ut to the bypass or

mute mode as described in step 1 of "Using the chromatic tuner". The display shows the tuning indication.

2. Turnthe [TYPE] knob to select

"BASS" as tuner type. The [BANK/PATCHI] indicator display changes as follows.

+ 1 Using the Tuner (Bypass/Mute Mode) Tuner type HEASS

1 to change the reference pitch of the tuner. The setting range is center A = 435 — 445 Hz, in 1-Hz ste] If "BASS" has been selected as tuner type, turning parameter knob 1 further counterclockwise from the "435" setting selects the setting "b" (one semitone lower), "bb" (two semitones lower), and "hbb" (three semitones lower). Optional tuning to 1 - 3 semitones lower HINT When the B9.lut is turned off and on again, the reference pitch will be reset to 440 Hz. You can change the default frequency that will be used afrer a reset (— p. 59). 4, Play the open string of the indicated number and adjust the pitch.

6. Tune other strings in the same

7. When tuning is completed, press

Chang This section describes how to use the edit mode in which you can change the effect types and settings for each effect module. BPatch configuration $ shown in the "Patch configuration" Stration below, the B9.lut can be thought ries of several single effects (effect ). A combination of these modules and the settings for each module are stored patch. Almost all modules comprise several different effects (called effect types), one of which is selected at any given time. For example, the MOD/EFX2 module allows selection of either Chorus, PitchShift, Delay, etc. The elements that determine the sound of a patch are called effect parameters. Each effect type has its own parameters that can be controlled with knobs on the panel. Even within the same module, when the effect type is different, the effect parameters that can be controlled will also be different. In the module configuration shown below, the series of modules EXT LOOP, ZNR, PRE-AMP, EQ. and CABINET operates as à virtual pre- amp section. Depending on the application, this section can be inserted after the WAH/EFX1 module or after the DELAY module (— p. 62). ng the Sound of a Patch: Mode) B Basic edit mode steps The basic steps that are normally taken in edit mode are described here. For details on effect types and parameters for each module, see the section "Effect Types and Parameters" on pages 64-79.

1. Select the patch to edit.

The patch can be from a preset group (P) or user group (U). However, if you have edited a patch from a preset group, it can only be stored in a user group (— p. 27).

2. In play mode or manual mode,

press the effect module key (see illustration on next page) to select the module on which to operate. The B9.lut switches to edit mode, and the display changes as follows, according to the selected module. [Module other than PRE-AMP/EQ] Module name Effect type name ee MOD: Chorus Parameter … Currently selected number parameter and its setting value EDerth =1as HINT The effect module keys for modules that are ON in the currently selected patch are lit in red (keys for modules that are OFF are not lit). When you MOD/EFX2 }-{DELAY} (REVERS)? ouTPUT ZOOM B9.lut

Changing the Sound of a Patch (Edit Mode) Effect module keys EFFECT ICOMP] key [EXT LOOP] key [PRE-AMP] key 7 SEE IWAH/ÆFX1] key | [ZNRIkey [EQlkey | [MOD/EFX2] key | [REVERB] key [CABINET] key [DELAY]key _ [TOTAL/FUNCTION] key press a key 10 select a module, the key color ges 10 orange (or 10 green if the module is IPRE-AMP module ] IE |FRE-AMP_ wlalll ù AmregSUT Bébé Effect type name Simplified graphical representation of EQ settings IEQ module ] Name of parameter being edited ER fFresence Flelll Q Ture=SH GIF Fbh Parameter value NOTE + Ifedit mode was activated from manual mode, foot switches 1-4 can be used to turn specific modules on and off. The PATCH/BANK LYJIIAI foot switches can be used to switch paiches. + Ifedit mode was activated from play mode, the PATCHIBANK [WJ/[A] foot switches and foot switches 1 — 4 can be used 10 switch patches. However, note that editing changes will be lost when switching patches during editing, unless you store the patch first.

3. To switch the selected module

between on and off, press the same module key once more. ‘When the module is off, the indication "Module Off" is shown on the display. Pressing the same

O804B9Eindb 24 key once more in this condition switches the module on. HINT + If any module onloff status, effect type selection, or a parameter setting value has been changed at least once, the STORE! SWAP] key lights up and the indication "E" appears to the right of the item. + The E" indication disappears when the item is returned to the original value. However, if any other item has been changed, the [STORE! SWAP] key remains lit.

[When PRE-AMP module is selected] Select the effect type with the [TYPE] knob as required, and use parameter knobs 1 — 4 to adjust the parameters of the effect type. For the PRE-AMP module, parameters are also assigned to the [GAIN] and [LEVEL] knobs in addition to the parameter knobs 1 — 4. The knob assignments for the PRE-AMP module are shown in the illustration below. [When EQ module is selected] Select the frequency band with the [TYPE] knob as required, and use parameter knobs 1 — 3 to adjust the parameters for the respective band. The boost/cut setting for the frequency bands of the EQ module can also be adjusted with the knobs of the pre-amp section. The knob assignments are shown in the illustration below. HINT + For information on effect types and parameter assignments, see pages 64-79. + When you adjust PRE-AMP parameters with the knobs of the pre-amp section, the PRE- AMP module is automatically selected. When you adjust EQ parameters, the EQ module is automatically selected. Changing the Sound of a Patch (Edit Mode) NOTE IS HPF (high-pass filter) is selected for the Sub- Bass band of the EQ module, or if LPF (low- pass filter) is selected for the Presence band, the boosticut setting for that band cannot be adjusted. (The indication will be fixed to -12 dB).

5. Repeat steps 2 - 4 to edit other

modules in the same way.

6. When editing is finished, press the

[EXIT] key. The B9.lut returns to the previous mode. NOTE + The changes that you have made to a patch will be lost when you select another patch. To keep the changes, store the patch first (= p. 27). + The patch level (output level of individual paich) and total balance (ratio between original sound and effect sound for individual paich) can be set in the TOTAL/FUNCTION module (— p. 79). [Editing PRE-AMP/EQ module with pre-amp section] [GAIN] knob ISUB-BASS] knob Adjusts the gain Adiusts the very {distortion intensity) of | low range the PRE-AMP module. | boost/cut. boost/cut. [LEVEL] knob Adjusts the output level of the PRE-AMP module. [BASS] knob Adjusts the low range IHI-MID] knob Adjusts the hi-mid range boost/cut. IPRESENCE] knob Adjusts the ultra-high range boost/cut. [TREBLE] knob Adijusts the high range boost/cut. [LO-MID] knob Adijusts the lo-mid range boost/cut. ZOOM B9.lut O804B9Eindb 25

+ 1 Changing the Sound of a Patch (Edit Mode) « Repeat step 3 until the patch Changing a patch name is as desired. Then press the name LEXIT] key. You can change the name of an edited patch. To do this, proceed as follows. NOTE The changes that you have made to a patch À. in play mode, manual mode, or name will be lost when you select another patch. edit mode, press the [TOTAL/ To keep the changes, store the patch first (— p. , 27). FUNCTIONI effect module key. )

2. Turn the [TYPE] knob to bring up

the patch name on the lower part of the display.

[TYPE] knob Patch name The alternating black square (IN) indicates that this character can be changed.

Storing Patches and Banks. This section explains how to use the store mode. In store mode, you can store edited patches in memory, or swap the store location of user group patches. Storing and swapping can also be carried out for entire banks. The patches of the user group can be returned to the factory default condition at any time. Storing/swapping patches s section explains how to store and s

1. In manual mode, play mode, or edit

mode, press the [STORE/SWAP] key. STORE/SWAP The B9.lut switches to the store standby condition, and the currently selected patch becomes the store/swap source. The [BANK/PATCH] indicator shows the store/ swap target group name and bank number. Store/swap source patch name ES Drive Es: PATCH STORE *+#0-61 Store/swap target bank name, bank number Store/swap target group name, bank number, patch number HINT + In the factory default condition, the user group (U) contains the same patches as the preset group (P). + If a parch has been edited, it will be stored or swapped in the edited condition. + If a parch from the preset group is selected when you press the [STORE/SWAP] key, the corresponding user group patch is automatically selected as store target. ZOOM B9.lut O804B9Eindb 27

2. To store/swap individual patches,

turn parameter knob 2 to bring up the indication "PATCH" in the top right of the

PAU Parameter knob 2 HINT When "BANK" is shown, the subsequent operation will be carried out for the entire bank. Make sure that the correct indication is shown

3. Turn parameter knob 1 to bring

up the indication "STORE?" or "“SWAP?" on the display. Parameter knob 1 When "STORE?" is selected, the current patch can be stored as any user patch. When "SWAP?" is selected, the current user patch can be swapped with any other user patch. NOTE Ifthe source patch is from the preset group, the indication "SWAP?" does not appear. 4, Select the store/swap target bank/ patch number. + When activation sequence was manual mode — store mode + When activation sequence was manual mode edit mode — store mode

Storing Patches and Banks (Store Mode) Use the PATCH/BANK [/J/[A] foot switches to select the bank and patch. PATCH/BANK [v//[A] foot switches + When activation sequence was play modee — store mode + When activation sequence was play mode-- edit mode — store mode Use the PATCH/BANK [W]J/[A] foot switches to select the bank, and then use foot switches 1-4 to select the patch. Foot switches 1-4 HINT You can also select the bank number/patch number with the [TYPE] knob. 5, Press the [STORE/SWAP] key once more. The store/swap process is carried out, and the B9.lut then returns to the manual mode or play mode with the store/swap target patch being selected. By pressing the [EXIT] key instead of the ISTORE/SWAP] key, you can cancel the process and return to the previous mode. NOTE The Accelerator settings are not stored as part of the patch.

1. In manual mode, play mode, or edit

mode, press the [STORE/SWAP] key. The B9.lut switches to the store standby condition, and the currently selected bank becomes the store/swap source.

2. To store/swap entire banks, turn

up the indication "STORE?" or "“SWAP?" on the display. When "STORE?" is selected, the current bank can be stored as any user bank. When "SWAP?" is selected, the current user bank can be swapped with any other user bank. NOTE If the source bank is from the preset group, the indication "SWAP?" does not appear. 4, Use the PATCH/BANK[Y]J/[A] foot switches to select the store/swap target bank.

5. Press the [STORE/SWAP] key once

more. The store/swap process is carried out, and the B9.lut then returns to play mode or manual ZOOM B9.lut

+ 1 Storing Patches and Banks (Store Mode) mode with the store/swap target bank being selected. By pressing the [EXIT] key instead of the ISTORE/SWAP] key, you can cancel the process and return to the previous mode. Returning patches to factory default condition Even if you have made changes to the user group patches, you can return all patches to the factory default condition at any time. To do this, proceed as follows. NOTE When you perform the AI nitialize function, all paiches stored in the user area will be overwritten. Proceed with care.

1. Turn power to the B9.iut on while

holding down the [STORE/SWAP] key. The indication "AII Initialize?" appears on the display. STORE/SWAP CD + LK All Initislize?

2, Press the ISTORE/SWAP] key once more. All patches are returned to the factory default condition. The B9.lut then switches to manual mode. By pressing the [EXIT] key before performing step 2, you can cancel the pro ZOOM B9.lut 29

Using the Expression Pedal This section explains how to use the built-in expression pedal of the B9.lut or an external expression pedal. About the expression pedal The B9.lut comes standard with one built-in expression pedal that can be used to control specific effect parameters in real time. In the vertical direction, this expression pedal has up to four control targets (PVI to PV4). For example, when assignments are made as shown in the illustration, four different parameters can be adjusted simultaneously when the pedal is moved up or down. Control target parameters ePpvi PRE-AMP module ePv2 MOD/EFX2 module ePv3 DELAY module ePv4a REVERE module The expression pedal of the B9.lut is a so-called Z-Pedal that senses not only vertical but also horizontal movement. Four additional control targets (PH1 to PH4) can be assigned in the sideways direction. Therefore a total of up to eight parameters (4 vertical and 4 horizontal) can be changed simultaneously.

O804BSEindb 30 With a setting such as shown in the following illustration, the pedal adjusts the Gain parameter of the PRE-AMP module when moved in the vertical direction and the Rate parameter of the MOD/EFX2 module when moved in the horizontal direction. Control target parameters @epPvi PRE-AMP module @ePHi MOD/EFX2 module HINT + The parameter adjustment range can be set for each control target separately. + In bypass mode, the expression pedal functions as a volume pedal when moved in the vertical direction. (Moving the pedal in the horizontal direction has no effect.) + In mute mode, the expression pedal has no effect. NOTE The expression pedal of the B9.lut is designed for operation with one foot. When the pedal is fully turned to the right, pushing it strongly down, hitting it, or otherwise exerting strong force on it will damage the pedal. Be sure 10 operate the pedal only within its designated range. ZOOM B9.lut

Assigning control targets to the expression pedal This section explains how to assign a control target to the expression pedal. Four control targets each can be assigned for the vertical direction and the horizontal direction. Module on/off switching is available for the vertical direction only.

1. In manual mode or play mode,

2. Press the [PEDAL] key.

The display changes as follows. Control target Control target indication | arameter name {PV1- PV4, PH1 - PH4) sont EPUI=Mix MOD: Chorus Module name Effect type name HINT The expression pedal setting is included in the TOTALIFUNCTION module for the respective paich. The above display can also be called up by pressing the [TOTALIFUNCTION] effect module key and turning the [TYPE] knob.

3. To assign a control target for the

vertical direction, turn the [TYPE] knob to select one of the four vertical direction control targets (PV1 to PV). The operation steps for setting the vertical direction control targets PVI to PV4 are the same. A" [TYPE] knob 4, Turn parameter knob 1 to select the parameter that is to be ZOOM B9.lut O804B9Eindb 31 Using the Expression Pedal controlled. NC" Parameter knob 1 As you turn parameter knob 1, the effect parameter, effect type, and effect module settings change. HINT + For information on which parameters can be selected as control targets, see "Effect Types and Parameters" on pages 64 - 79. + When "Volume" is selected as control target, the expression pedal functions as a volume pedal. + When "NOT Assign" is displayed, no parameter is assigned 10 the current control target. By setting all four control targets 10 "NOT Assign", the vertical direction action of the expression pedal can be defeated. NOTE If you select "NOT Assign”, steps 5 and 6 cannot be carried out.

5. To set the adjustment range for the

Using the Expression Pedal HINT + The available range setting depends on the parameter selected in step 4. + It is also possible 10 set "min" 10 a higher value than "MAX", In that case, the parameter value will be minimum when the pedal is fully depressed and maximum when the pedal is fully raised.

6. To use the expression pedal for

switching the module on and off, turn parameter knob 4 and select "Switch:Enable". When you turn parameter knob 4, the display changes as follows. PUi=Mix ESuitehs Enable Parameter knob 4 The expression pedal has a switch that is triggered when the pedal is pushed a bit further in the vertical direction, after the fully down position is reached. The module to which the selected parameter belongs will be switched on or off. If you select "Disable" by turning parameter knob 4, module on/off switching will not be available. HINT + When "Volume" is the control target and "Enable" is selected, the volume pedal function can be switched on and off. The effect of onloff switching can be verified by checking 1he status of the [VOLUME PEDAL] LED to the left of the expression pedal. + It is also possible to use the pedal normally for volume control and 10 switch a module on and off by pushing the pedal fully down. To achieve this, set the volume pedal onloff status, and the control target module onloff status 10 the opposite condition (> p. 33).

7. Repeat steps 3 - 6 to set the other

control targets for the vertical direction in the same way.

8. To assign control targets for the

horizontal direction, turn the [TYPE] knob to select one of the four horizontal direction control targets (PH1 to PH4). The display changes as follows. Control target indication Control target parameter name EPHI1=Mix 2\MOC: Chorus [TYPE] knob Effect type name Module name The operation steps for setting the horizontal direction control targets PH1 to PH4 are the same.

9. Repeat steps 4 - 5 to set the

parameter and minimum and maximum values for the control target. NOTE In the horizontal direction of the expression pedal, no module on/off switching is possible. 10.Repeat steps 8 - 9 to set the other control targets for the horizontal direction in the same way. NOTE I is also possible to specify the same parameter for more than one control target, but in some cases, extreme parameter value changes may lead 10 noise. This is not a defect. 11, When all settings for expression pedal have been made, press the [EXIT] key. The unit returns to manual mode or play mode. NOTE Pedal settings will be lost when you select a new patch. Be sure to store the patch if you want to keep the changes (— p. 27). ZOOM B9.lut

+ 1 HINT + The expression pedal incorporates a stopper for movement in the horizontal direction. If horizontal action is not required, using the stopper may be preferable. + Switching between horizontal action enable! disable can be assigned 10 a function foot switch (— p. 36). g the expression pedal while hing functions on pedal push-down switch can be used during play to switch between two sets of settings. As an example, this section describes how to set up the B9.lut so that the pedal normally works as a volume pedal, but enables a special effect when pushed fully down. (1) Perform steps 1 - 5 of ‘Assigning control targets to the expression pedal" {p. 31) and assign parameters for the vertical expression pedal action (PV1 - PV). First, assign "Volume" as control target PVI and set the volume pedal function to on. When the function is on, the [VOLUME PEDAL] LED to the left of the expression pedal is lit. [BPUi=Uolume Next, for the alternative volume pedal function, assign the "Sense" parameter of the WAH/EFXI module as control target PV2. HPU2=Sense UAH: Autollat (2) Perform step 6 of "Assigning control targets to the expression pedal" to set all control targets to "Enable". When the setting is completed, press the [EXIT] key to return to the previous mode. ZOOM B9.lut I O804BSE indb 33 Using the Expression Pedal

8) Verify that the volume pedal function is

on and set the control target selected in step 1 (WAH/EFX1 module in this example) to off. In this condition, the WAH/EFXI module will be off when the volume pedal function is on. When you press the volume pedal fully down, the volume pedal function is switched off and the WAH/EFXI module will be on. Adjusting the expression pedal The expression pedal of the B9.lut is adjusted for optimum operation at the factory, but sometimes, readjustment may be necessary. If the action of the pedal seems to be insufficient, or if a large change oceurs even if the pedal is only lightly pushed, adjust the pedal as follows.

1. Hold down the [PEDAL] key while

turning on power to the unit. The display indication changes as follows.

& + LK POL Calibration PECAL-U,, , min

2. With the expression pedal fully

raised, press the [STORE/SWAP] key. Pedal fully raised The display indication changes as follows.

+ I Using the Expression Pedal CSS |FOL Calibration

3. Push the expression pedal fully

down in the vertical direction and then lift your foot off the pedal and press the [STORE/SWAP] key. Push strongly, 4— so that pedal touches here FRE ec9m

When foot is lifted, æcom | pedal retums slightly The display indication changes as follows. Œ FSS |POL _Calibration | @ |PEDAL-H.. min 4, Lift the stopper of the expression pedal to secure the pedal. Then turn the pedal fully to the right and press the [STORE/SWAP] key.

fully to the right (1) Enable stopper The display indication changes as follows. CS |POL Calibration

5, Push the stopper of the expression pedal down, turn the pedal fully to

the right, and press the [STORE/ SWAP] key.

(1) Disabie ||? À (2) Turn pedal stopper fully to the right ÿ)) The adjustment is completed, and the unit returns to the play mode. HINT If the indication "ERROR" appears, return 10 step 2 and repeat the procedure. Using an external expression pedal If you connect an optional expression pedal (FPOI/FP02) to the CONTROL IN jack of the B9.lut, you can use it as a separate volume pedal, freeing up the built-in expression pedal for other functions.

1. Plug the cable of the external

expression pedal into the CONTROL IN jack and turn power to the B9.1ut on.

2. Operate the external expression

pedal in manual mode, play mode, or edit mode. The volume level changes. HINT The external expression pedal always operates as volume pedal. It can also be used as a controller for sending MIDI messages (— p. 46). ZOOM B9.lut

Using the Expression Pedal Adjusting the expression pedal torque Adjusting horizontal torque for expression pedal

1. Fully raise the expression pedal

. Pedal adjustment fitting is visible on rear of expression pedal.

2. Insert a 8mm size hex wrench into the

fitting on the outside of the panel. To increase pedal firmness, turn the wrench clockwise. To decrease pedal firmness, turn the wrench counterclockwise. Adjusting vertical torque for expression pedal {. Turn power to the B9.1ut off, disconnect the AC

3 mm size hex wrench | 40 mm or longer adapter from the unit, and + turn the unit upside down. B9.1ut bottom view

2. Insert a 3 mm size hex

wrench into the hole on the underside of the expression pedal. To increase pedal firmness, turn the wrench clockwise. To decrease pedal firmness, turn the wrench counterclockwise. fully turned to the right, pushing it strongly down, hitting it, or otherwise exerting strong force on it will damage the pedal. Be sure to operate the pedal only within its designated range. If you loosen the pedal too much, the internal screw may come off, and you will no longer be able to tighten the pedal. Perform this operation with care: Ifthe screw should have come off inside the unit, contact your dealer or an authorized Zoom service station. + Never try to open the cabinet of the B9.1ut yourself, and never turn power to the B9.1ut on if the screw is unsecured inside the unit. Otherwise the electronic circuitry may be seriously damaged. +_ The expression pedal of the B9.ut is designed for operation with one foot. When the pedal is

ng the Foot Switches This section explains how to a: ign individual functions to the function foot switches 1 — 3 and how to select the modules that are assigned to the foot switches 1 — 4 in manual mode. Making settings for function foot switches The function foot switches 1 — 3 can be used to perform user-assigned functions. To à function to a switch, proceed as follows.

1. In manual mode or play mode,

select the patch. HINT Functions assigned 10 the function foot switches 1-3 are specific to each patch. 2, Press the [FOOT SW] key. The display changes as follows. 2 |FuncSll Assign EByurs: BarasOnOfr HINT The function foot switch setting is included in the TOTAL/FUNCTION module for the patch. The above display can also be called up by pressing the [TOTAL/FUNCTION] key in the effect module key section and then turning the ITYPE] knob.

= When parameter knob 2 is turned FuncSlz Assign EbutesMute On0ff Function assigned to function foot switch 2 The following functions can be assigned to function foot switches 1 — 3. © BypasOnOff, Mute OnOff The function foot switch toggles the bypass mode and mute mode between on and off. In either mode, the tuning display appears. © ManualMode The function foot switch te mode and manual mode. gales between play © BPM TAP The function foot switch can be used to specify the individual tempo for a patch (— p. 38). When the switch is pressed repeatedly, the interval between the last four presses is detected and averaged automatically, and the result is used the new tempo setting. HINT Using the tempo set here, specific parameters (Time and Rate) can be synchronized in note units (= p.38). © Delay Tap The function foot switch can be used to specify the Time parameter for the DELAY module. HINT + While BPM TAP specifies the tempo for an individual patch, Delay TAP uses the foot switch operation interval to directly set the ZOOM B9.lut

Time parameter value (delay time). + To use Delay TAP, the DELAY module must be active for that patch. © Hold Delay The function foot switch toggles hold delay between on and off. When you press the function foot switch in a patch for which hold delay is active, the hold function is turned on and the current delay sound is repeated. Pressing the function foot switch once more cancels hold, and the delay sound will decay naturally (see the following illustration). HINT To use HOLD DELAY, the DELAY module must be active for that patch. © Delay Mute The function foot switch toggles DELAY module input muting between on and off. HINT To use Delay Mute, the DELAY module must be active for that patch. © Hold Synth The function foot switch toggles Hold Synth between on and off. When this function signed and the function foot switch is pressed for a patch where Hold Synth is enabled, the function becomes on and the current bass sound is held. Pressing the function foot switch once more releases the hold condition, and the bass sound stops. Using the Foot Switches HINT To use the Hold Synth function, "MonoSyn" or "AVoiceSyn" must be selected as effect type in the PRE-AMP module of the patch. © COMP OnOff, WAH OnOff, ExLopOnOff, ZNR OnOff, AMP OnOff, EQ OnOff, CAB OnOff, MOD OnOff, DELAYOnOff, REV Onoff The function foot switch toggles the respective module between on and off. © TunerDsply The function foot switch calls up the tuner display without bypassing the effects. @P-H Disable The function foot switch enables/disables the horizontal action of the expression pedal. HINT + When "BPM TAP" or "Delay TAP" is selected, he function foot switch LED flashes red in syne with the BPM setting. + is also possible 10 assign the same function 10 multiple function foot switches.

4. Aîter selecting a function to assign

to the function foot switch, press the [EXIT] key. NOTE Any changes in assignment settings will be lost when you select a new patch. Be sure to store the patch if you want 10 keep the changes (= p. 27). [Hold Delay] Original sound Hold

Function foot switch pressed re Switch pressed again * A ZOOM B9.lut

Using the Foot Switches Assigning modules to foot switches 1 — 4 In manual mode, the foot switches 1 4 can be used to turn specific modules on and off. This ction explains how to assign modules to the switches.

1. In manual mode or play mode,

select the patch. HINT Functions assigned to the foot switches 1 — 4 are specific 10 each patch.

2. Press the [FOOT SW] key twice.

The display changes as follows. mo [FoutSll Assign ACHMPERMPEMOCECLY Press key twice Modules assigned to the foot switches 1-4 HINT The foot switch 1 —4 setting is included in the TOTALIFUNCTION module for the patch. The above display can also be called up by pressing the [TOTAL/FUNCTION] key in the effect module key section and then turning the [TYPE] knob.

I O804BSE indb 38 + Foot switch 2 PRE-AMP module (AMP) or EXT LOOP module (ExL) Foot switch 3 MOD/EFX2 module (MOD) or EQ module (EQ) Foot switch 4 DELAY module (DLY) or REVERB module (REV) HINT The names of the two modules that can be assigned 10 each foot switch are printed on the panel 10 the right of the switch. The currently selected module is indicated by the respective LED which is either lit (module on) or flashing (module off). NOTE Any changes in assignment settings will be lost when you select a new patch. Be sure to store the patch if you want 10 keep the changes (= p. 27). Specifying the tempo for a patch The B9.lut lets you specify a tempo for each individual patch and synchronize specific parameters to this tempo in note units. This section explains how to specify and use the tempo setting for a patch.

1. In manual mode or play mode,

select the patch. 2, Press the [TOTAL/FUNCTION] effect module key. The tempo setting for each patch is part of the ITOTAL/FUNCTION] module. When you press the [TOTAL/FUNCTION] effect module key, the display changes as follows. ZOOM B9.lut

specified tempo, select the effect type and effect parameter to synchronize, and select the note symbol as the setting value for the parameter. The setting value for effect parameters which support tempo synchronization can be selected in note units, using the patch specific tempo as a reference. For example, the Time parameter of the effect type TapeEcho in the MOD/EFX2 module supports patch specific tempo synchronization. To use this capability, turn the respective parameter knob from the maximum setting (2000) further clockwise until a note symbol appears on the display. HINT In the section "Effect Tÿpes and Parameters" (=> pages 64 — 79), parameters which support tempo synchronization are indicated by a note symbol.

5. Select a parameter value by

selecting a note symbol. The following note settings for parameters which support tempo synchronization are available. Thirty-second note Sixteenth note ZOOM B9.lut

NOTE The actual available setting range depends on the parameter. For example, when you have selected the eighth note setting, the Time parameter will be set to a value that corresponds to an eighth note in the patch specific tempo. When the tempo is changed, the delay time also changes accordingly. NOTE Depending on the combination of tempo setting and selected note symbol, the maximum of the parameter setting range (such as 2000 ms) may be exceeded. In such a case, the value is automatically halved (or set 10 1/4 if the range is still exceeded).

6. When the tempo and parameter

setting is complete, press the [EXIT] key. The unit returns to manual mode or play mode. Store the patch as necessary. The above procedure uses the tempo set in step 3 as reference for the note setting made in step 5. If the "BPM TAP" function is assigned to one of the function foot switches 1 — 3, you can specify the tempo with your foot during a performance and have the parameter change accordingly.

Using the Effect Loop The EXT LOOP SEND/RETURN jacks on the rear panel of the B9.lut allow connection of a compact effect, rack-mount effect or similar. Settings for external effect on/off and send/return level can be stored as part of a patch. This section explains how to use the effect loop. 1 Connect the external effect to the EXT LOOP SEND/RETURN jacks. External effect HINT When connecting to an effect that has a rated input level of +4 dBm (rack-mount effect or similar), set the EXT LOOP GAIN switch to the "+4 dBm setting. When connecting 10 an instrument effect or a compact effect, use the "10 dBm" setting. NOTE + The external effect should always be set to ON, 10 allow effect onloff switching at the B9.lut + Ifthe external effect allows adjustment of mixing ratio between original sound and effect sound (such as a reverb or delay), set îhe original sound to 0% and the effect sound 10 100%

2. Select the patch in manual mode

or play mode. HINT Effect loop settings can be made individually for each patch

3. Press the [EXT LOOP] effect

module key to activate edit mode. Effect loop settings are made in the EXT LOOP module. The display changes as follows. Q HSendlevel= 54 NOTE When "EXT LOOP Module Off" is shown, the EXT LOOP module is currently turned off. Press the [EXT LOOP] key once more 10 turn the module on Use parameter knob 1 to adjust the level of the signal sent from the B9.1ut to the external effect (send level). EXT LOUP }'BSendlevel= 64 B Parameter knob 1 HINT If the input level at the external effect is not sufficient even with the send level turned up, or if distortion oceurs at the external effect input even with the send level turned down, check whether the EXT LOOP GAIN switch setting is appropriate

5. Use parameter knob 2 to adjust

the level of the signal sent from the external effect to the B9.1ut (return level). ZOOM B9.lut

the level balance between the signal returned from the external effect and the internal signal of the B9.1ut (dry level). nus EXT LOUP ElrsLevel = 66 E Parameter knob 3 HINT + Ifthe external effect is the type that mixes effect sound to the original sound (such as a reverb, delay, or chorus), adjust the level balance between original sound and effect sound by adjusting the return level and dry level + Ifihe external effect is the type that processes the input signal for output (such as a compressor or EQ unit), the dry level should normally be set 10 0 and the signal level should be adjusted with the return level parameter. 7, When the effect loop settings have been made, press the [EXIT] key. The unit returns to manual mode or play mode.

8. Store the patch as necessary.

When you next call up the stored patch, the external effect settings will also become effective again. HINT Ifthe external effect supports MIDI based program switching, the B9.lut can control the effect by sending program change messages In this way, patch switching at the B9.Jut and program switching at the B9.Jut can be synchronized (— p.43).

I O804B9E:indb 42 MIDI Usage Examples This section describes the various MIDI functions of the B9.lut. What you can do with MIDI The B9.lut lets you use MIDI in various ways, as described below. @Send and receive patch switching information via MIDI When you switch patches at the B9.lut, the MIDI OUT connector carries the corresponding MIDI messages (program change, or bank select + program change). Similarly, when a valid MIDI message is received at the MIDI IN connector, the B9.lut will perform the corresponding patch switch action. This makes it possible to have patches at the B9.lut switched automatically under control of a MIDI sequencer, or link operation of the B9.lut to patch switching at other MIDI enabled devices. @ Send and receive pedal/switch/key operation information via MIDI When you operate specific keys and foot switches of the B9.lut, or operate the expression pedal, the MIDI OUT connector carries the corresponding MIDI messages (control change). Similarly, when a valid MIDI message is received at the MIDI IN connector, the B9.lut will vary the corresponding parameter. This makes it possible to use the B9.lut as a real-time controller for other MIDI enabled devices, or alter effect parameters and module on/off status under control of a MIDI sequencer, synthesizer, or other MIDI enabled device. @Exchange patch data between two B9.ut units via MIDI The patch data of the B9.lut can be output as MIDI messages (system exclusive), for copying to another B9.lut.

Selecting the MIDI channel To enable correct sending and receivi program change, control change and other MIDI messages, the MIDI channel (1 — 16) setting of the B9.lut and the other MIDI device must be matched. To set the MIDI channel at the B9.lut, proceed as follows.

1. In manual mode or play mode,

press the [SYSTEM] key. The SYSTEM menu for parameters that apply to all patches appears. SYSTEM PICKUP Sel 1-29

2. Turn the [TYPE] knob to select

the "MIDI Rx Ch" (MIDI receive channel) parameter.

the MIDI channel (1 - 16) on which the B9.1ut will receive MIDI messages. ZOOM B9.lut

the MIDI channel (1 - 16) on which the B9.1ut will send MIDI messages.

6. When the setting is complete,

press the [EXIT] key to cancel the SYSTEM menu. If a setting was changed, the indication "Store...?" appears on the display, to allow you to store the changes. Store... 7

CR WESTORE]I NCEXIT]

If no setting was changed, the unit returns to the previous mode. 7, Press the [STORE/SWAP] key to save the changes. STORE/SWAP The MIDI channel setting is accepted, and the unit returns to manual mode or play mode. By pressing the [EXIT] key, you can abort the changes and return to the previous mode without saving. ZOOM B9.lut I O804BSEindb 43 MIDI Usage Examples Sending and receiving patch switching information via MIDI (program change) You can send and receive patch changing information of the B9.lut via MIDI as program change or bank select + program change messages. There are two ways (program change modes) for doing this, as described below. @ Direct mode With this method, you use a combination of MIDI bank select and program change messages to specify the patch. HINT + Bank select is a MIDI message type for specifying the sound category of a synthesizer or similar. It is used in combination with program change messages. + Normally, bank select is specified in two parts, using the MSB (most significant byte) and LSB (least significant byte) value. © Mapping mode With this method, you use only the MIDI program change messages to specify the patch. À program change map is used to assign program change numbers 0 — 127 to patches, and patches are then selected using the mapping information. With this method, a maximum of 128 patches can be specified. BEnable program change send/receive The procedure for enabling send/receive of program change (+ bank select) messages is described below.

1. In manual mode or play mode,

2. To enable the B9.1ut to receive

program change (+ bank select) messages, turn the [TYPE] knob to bring up the "MIDI PC Tx" (send program change) parameter, and turn parameter knob 1 to select the "ON" setting. FPSMIDI 3-29 ©) EPC Tx =0N B Parameter knob 1 4, When the setting is complete, press the [EXIT] key to cancel the SYSTEM menu. If a setting was changed, the indication "Store...?" appears on the display, to allow you to store the changes. Store... 7

CR YECSTORE] NCEXIT]

If no setting was changed, the unit returns to the previous mode.

5. Press the [STORE/SWAPI] key to

save the changes. The setting is accepted, and the unit returns to manual mode or play mode. By pressing the [EXIT] key, you can abort the changes and return to play mode without saving.

ÆUsing direct mode By using a combination of MIDI bank select and program change messages, you can specify a patch directly. NOTE Before carrying out the following steps, verify that the sendireceive MIDI channel setting of the B9.Ju is as required (— p. 42), and that sendireceive of program change messages is enabled (— p.43). À. In play mode, press the [SYSTEM] key. SYSTEM PICEUP Sel EACTIUE 1-23 2, Turn the [TYPE] knob to bring up the "MIDI PCMODE" (program change mode) parameter.

@) ECIRECT [TYPE] knob , Verify that "DIRECT" is selected as program change mode. If not, turn parameter knob 1 to change the indication to "DIRECT". This enables direct selection of all patches using bank select and program change messages. HINT For information on which bank numberiprogram change number is assigned to each patch, see the list at the end of this manual (— p. 83).

4. When the setting is complete,

press the [EXIT] key to cancel the SYSTEM menu. If a setting was changed, the indication "Store...?" appears on the display, to allow you to store the changes. If no setting was changed, the unit returns to the previous mode. ZOOM B9.lut

5. Press the [STORE/SWAP] key to

save the changes. The setting is accepted, and the unit returns to manual mode or play mode. By pressing the [EXIT] key, you can abort the changes and return to play mode without saving.

6. To send and receive program

change (+ bank select) messages, connect the B9.1ut and the other MIDI device as follows. [Example for sending program change (+ bank select) messages] {2) Program change (+ bank select) message is sent MIDI OUT. connector

MIDI IN connector LES En {1) When a patch at the B9.1ut is switched... [Example for receiving program change (+ bank select) messages] {1) When a program change {+ bank select) message is received. MIDI IN connector MIDI OUT connector {2) Patch at the B9.1ut is switched. NOTE When the external MIDI de ends only a bank select message 10 the B9.Jut, no change oceurs. The next time the B9.lut receives a program change, the most recent bank select instruction will be used. ZOOM B9.lut

MIDI Usage Examples ÆUsing mapping mode In this mode, a program change map is used to assign patches, allowing patches to be specified by using program change messages only. NOTE Before carrying out the following steps, verify that the sendireceive MIDI channel setting of the B9.Ju is as required (— p. 42), and that sendireceive of program change messages is enabled (— p.43).

1. In manual mode or play mode,

press the [SYSTEM] key. SYSTEM PICEUP Sel 1-29 EACTIUE

2. Turn the [TYPE] knob to bring up

the indication "MAPPING". Patches can now be specified using program change messages according to the program change map.

Parameter knob 1 4, Turn the [TYPE] knob to bring up the "PC MAP" (program change map) parameter. Using this display, you can assign any patch of the B9.lut to a program change number from 0 —

6. When the setting is complete,

press the [EXIT] key to cancel the SYSTEM menu. If a setting was changed, the indication "Store...?" appears on the display, to allow you to store the changes.

If no setting was changed, the unit returns to the previous mode. T7. Press the [STORE/SWAP] key to save the changes. The setting is accepted, and the unit returns to manual mode or play mode. By pressing the [EXIT] key, you can abort the changes and return to play mode without saving.

8. To send and receive program

change messages, proceed as described in step 6 of "Using direct mode" (— p. 44). The program change (+ bank select) messages sent by the unit are the same in direct mode and mapping mode. For information on which bank number/program change number is assigned to each patch, see the list at the end of this manual (= p.83). Sending and receiving pedal/switch/key operation information via MIDI (control change) The B9.lut allows sending and receiving control change messages govern actions such as operating the expression pedal, and switching modules or byp: and off with keys and foot switches. Each action can be assigned its own control change number ct). MEnable control change send/receive The procedure for enabling send/receive of control change messages is described below.

1. In manual mode or play mode,

2. To enable the B9.{ut to receive

4. When the setting is complete,

press the [EXIT] key to cancel the SYSTEM menu. If a setting was changed, the indication "Store...?" appears on the display, to allow you to store the changes. If no setting hanged, the unit returns to the previous mode. (Store... 7

5. Press the [STORE/SWAP] key to

save the changes. The setting is accepted, and the unit returns to manual mode or play mode. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving. ZOOM B9.lut I O804BSE:indb 47

MIDI Usage Examples BaAssigning control change numbers You can assign control change numbers to the expression pedal and keys of the B9.lut as follows. NOTE Before carrying out the following steps, verify that the sendireceive MIDI channel setting of the B9.Ju is as required (— p. 42), and that sendireceive of control change messages is enabled (— p.46).

1. In manual mode or play mode,

press the [SYSTEM] key. SYSTEM PICEUP Sel EACTIUE 1-29

2. Turn the [TYPE] knob to bring up

the display for assigning a control change number. Operations to which a control change number can be assigned are listed in the table on the next page. For example, to assign the control change number 11 (cc#11) to the vertical direction of the built-in expression pedal, the following display is used. { ÿ MIDI £c# 14-29 2; (BPEDAL-UE11 [TYPE] knob HINT The control change number assignment always applies both for sending and receiving.

5. When the setting is complete, (2) Control change message is sent

press the [EXIT] key to cancel the MIDI OUT MIDI IN SYSTEM menu. connector connector If a setting changed, the indication { 1 Ê "Store...?" appears on the display, to allow you to store the changes. If no setting was changed, the unit returns to the previous mode. (1) When the expression pedal or switches

6. te anges” SWAP] key to and keys at the B9.1ut are operate

The setting is accepted, and the unit returns to manual mode or play mode. By pressing the [EXIT] key, you can abort the changes and return to play mode without s Control change values sent from the B9.lut change as follows. © When the built-in/external expression pedal is operated The value of the assigned control change number is varied continuously over the range of 0 — 127. For the built-in expressi two control change messages simultaneously, for vertical direction and horizontal direction movement.

7. To send and receive control

change messages, connect the B9.1ut and the other MIDI device as follows. 48 ZOOM B9.lut

@When module on/off switching is performed When the module is set Lo on, the value 127 of the control change number is sent. When the module is set to off, the value O of the control change number is sent. © When bypass/mute on/off switching is performed When bypass/mute is set to on, the value 127 of the control change number is sent. When bypass/mute is set to off, the value O of the control change number is sent. MExample for receiving control change messages {1) When a control change message is received

connector connector {2) The same operation as when the respective expression pedal or switch or key at the B9.1ut is operated occurs. According to the control change value received, the B9.lut status and parameter values change as follows. @When control change for built-in/ external expression pedal is received The value of the parameter assigned to the pedal changes according to the control change value (0 - 127). © When control change for module on/ off is received If control change value is between 0 and 63, the module is switched off. If control change value is between 64 and 127, the module is switched on. © When control change for bypass/mute on/off is received If control change value is between 0 and 63, ZOOM B9.lut I O804BE:indb 49 MIDI Usage Examples bypass/mute is switched off. If control change value is between 64 and 127, bypass/mute is switched on. Sending pedal synth playing information via MIDI (note on/note off) When the pedal synth function is enabled, foot switch playing information can be sent as note on/note off messages via MIDI

1. In manual mode or play mode,

press the [SYSTEM] key. TS) (PICEUP Sel EACTINE 1-29

2. Turn the [TYPE] knob to bring up

"ON" or "OFF". When ON was selected, playing with the pedal synth function will result in note on/note off messages being sent. The pedal synth function has two operation modes for producing sound: TG (trigger) and HD (hold). The differences in note on/note off sending operation are as follows. eTG Note on is sent when the foot switch is pressed and note off is sent when the foot switch is released. @HD Note on is sent when the foot switch is

MIDI Usage Examples pressed, and note off is sent when the foot switch is pressed once more. HINT For more information on the pedal synth function, see page 55. 4, When the setting is complete, press the [EXIT] key to cancel the SYSTEM menu. If a setting was changed, the indication "Store...?" appears on the display, to allow you to store the change: If no setting was changed, the unit returns to the previous mode.

5. Press the [STORE/SWAPI] key to

save the changes. The setting is accepted, and the unit returns to manual mode or play mode. By pressing the [EXIT] key, you can abort the changes and return to play mode without saving. HINT To send note on/note off information, make connections as shown in step 7 of "Assigning control change numbers" (— p. 47). Sending and receiving B9.îut patch data via MIDI The patch data stored in a B9.lut can be sent and received as MIDI mes ystem exclusive). When two B9.lut units are connected via à MIDI cable, this allows copying of patch data from the sending unit to the receiving unit. NOTE When paich data are received, all existing patch data in the B9.lut will be overwritten. Perform the following steps with care, to avoid accidentally overwriting important data.

1. Connect the MIDI OUT connector

on the source B9.1ut to the MIDI IN connector on the target B9.1ut

are explained separately below. BTarget B9.lut

2. Set the B9.iut to manual mode or

play mode. If the unit is in another mode or shows another display, press the [EXIT] key to return to the manual mode or play mode. IL-GI:ES Grive EH C HAE Fr sEMUteEEPH BSource B9.lut

4. Use the [TYPE] knob to bring up

The sending of patch data begins. ZOOM B9.lut

While the target B9.lut is receiving data, the display changes as follows. PatchDat.sDumpRs Receive Patch... When the patch data send/receive process is completed, the source B9.lut return to the SYSTEM menu and the target BO.lut returns to the previous mode. HINT The web site of ZOOM Corporation (http:lhwww.zoom.co.jp) has editorllibrarian software available for download. Using this software, you can store patch data of the B9.lut on a computer. ZOOM B9.lut I O804B9Eindb 51 MIDI Usage Examples

I O804B9Eindb 52 Other Functions Busing the ARRM function The B9.lut incorporates an innovative feature called ARRM (Auto-Repeat Real-time Modulation) which uses various internally generated control waveforms to cyclically modify effect parameters. You can select for example a triangular waveform and apply it to the wah frequency as a control target. The resulting effect is shown below. Wah 4 Frequency || Wah Wah Wah

Wow Wow Wow Time This section explains the use of the ARRM feature.

1. In manual mode or play mode,

select the patch. HINT The ARRM settings can be made separately for each patch

2. Press the [TOTAL/FUNCTION]

HINT + The available range setting depends on the parameter. + li is also possible to set "min" to a higher value than "MAX". In that case, the control change direction will be reversed.

5. When the control target and

parameter range have been set, turn the [TYPE] knob clockwise to bring up the following display. This display lets you select the control waveform and cycle. AREM=Rate :[Bllave=Ursau [TYPE] knob The ARRM function has à total of five parameters. To set parameters 4 and 5, turn the [TYPE] knob to bring up the above display and then use parameter knobs 1 and 2 to make the setting. To return to the setting condition for parameters 1 — 3, turn the [TYPE] knob counterclockwise to return to the previous display. If the ARRM control target is set to "Not Assign", this display does not appear.

the control waveform cycle. The display changes as follows. ARRMsRate

ESuncs)x2 Parameter knob 2 The control waveform cycle uses the patch specific tempo (— p. 38) as reference and is displayed as eighth note, quarter note, or quarter note x numeral (see table on page 39). The numeral after x (2 - 20) indicates the duration of a cycle in multiple quarter notes. When "2" is selected, the control waveform changes in a cycle interval that corresponds to half a note of the patch specific tempo. When "4" is selected, the cycle is 4 beats (1 measure of à 4/4 time signature). HINT When the "ARRM BPM" parameter is assigned 10 the expression pedal, the reference tempo for the ARRM function (0 - 250) can be controlled with the pedal. For information on how 10 assign control targets to the expression pedal, see page 31. The expression pedal movement will not change the patch specific tempo.

8. When the ARRM setting is

complete, press the [EXIT] key. The unit returns to manual mode or play mode. Store the patch as necessary. NOTE Any changes in ARRM settings will be lost when you select a new patch. Be sure 10 store the paich if you want to keep the changes (— p. 27).

Other Functions Using the sound-on- sound function The B9.lut can record a phrase of up to 5.4 seconds duration during play and use it for loop playback to create a sound-on-sound effect. The steps for this function are described below.

1. In manual mode or play mode,

press the [DELAY] key. The B9.lut switches to edit mode. If the indication "Module Off" is shown, press the IDELAY] key once more to turn the module on. 2, Turn the [TYPE] knob to select the effect type "SOS" (sound-on- sound). The display changes as follows. [TYPE] knob When "SOS" is selected as effect type, the LED of function foot switch 2 is out (nothing recorded), and the LED of function foot switch 3 flashes (recording standby condition). Function foot switches 2 and 3 operate as follows. + Function foot switch 2 Stop record/play, clear recorded content, set tempo + Function foot switch 3 Start record/play, cancel recording mode

3. Turn parameter knob 1 to set the

recording duration. The recording duration can be selected as follows. + Mn Specify the duration by pushing the function foot switch twice in the desired interval (max.

Note symbol Use the patch- reference and s units. pecifie tempo (> p. 38) as t recording duration in note HINT When nothing is recorded (LED of function foot switch 2 is out), you can use function foot switch 2 10 set the tempo of the patch. When the switch is pressed repeatedly, the interval between the last four presses is detected and averaged automatically, and the result is used the new tempo setting.

4. Turn parameter knob 2 to specify

the effect sound mixing ratio. Raising this value will increase the effect sound level during loop playback after recording. GLY: SOS EMix

5. When the sound-on-sound

settings are complete, press the [EXIT] key. The unit returns to manual mode or play mode. Store the patch as necessary.

6. While playing your bass, press

function foot switch 3 to start recording. The LED of function foot switch 3 lights up in red, and recording starts. The recording operation will depend on the settings made in step 3. m"Mn" is selected After recording starts, it will continue until you press function foot switch 3 once more, or until

5.4 seconds have elapsed. After recording is

finished, loop playback starts. ZOOM B9.lut

Val ÆNote symbol is selected After recording starts, it will continue for the selected duration and then stop automatically. However, if the combination of tempo and note symbol setting results in a duration longer than 54 seconds, recording will stop when half of the duration has elapsed. (If this is still longer than

5.4 seconds, recording will stop after one fourth

of the duration has elapsed.) After recording is finished, loop playback starts. r— Loop playback JARDIN Sa AU 5 — Preset duration Function foot switoh 3 HINT + When there are recorded data, the LED of function foot switch 2 will be lit in red. + During loop playback, the LED of function foot switch 3 will flash in green. Effect! soundi 7, To record another layer, press function foot switch 3 again during loop playback. The LED of function foot switch 3 lig orange, the sound-on-sound recording s You can listen to the loop playback and record a new bass phrase. When you press function foot switch 3 once more, recording stops and the unit returns to Ioop playback only. ZOOM B9.lut O804B9Eindb 55 sr Other Functions Sound- Loop on-sound Loop ï i sons JAI] F5]

9. To clear the recorded contents,

hold down function foot switch 2. When the recorded content has been cleared (LED of function foot switch 2 goes out), release the switch. NOTE + The recorded content cannot be stored! + When you change the effect type or switch a module on or off, the recorded content is cleared. + When the pedal synth function (see next section) is enabled, the sound-on-sound function becomes unavailable. Using the pedal synth function The B9.lut offers a pedal synth function which lets you use the foot switches on the front panel to play a synthesizer bass sound. The steps for this function are described below.

1. In manual mode or play mode,

+ 1 Other Functions indication "Off" is shown, press the [PRE-AMP] Key once more to turn the module on.

2. Tumthe [TYPE] knob to select the

effect type "PedalSyn" (pedal synth). The display changes as follows.

When "PedalSyn" is selected as effect type, the foot switches on the front panel are assigned only to the pedal synth function. NOTE When the pedal synth function is enabled, the "Loop" and "SOS" functions of the DELAY module become unavailable. HINT Function foot switch 2 serves to turn the PRE- AMP module off. The other foot switches are used 10 produce pedal synth sound.

3. Turn parameter knob 3 to select

the pedal synth scale and the sound generation method. The display changes as follows. Parameter knob 1

posleieder Ielll TG EIFIFuS Scale Sound generation method Three types of pedal synth scales are available: M (Major), m (Minor). C (Chromatic). The sound arrangement with each scale is shown in the illustration below. The pedal synth function has two operation modes for producing sound: TG (trigger) and HD (hold). The differences in operation are as follows. Scale =M{(Major) Foot switch sound arrangement with different scales (for C3 keynote) Turns PRE-AMP C D E Scale = m (Minor) [e] A B C Turns PRE-AMP module off

eTG Pedal synth sound is produced when the foot switch is pressed and the sound then decays gradually. eHD Pedal synth sound is produced when the foot switch is pressed and the sound continues until the same foot switch is pressed once more or another foot switch is pressed.

4. To specify the keynote (the sound

produced by foot switch 1), turn parameter knob 2. The display changes as follows.

Parameter knob 2 The keynote is expressed as an alphanumeric indication (setting range: C1 - B3). The letter and # (sharp) symbol indicate the range in note s, and the numeral the range in octave CI is Do three octaves below center C, and B3 is Ti immediately below center C. The keynote set here is assigned to foot switch 1. The assignment of the remaining foot switches depends on the scale as specified in step 3.

5. To change the pedal synth sound,

turn parameter knob 3. To adjust the balance between original sound and effect sound, turn parameter knob 4. For details about each parameter, see the section "Effect Types and Parameters" (> p. 70).

6. When the pedal synth settings are

complete, press the [EXIT] key. The unit returns to manual mode or play mode. Store the patch as necessary. When the pedal synth function was enabled, the indication in manual mode and play mode changes as follows. ZOOM B9.lut

O804B9E:indb 57 À Other Functions Keynote Scale and Sound generation method

7. To play the pedal synth sounds,

press the foot switches except for function foot switch 2. HINT The pedal synth sound is processed by the effects after the PRE-AMP module, and the bass sound is processed by the effects other than the PRE-AMP module. For information on the effect link sequence, see page 63.

8. To return all front panel foot

switches to normal operation, press function foot switch 2. The PRE-AMP module goes off and all foot switches revert to normal operation. Using the B9.1ut as audio interface for a computer By connecting the USB port of the B9.lut to a USB port on a computer, the B9.lut can be used as an audio interface with integrated AD/DA converter and effects. The operating environment conditions for this type of use are as follows. © Windows XP, Windows Vista © Mac OS X (10.2 and later) BQOuantization 16-bit BSampling frequencies 32 kHz / 44.1 kHz / 48 kHz HINT With each of the operating systems listed above, the B9.Jut will function as an audio interface

Other Functions simply by connecting the USB cable. There is no need to install any special driver software. NOTE The USB port of the B9.lut only serves for sending and receiving audio data. For MIDI messages, use the MIDI INIOUT connectors. To use the B9.lut as an audio interface for the computer, connect the USB port of the B9.lut to a USB port on the computer. The B9.lut will be recognized as an audio interface. In this condition, the sound of a bass guitar connected to the INPUT jack of the B9.lut can be processed with the effects of the B9.lut and then be recorded on the audio tracks of a DAW (Digital Audio Workstation) software application on the computer (see Figure 1 below). When performing playback with the DAW application, the playback sound from the audio tracks is mixed with the bass guitar sound processed by the effects of the B9.lut and appears at the OUTPUT jack of the B9.lut (see Figure 2 below). If required, the guitar signal after effect Figure 3 below). For details, see the next section. For details on recording and playback, refer to the documentation of the DAW application. NOTE + Ifthe DAW application has an echo back function (input signal during recording is supplied directly to an output), this must be disabled. If recording is carried out with the echo back function on, the output signal may sound as if processed by a flanger effect, or the direct output signal may sound delayed. + Use a high-quality USB cable and keep the connection as short as possible. Muting the direct output when using a USB connection When the B9.lut is connected to a computer and used as an audio interface, the signal appearing at the OUTPUT jack after effect processing may be muted if required. To do this, proceed as follows.

1. In manual mode or play mode,

press the [SYSTEM] key. processing can be muted during playback (see The SYSTEM menu for parameters that apply to Fig. 1: Signal flow during recording B9.tut ENPUT | Effects USE] 2 —7 IOUTPUT] Fig. 2: Signal flow during playback (1) DAW INPUT B9.1ut | software | USB € _— IOUTPUT] IUSB] TT à Fig. 3: Signal flow during playback (2) B9.1ut [INPU® DAW =— LT] [server use El |, IOUTPUT] IUSE] à

one of the following settings. © USB+DIRECT The signal after effect processing appears directly at the OUTPUT jacks also when USB connection is used. eUSB Only The signal after effect processing is muted, and only the signal sent from the computer via the USB connection is output. 4, When the setting is complete, press the [EXIT] key. HINT The USB Monitor setting is returned to the default (USB+DIRECT) at the next power- down/power-up cycle. Changing the default reference pitch of the tuner You can specify the reference pitch of the built- in tuner that will be established at power-on. In manual mode or play mode, press the [SYSTEM] key. ZOOM B9.lut I O804BSE:indb 59 Other Functions The SYSTEM menu for parameters that apply to all patches appears.

2. Turnthe [TYPE] knob to bring up

the reference pitch.

4. When the setting is complete,

press the [EXIT] key. setting was changed, the indication appears on the display, to allow you to store the changes. If the setting was not changed, the unit returns to the previous mode.

5. Press the [STORE/SWAP] key to

store the new setting. If you press the [EXIT] key, the change will be discarded and the unit returns to the previous mode. Buse as a direct box The BALANCED OUT connectors on the rear panel let you use the B9.lut as a direct box for sending the bass signal directly to a PA mixer or recording console. (Gain: 0 dB. output impedance: 200 ohms, HOT-COLD) To use this function, connect the BALANCED OUT connectors of the B9.lut to the PA mixer or recording console, using XLR balanced cables. If the signal causes distortion in the input stage of the other equipment, set the OUTPUT GAIN switch of the B9.lut to "-10 dB". At the same time, you can also connect the OUTPUT jack to a bass amplifier for monitoring.

BALANCED OUT connector Mixer Bass guitar OUTPUT jack

Bass amplifier If you use the BALANCED OUT R connector, The [PRE/POST] switch lets you control the type of signal supplied as direct output. To use the signal after effect processing, select the "POST" position (switch engaged). To use the signal before effect processing, select the "PRE" position (switch disengaged). The Accelerator is active also if the "PRE" setting is selected. = O _ PRE post When the BALANCED OUT connectors are used to connect the B9.lut to a PA mixer or similar, ground loops (electrical signal loop that can occur when multiple components in a system are grounded separately) may lead to hum noise. In such a case, set the GROUND switch to the "LIFT" position (switch engaged). Often this will eliminate or reduce the hum. Checking the B9.tut version To check the system version of your B9.lut, proceed as follows.

1. In manual mode or play mode,

press the [SYSTEM] key. The SYSTEM menu for parameters that apply to all patches appears. PICKUP Sel SYSTEM 1-29 HACTIUE

2. Turn the [TYPE] knob to bring up

I O804BE:indb 60 the "System Version" indication. The current system version is shown on the second line of the display. + [Sastenm Uers ion @) 1.96, 44 [MVP] knob Current version HINT The system version is also briefly shown during power-up of the B9.lut. un er checking the system version,

3. After checking the syst i

press the [EXIT] key. The unit returns to the previous mode. Editor/librarian software for the B9.tut ZOOM CORPORATION makes an editor/ librarian software application for the B9.lut available for download on its web site. To use the software, the computer must have a MIDI interface, and a connection must be established between the MIDI IN/MIDI OUT connectors of the computer and the MIDI OUT/ MIDI IN connectors of the B9.lut. The software then makes it possible to store patch data of the B9.lut on the computer, edit the data, and copy edited patch data back to the B9.lut. Web site of ZOOM CORPORATION http://www.zoom.co.jp ZOOM B9.lut

( Linking Effects The patches of the B9.lut can be thought of as ten serially linked effect modules, as shown in the illustration below. You can use all effect modules together or selectively set certain modules to off to use just specific effect modules. Pre-amp section ÉcouP Ruawen M exr Loop RS EEE EE EE For some effect modules, you can select an © PASSIVE effect type from several possible choices. For example, the MOD/EFX2 module comprises Chorus, Flanger, and other effect types from which you can choose one. The five-module series EXT LOOP, ZNR, PRE- AMP, EQ, and CABINET functions as a virtual preamplifier. Using the Pickup Select function The B9.lut incorporates a Pickup Select function that optimizes the signal level to match the type of pickup in use. When starting to use the B9.lut or when changing the bass guitar, you should choose a suitable pickup setting as described below.

1. In manual mode or play mode,

one of the following settings. ZOOM B9.lut

Select this setting if you are using a bass guitar with an integrated passive pickup. @ACTIVE Select this setting if you are using a battery- powered preamplifier or a bass guitar with an integrated active pickup.

3. When the setting is complete,

press the [EXIT] key. If the setting was changed, the indication "Store..?" appears on the display, to allow you to store the changes. If the setting was not changed, the unit returns to the previous mode.

4. Press the [STORE/SWAP] key to

store the new setting. If you press the [EXIT] key, the change will be discarded and the unit returns to the previous mode.

1. In manual mode, play mode, or edit

4, When the setting is complete, press the [EXIT] key. The unit returns to the previous mode. To enable the changed setting, be sure to store the patch (— p.27).

1. In manual mode, play mode, or edit

mode, press the [PRE-AMP] key. The display changes as follows. EX |PRE-ANP mldlll AnFegSUT 16 1Pu

2. Turn the [TYPE] knob and select

an effect type other than a bass synth effect.

3. Turn parameter knob 3 to select

"Pre" (before MOD/EFX2 module) or "Post" (after DELAY module). The display changes as follows.

4. When the setting is complete,

press the [EXIT] key. The unit returns to the previous mode. To enable the changed setting, be sure to store the patch (— p.27). NOTE + When the "Pre" setting is selected as pre- amp section insert position, the signal after the MOD/EFX2 module is processed fully in stereo. When you select "Post", the signal is processed in the pre-amp section in mono. + When a synthesizer effect type (StdSyn, SyaTIK, V-Syn, MonoSyn, 4VoiceSyn, PedalSyn) has been selected for the PRE-AMP module, the Chain parameter cannot be used. With a synthesizer effect type, the synth sound is processed by the effects after the PRE-AMP ZOOM B9.lut

Linking Effects module, and the bass sound is processed by the effects other than the PRE-AMP module. The module lineup with different settings for the WAH/EFXI module and pre-amp section insertion position is shown below. @ Pre-amp section = PRE, WAH/EFX1 = Befr Pre-amp section PRE-AVP. @ Pre-amp section = PRE, WAH/EFX1 = Aftr Pre-amp section — {cour} {Er LooP)-(2R }-(PREAUP —{(comP }{waHEFxI {Er LooP CABINET )--{oDEre }-{ DELAY }=(REvER8 }+

CABINET ){WAHERXI }{ MODEP& }H{ DELAY }{ REVERS +

@ Pre-amp section = POST, WAH/EFX1 = Befr Pre-amp section —{cour }{waHErkt }-(moDrxe }H{ DELAv ) (EXT LooP)-{zNR }-[PRE-auP CABINET it REVERS }> © Pre-amp section = POST, WAH/EFX1 = Aftr Pre-amp section —(CoNr)-(Monene}-(Env)- (er Loo?)-(2vr }- (pneu }-(Eo)-{oaner }-(anEn)-(RR EE) © WAH/EFX1 = Befr (When synthesizer effect type is selected) Pre-amp section Pre-amp section

Effect Types and Parameters COMP (Compressor) module This module includes a compressor which attenuates high-level signal components and boosts low-level signal components to keep the signal level within a certain range, and a limiter which controls signal peaks to keep the signal level below a certain limit.

‘This is à compressor which stresses the sense of attack.

PARM1 PARM2 PARM3 PARM4

Sense 0-50 Attack 1-10 Release 1-10 Level 2-100 | | dust the delay between the point Ads 1he compressor seit . Are where te signa level fall below | [Adjusts te signal eve after Bahia rotin || Age compresor aa at, vtt anse denal ‘This is à compressor which allows separate settings for the low frequency and high frequency range:

PARMI PARM2 PARMS PARWA

SenseHi I 0-50 || SenseLo I 0-50 || XoverFreq I 1-0 |[Level I 2-100 us us FAdjusts the crossover point : adjuts the compression depih in _ | Adjusts 1he compression depth in Us djuts the sien eve aîter ! e P | e 7 teen te High agen and | Ada ie seal he high frequency range. He low frequency range. PAPAS ‘This is à compressor with natural operation.

PARMT PARWZ PARNS FARM

Threshold 0-50 || Ratio [1-10 attack Li-10 fftever [2-10 just he reference signa level | Adjut the compression ao of . just these after forte compressor action he compressor inst the compressr attack rat. | Puing he module ‘This is a limiter that suppresses signal peaks above a certain reference level.

PARNT PARNZ PARNS FARM

Threshold [0-50 [Ratio [1-10 |[Release [i-10 [reve [2-10 just the delay between he paie just the reference signa level | Adjusts the compression ratio of here ie signa leve as below | Adjusts the signa level after arte imiter action. he limiter ee vend te limites | paie he nodule WAH/EFX1 (Wah/Effects 1) module This module comprises wah and filter effects as well as special effects such as ring modulator and octave. AutoWah ‘This effect varies wah in accordance with picking intensity. A-Resonance (Auto Resonance) his effect varies the resonance fier frequency in accordance wi picking intensity. The above two effect types have the same parameters

PARMI PARMZ PARMS PARM

Position Be, Ar || eg Sense 10-10 || ægResonance [| 0-10 || 2x DryMix 0100 Select the connection position of Ehe WAH/EFXI module. Available || Adjusts the effect sensitivit : . Ketimgs are "Befr (before pre-amp ||Negative values result in dowmward | [Adiuts te items of the effect | |Adjuss te original sound m Section or "Aft (after pre-amp | filter action sharac ection) is is a resonance er with a sharp envelope.

Effect Types and Parameters This effect adds a one-octave lower component to the original sound. lower sound component. lone-octave lower sound component.

PARMI PARM2 PARMS PARM4

a OctLevel [o-100 || 2x DryLevel [o-100 [Tone [0-10 || eg Level [2-10 ÉAdjusts the level ofthe one-octave | [Adjust the level ofthe original [*diustS the tonal quality ofthe | A giuc he signat level after Passing the module. This effect periodically varies the vol PARMI PARM2 PARM3 PARM4 si Depth | 0-100 a Rate | 0-50p Up, Doun, Wave | p.12 aa Ciip 1-10 Adijusts the modutation depth LAdjusts he modulation rat. [Sets he modulation waveform to Up! (rising sawtooth), "Down (alling sawrtooëh), or "Tri riangutan). fControls the chip amount of the modulation waveform. Ketting values result in ipping of the wavelor ing à stronger effect. Higher stronger rm tips, AStagePhaser This s a d-stage phaser effect that This is an 8-stage phaser effect that produces a swooshing sound. à produces a swooshing sound. Compared ta the 4-stage phaser, the effect sound is more detailed The above two effect types have he same parameters, Resonance)" (+ p.65). LAdjusts he modulation rat. character.

PARMI PARMZ PARMS PARM4

Position Lseñr attr || eg Rate [Lo-509 |[Resonance [0-10 || 2e Level [ 2-10 See "A-Resonance (Auto FAdjusts the intensity of the effect | fAdjusts te signa level after passing the module. This is a fixed phaser effect that has an equalzer-lke sound Resonance)" (+ p.65). femphasized Adjusts he sound color

PARMI PARMZ PARMS PARM4

Position L Befr Aftr |[ eg Frequency [ 1-50 || Color D 1-4 |fagleve [ 2-10 See "A-Resonance (Auto FAdusts the frequency to be FAdjusts the signal level after passing the module. RingModulate This effect produces a metall ringing sound. Adjusting the “Frequency” parameter results in a drastic changs of sound character Resonance)" > p.65). LAdjusts the modulation frequency. original sound and effect sound.

PARMI PARMZ PARMS PARM4

Position L Befr Aftr || eg Frequency | 1-50 || 2 Balance To-100 || ag Level [ 2-10 Resonance (Auto fAdiusts the balance between ÉAdjusts the signal level after passing the module. urns the sound from any bass guitar into a fretiess bass sound. Resonance)" (> p.65). LAdjusts the rise time.

PARMI PARMZ PARMS PARM4

Sense [0-30 || 2 Tone [1-50 ||Color Dt-10 || eg tevel [ 2-10 'Adjusts the effect ensiivity. gui tonalquaty afthe | MéKound- Higher seing values” * [ins the signal level after pour result in stronger effect character _ | [P#SSiNS the module This effect slows down the attack rate ofthe sound, resulting in a vol playing style sound.

Effect Types and Parameters his effect dvides the signal into tue bands (high/louj and lets you frely adjust the mixing ratio of the two bands.

PARMI PARMZ PARM3 PARM

Hi Mix [0-100 || Low Mix [0-00 || Frequency [80-2:5k || eg Level [2-10 Endjusts te crossover point between the high frequency and low frequency band. LAdjusts the signal level after Adjusts the mixing ratio of the high | Adjusts the mixing ratio of the low passing the module. requeney band. frequency band. PedalVox PedalWah

PARMI PARM2 PARM3. PARM4

Position Befr Aftr || 2e Frequency 1-50 || 2x DryMix 0-100 || ag Level 2100 FAdjusts the Frequency that is See "A-Resonance (Auto Éemphasized. When the expression | |Adjusts the original sound mixing. | lAdjusts the signal level after IResonance)" (> p.65). edal is not used, the effect is rio. passing the module Similar to a half open pedal. Pedal wah with a strong character

PARMI PARMZ PARMS PARM

Position T Betrattr || 2 Frequency | 1-50 || ægResonance | 0-10 || g Level T 2-10 See "A-Resonance (Auto u &y. | Tdiusts te intensity of the effect | Adjusts the signal evel after Resonance)" € p.65) dust the modulation frequene. |[édrctr. pasine the module his effect allows cross-fading of original sound and effect sound (Vox type wah), using the pedal or another control source. Try assigning the vertical direction of the Z-pedal PV1 - PV4) to the "Frequency" parameter and the horizontal direction (PH - PH4) to tne "X-Fade” parameter.

PARMI PARMZ PARMS PARM4

Position Lefr Aftr || ag Frequency | 1-50 || eg x-Fade [o-100 |[Level [2-10 See "A Resonance (Auto u 7 | Pidiusts the balance between Enajusts te signal level after Resonance)" (> p.65). pAdiusts the modulation frequency. | [orieinal sound and effect sound. | |passing the module ‘This effect allows cross-fading of ariginal sound and effect sound (phase, using the pedal or another contra! source. Try assigning the vertical direction of the Z-pedal (PV - PVA) to the Rate” parameter and the horizontal direction (PH! - PH4) to the "X-Fade* parameter.

PARMI PARM2 PARM3 PARM4

Color Lt || eg Rate Los aa X-Fade [0100 Level [2100 FSclecrs the connection position and Sound type. The "Befl” — "Beta" etines place the effect before the PRE-AMP module and the "AR" — l'AfA" settings after the PRE-AMP mod. X-Vibe (X Vibrato) ‘This effect allows cross-fading of phaser sound and tremolo sound, using the pedal or another control source, Try assigning the vertical direction of the Z-pedal PV: - PVA) to the "PHA Rate” or "TRM Rate” parameter and the horizontal direction (PH1 - PH4) to the "X-Fade* parameter. LAdjusts the balance between LAdjusts the signal level after Adi he moon rue original sound and effet sound. | passing the module

PARMI PARMZ PARMS PARM

a PHARate [0-50 || GTRMRate | 0-50 || eg x-Fade [0-00 [Lever T 2-10 FAdjusts the modulation rat of the | fAdjusts the modulation rate of the | [Adjusts the balance between phaser| [Adjusts the signal level after phaser effect fremolo ect. found and tremolo sound passing the module ZOOM B9.lut 67 O804B9Eindb 4 en 08.425 10:59:25 AM

Effect Types and Parameters OOP ernal Loop) module This module controls an external effect connected to the EXT LOOP SEND/RETURN jacks. The [æ) external effect send level and return level and the B9.1ut internal signal level can be set separately or each patch. When this module is set to OFF, the external effect is defeated.

a SendLevel 0-100 || 2 RetLevel 0-100 || 2 DryLevel 0100 Éndiusts the volume Ft original sound in the dits the external effect send level. Adiusts the external effect return level. lu ie level that input the EXT LOOP module. CD : rris module serves for reducing noise during playing pauses. ZNR (Zoom Noise Reduction) Z00M onginl noise reduct n which reduces noise in playing pauses without affecting the overal tone. PARMI Threshold I 1-16 FAdjusts the ZNR sensitivity For maximum noise reduction, set the value as high as possible without causing the sound 10 decay unnaturaly. PRE-AMP (Preamplifier) module This module provides simulation of 21 types of amplfiers and stomp boxes, as well as special effects such as bass synth etc. F Manufacturer names and product names mentioned in the table are trademarks or registered trademarks of their respective owners. The names are used only to ilustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION. Simulation of the ultimate rock bass amp, he Ampeg SVT. Simulation of the Ampeg B-15 made famous by the Motoun sound of Simulation of the SWR SM-900, famous for its i-f sound. Simauor Acoustic Aguilar Simulation ofthe Acoustic 360 well knoun for is gutsy midrange. Simulation of the Agular DB750 famous for its powerful sound. Simulation ofthe Fender Bassman 100. Simulation of the Hartke HA3500 famous fois aluminum cone. Polytone Simulation ofthe Poytone Mini Brute with its distinct midrange, often _ || Simulation of he famous metal bass amp Galien Krueger 8ORE from used by Jazz musicians, the aigles. Simulation of the Trace Eliot AH-500. Simulion ft Mater Mood prete by basis ue ar een on ZO0M original tube preamplifer sound Siruaton fine Sansamp Bass Da D, gb popular among base TS9 ODB-3 Simulation of the Tube Screamer used by many guitarsts as a booster. | | Simulates the ODB-3 overdrive bass machine from Boss. Simulates the MXA Bass D.L4 distortion channel Simulation of the Fuzz Face that made rock history with its zany look and smashing sound. Simulation of the Boss MetalZone with long sustain and dynamic lower | | Simulation of the Electro-Harmonix Big Muff preferred by famous Mange. Ar, et er sou 68 ZOOM B9.lut OgABSEind 5 ue 08425 10:50:29 AM

Effect Types and Parameters High gain fuzz sound with strong character. The above 21 effect types have the same parameter. GAN LEVEL a Gain [o-100 || eg Level 100 just the preamp gain istorton depr.… |] dust the signal level after passing the

Tone [o-s0 || 2 MixBar [0-100 |[ Chain Pre, Post Sclecis the connection position of the pre-amp adjuts the balance between original sound and | section. Available settings are Pre” (etore JAdiusts the tonal quality of the sound. effect sound. MOD/EFX2 module) or "Post" (after DELAY module) StdSyn (Standard Synthesizer) ZO0M original bass synthesizer sound. GAIN LEVEL Sense Lo-100 || agLevel L1-100 djuts the senstiviy for tigger detection. |]usts te signal level after passing the

Variation Tone [0-10 || ex MixBal [_ 0-100 una Fdjuts the balance between original sound and cles a synthesizer variation. djuts te tonal quality of the sound Fadiusts the B SynTIk (Synthesizer Talk) ‘This effect produces a synthesizer sound similar to a talking moduiator producing vouels. GAIN LEVEL Decay [o-100 || ag Level 100 just the rate of sound change dust the signal level after pasaing the

Variation ia UE, UR. || Tone | 0-10 || ex MixBal | 0-100 ceci a vowel variation dass te tona quality ofthe sou ainsi Balance between original sound and V-Syn (Vintage Synthesizer) his effect produces a vintage bass synthesizer souncl. GAIN LEVEL Decay [o-100 || agLevel [1-00 just the rate of sound change Adiusts te signal level ae passing the

Sense [0-30 |[Range [0-10 || 2 MixBal [_0-100 dust he sensitivin fotrigger detetion. | Ads tne fier shift range Pause te balance been aignal sound and MonoSyn (Mono Synthesizer) SYNTH his effect produces Ie sound of a monophonie (single-note playing) bass synthesizer {hat detects the pitch of the input signal. GAIN LEVEL Decay [o-100 || agLevel [1-00 dis ie rate of sound change dise signal el after passe the

Effect Types and Parameters AVoiceSyn (4-Voice Synthesizer) This effect type adds synthesizer harmony components to single notes played on the bass. The harmony components are determined by he Mode and Scale parameters. GAIN LEVEL ‘Attack [0-10 || tee 1-100 Fadjusts he atack rate he synrhesizer sound. | Adjust che signal level after passing he module

Mode I Scale [12 a MixBal 0-100 : ape tion ect harmony variation. For each ofthe | latte balance between original sound and fs stemen dre ont Faible See ltaion Delon) setsound Note played DES] (Example: C) on bass Scalet Scale 2 Scalet Scale 2 a | HE ES 5 Cn Mas o — Lo Lo Cam En EE _ _— l Ve Cr om 5) C7 Mode 7 D È # = FE ° — Cr Fr se à DE I = Gur ET] ForC e | | } Een Ces E c PedalSyn (Pedal Synthesizer) This is a synthesizer that can be played with the foot switches of he B9.1ut. When this effect type is selected, the foot swilches operate different from normal mode, For details, see page 56. GAIN LEVEL Decay/Atk I 1-100 a Level 1-100 Fadjusts he rate of sound change. The target parameter is Decay in tigger | [Adjust che signal level after mode and Attack in hold mode passing the module.

Scale&Mod Her k ci-83 || Variati HUE MixBal 0100 cale&Mode À ko - ariation ue0-5, || eg MixBal -

Sales te vale pe and Lu the seule (nt sound variation. Available settings fl ee MO at ects a keynote fo pedal synth | [are “Saw” (sawtooth), "Pulse" adjust the balance between sound ge Plain. féquare wave) or PWM (pulse | original sound and effect sound p.56. th modulation resulting in fatter round) EQ (Equalizer) module This is a 6-band equalizer. In edit mode, the module is adjusted using the [SUB-BASS], (BASS ILO-MID], (HI-MID], [TREBLE], and [PRÉSENCE] knobs of the pre-amp section. Sub-Bass ‘Adiusts the very low frequency range. Bass ‘Adiusts the low frequency range: Lo-| Adjusts the low midrange frequency range. Hi-Mid ‘Adiusts the high midrange frequency range. 70 ZOOM B9.lut O804B9Eindb 7 en 08.425 10:59:36 AM

Effect Types and Parameters ST-Chorus (Stereo Chorus) This is a clear sounding stereo chorus.

PARMI PARM2 PARM3 PARM4

a Depth [o-100 || ag Rate [1-50 ||Lo-cut Lof#-800 || 2 Mix [0-10 dust the modutaion dep | Adjuststhe moduiaton rate. free ie lon ane tof pot | Au eleve tt ou] This effect mixes a slightiy pitch-shifted component to the original sound, resulting in a chorus effect with only sight modulation.

PARMI PARM2 PARM3 PARM4

Cent [50-50 |[Tone T 0-10 ||PreDelay D o-50 || Mix [ 0-10 FAdjusts the detumimg amount in | [Adjusts the tomal quality ofthe | fAdiusts the pre-delay timeofthe | fAdjusts the level of te effect sound Cent (1,100 semitone) steps. sound feet mixed to the original sound This s a delay that allows use of modulation.

PARMI PARM2 PARM3 PARM4

Time [-2000ms Pl] eg FeedBack | 0-100 || eg Rate 1-50 || Mix [ o-100 FAdjusts the amount of feedback. Higher seting values result in a higher number of delay sound repetitions. This effect produces a resonating and strongly undulating sound. Adijust the level of the effect sound Sets the det mixed 10 the original sound. lAdjusts the modulation rate. PitchShift (PitchShifter) This effect shift the piteh up or down.

Shift Tone | 0-10 Fine -25-25 || 4 Balance | 0-100 ; lions Be adjusment of pc . Seat amoutin |[ags meromtquatiyotne nn net he mange semitone) steps. PedalPitch This effect los using the expression pedal to shft the pitch in real time.

Effect Types and Parameters Special effect that changes the sound in a staircase pattern.

PARMT PARM2 PARM3 PARM4

sa Depth Lo-100 || ag Rate [o-509 || agResonance | 0-10 || 2 Shape [o-10 FAdjusts the modulation depth. FAdjusts the modulation rate. FAdjusts the resonance intensity. |[Adjusts the effect sound envelope Delay TapeEcho

PARM1 PARM2 PARM3 PARM4

Time [bn a FeedBack | o-100 HiDamp [0-10 Mix Lo-100 Ajust the amount of feedback. ÉAdijusts the treble attenuation of the Higher seting values result in a Adiusts the level of he effect sound Sets the delay time. higher number of delay sound delay sound. Higher setting values | lniXed 10 the original sound. Fes in sofer delay sound, épetions. DynamicDelay ‘This is a dynamic delay where the effect volume varies according to the input signal level.

PARMI PARM2 PARM3 PARM4

Time Laocbmes [[agAmount | 0-100 || amFedBack | 0-100 || ai sense [0-10 Ajust the ect sensivy. Win positive setting values, the effect ound level increases at higher Adijusts the amount of edback. | input signal levels. With negative seting values, the effect sound level decreases at higher input Adijusts the level of he effect sound este del time mixed to te original sound Signal eve DynamicFlang (Dynamic Flanger) This is à dynamic langer where the effect volume vares according to the input signal level.

PARMI PARM2 PARM3 PARM4

2 Depth [o-100 || 2 Rate [o-505 || agResonance |] 10-10 || eg Sense [10-10 FAdjust the effect sensttivisy, With positive setting values, the effect Sound level increases at higher input signal levels. With negative setting values, the effect sound level decreases at higher input signal levels. Adjusts the modutation depth Adjusts the modulation rate. Adijusts the resonance ‘This is a pitch shifter specially or monophonic sound {single-note playing) with tie sound fuctuation.

PARMI PARM2 PARM3 PARM4

Tone Lo Fine 25-25 || eg Balance Ï 0-100 FAtlows ne ajusiment of pie Shift amount in Cent (1/100 semitone) steps. Adjust the tonal quality of the Adijusts the balance between original sound and effect sound. H.P.S (Harmonized Pitch Shifter) “This is an intelligent pitch shifter that automatically generates the effect sound according to a preset key and scale.

Effect Types and Parameters PdiMonoPitch (Pedal Mono Pitch) This is a pitch shifter speciall for monophonic sound (single-note playing}, which allows the pitch to be shifted in real time with the expression pedal.

PARMI PARMZ PARMS PARM4

Color [1-9 |[Mode [Up Doun || Tone [0-10 || ag PaiPosi [o-100 Ses the pitch shift amount. IDepending on the "Color" setting, Selecis the type of piteh change ï Sets the direction of he pitch Adjust the tonal quality of the caused by the pedal (see Table 3 on | [Set the dite he balance between original sound pus change 10 Up or Down. and effect sound also changes according. This effect varies the sound Ike a taking modulator.

PARMI PARM2 PARMS PARM4

a Range [i-10 | aghesonance | 0-10 || Sense [ 0-10 || ag Balance [ 0-10 dust he frequency ramge for | Agjsus the resonance intensity || Adjusts te effect sensitivit. CREER This is a special delay were the effect sounds as if playing in reverse.

PARMI PARM2 PARM3 PARM4

Time [o-tons Pl] eg FeedBack | 0-100 || HiDamp [0-10 || eg Balance [ o-100 seu he delay time inst the amount of feedhack.… | At relation of the] At balance even BendChorus This effect provides pitch bending hat uses the input signal as rigger and processes each note separatey.

PARMI PARM2 PARM3 PARM4

as Depth [-50-50 || eg Attack Li-10 || agPelease Li-10 || ag Balance [0-10 dust the effect depui Pose || à 4 ï : Fadiusts ie elect dpt. Poste | Adjuat the attack time forthe | fAduststherelease time forthe || aus ae patance between negative values cause downard [[bending feet Higher scuing |]beñding effect. Higherseting | Grgina sound and effect sound ending. values result in slower attack. values result in slower release. This effect uses the comb filer characteristics generated by using fixed modulation on le flanger as an equalizer

PARMI PARMZ PARM3 PARM

Frequency | 1-50 || aResonance | -10-10 || HiDamp [o-10 || ag Mix [0-10 FAdjusts he frequency to be at the resonance intensity, |Pdiuts the treble atenuation of the | [Adjusts the leve of the effect sound emphasized. padiuss rh tensit "| [feet sound mixed to the original sound This effect reproduces the ambience of a room, to create spatial depth.

PARMI PARM2 PARM3 PARM4

Size [1-10 || eg reñiex [0-10 ||Tone Do-10 || eg Mix [0-10 Fadjusts he size ofthe simulated | [Adjusts the amountorefections | fAdjuststhetomal quality ofthe | fAdijusts the level of te effect sound pace from the wal. sound. mixed to the original sound AutoWah This effect varies wah in accordance with picking intensity A-Resonance (Auto Resonance) This effect varies the resonance filter frequency in accordance with picking intensity. The above two effect types have he same parameters.

Effect Types and Parameters “This is a resonance filter with a sharp envelope.

Depth Lo-100 || 2 Rate Lo-509 || X-Fade [_0-100 || Shape Lo-10 din the modulation den. |[Adiusts the modutation re. [Aus eleve balance between [Adi the envelope fe feet This is a step effect which allows shifting the emphasized frequency up or doun, using the pedal or another control source. f you assign the "Frequency" parameter t the pedal, the emphasized frequency wil change in discrete steps, until the target frequency is reached. Try assigning the vertical direction of the Z-pedal (PV - PV4) to the "Frequency" parameter and the horizontal direction (PH1 - PH4) to the "Mix" parameter.

PARMT PARMZ PARMS PARM

amFrequency | 1-50 ||Depth 0-100 || Shape [o-10 || ag Mx 0-100 FAdjust the envelope of the effect | Adjusis the level balance between Ê [original sound and effect sound. Adjusts the emphasized frequency. || Adjusis the modulation depth. This ap hf at alows seing a diront ah shift amount in he vertical and 1h horizontal drecton of ha Z-peda. Try aigning the

Effect Types and Parameters able 5] The table below shows an example for Z-pedal operation when vertical direction is assigned to "PalPosi V' and horizontal direction to

Variation [1-5 || 2 Formantv 0-100 || ægFormantH | 0-100 || 2 DryMix 0-100 Fdjuts te formant peak in the | [Adjusts the formant peste in the Select the sound variation type | acoustic frequency spectrum that | [acoustic frequency spectrum that | Adjusts the original sound mixing caused by the pedal (see Table 6. |[éharacterize vous) (vertical | [éharacterize vowels| (horizontal | ratio. irection of pedab direction of pedab. able 6] The table below shows an example for Z-pedal operation when vertical direction is assigned to "Formant V” and horizontal direction 10 ÉFormant H°. Tes 7 Te nel LOT Te LISTE EEE ls [Er -+ ' Tr è FT ï 2 | ein ï 5 5 5 ü DES ë [æ=) [This is a delay module that allows use of the hold function. Effect parameters are described after the listing of effect types

This is à long delay with a maximum setting of 5000 ms. PingPongDly (Ping Pong Delay) TAP HOLD MUTE This is a ping-pong type delay where the delay sound alternates between left and right. Echo TAP HOLD MUTE This effect simulates a tape echo with a long delay time of up to 5000 ms. PingPongEcho TAP HOLD MUTE This is a ping-pong type echo here the delay sound alternates between left and right. Long delay settings up to 5000 ms are possible. AnalogDelay TAP HOLD MUTE This effect simulates an analog delay with a long delay time of up to 5000 ms. The above five effect types have the same parameters.

PARMI PARM2 PARM3 PARM

Time [-5000ms D] | 2x FeedBack 0-100 || HiDamp [o-10 || ag Mix [o-100 Le tie delay de, at the Feedback amount FAdjust he treble atremuation ofthe | Adjust the balance between Sets the delay [Anse he feedback delay sound original sound and effect sound ReverseDelay TAP HOLD MUTE This is a reverse delay with a long delay time of up to 2600 ms

Effect Types and Parameters his effect reproduces {he amblence of a room, to create spatial depth.

PARMI PARM2 PARMS PARM

Size Li-100 || 2x Reflex [0-10 ||Tone [o-10 || eg Mix [0-10 Fadjust the size ofthe simulated | Adjusts he amount ofrefections | [Adjust the tonal quality ofthe | Adjusts he Level ofthe effect sound pace from the wall sound. mixed to the original sound ‘This effect lets you hold a sound that has been played and repeat it in a loop. When the effect is enabled, the function foot switch 3 is assigned to ‘he LOOP function. By pressing the switch, the Sound can be played in à loop. PARMI PARM2 PARMS. Time [o-5000ns D | x Mix 0-100 || Mode Trg, Hold Sclecr either "Trg Gound is held while switch is pressed) or "Hold" one press to start hold and one more press to stop) as sound eneration mode ÉAdjusts the effect sound mixing Sets ihe hold time. SOS (Sound-on-Sound) ‘This effect allows recording multiple layers while playing the recorded content in a loop. When this effect type is enabled, the special SOS functions STOP and REC are assigned to function foot sitches 2 and 3. For details, see page 54 PARMI PARMZ Time Mn) _|| 2 Mix 0100 Species the recording time, With the "Mn* setting, pressing the function foot swith 3 once will start recording and pressing it again vil top Adjusts the effect sound mixing Lecordine. With a setting other than “Mn”, he combination of current BPM | ra etting and note symbol determines the recording time. REVERB module This module comprises various kinds of reverb, early elections, and multi-tap delay. ‘This effect simulates a spring-type reverb. Arena ‘This reverb effect simulates the acoustics of a large venue such as a sports aren

This reverb efect simulates the acoustics of a ted room. ModernSpring This effect simulates a bright, transparent spring-type reverb. The above si effect 1ypes have the same parameter.

PARMI PARMZ PARM3 PARM4

aa Decay [1-30 ||Pre Delay [1-100 [Tone [o-10 || ag Mx [0-10 Fadjusts the delay between inputof || : u | s adjusts the tonal qualit ofthe | Adiusts the level of the effect soul Sets the duration ofthereverb.…|]the original sound and startorthe | PTIT pp everb sound. his effect isolates only the sai rellection components of the reverb.

PARMI PARM2 PARMS PARM4

Decay Li-30 || 2 Shane [10-10 |[Tone Lo-10 || eg Mix Lo-100 FAdjusts the envelope of he elfect Sound. n the negative range, the fenvelope is reversed. AtO.the | lAdjusts the tonal quality ofthe || Adjusts the level of he effect sound] effet is a gate reverb. In the Sound. mixed to the original sound positive range, the envelope is an Éttenuating envelope. Sets ihe duration of the reverb. ZOOM B9.lut 77 O804B9Eindb 14 en 08.425 11:00:09 AM

Effect Types and Parameters This effect produces several components with diferent delay times. PARMI PARMZ PARMS PARM4 Time [ -3000ms P| Patte [1-8 Tone 0-10 Mix [ 0-10 Sets the basic delay time. FSclecis the delay time combination pattern for the taps. Ajust the tonal quality ofthe sound. FAdjusts the level of the mixed 10 the original sound. effect sound] This is a stereo delay with a delay t ime of up to 8000 ms. PARMI PARMZ PARMS PARM4 Time Ï -3000ms p} a FeedBack Ï 0-10 0-10 HiDamp a Pan L50 12,0, R2-R80 Sets the delay time. Adijusts the feedback amount. Ajust the treble attenuation of the effect sound. FAdiusts the panning (ef position of the sound. SUR) PingPongEcho PingPongDly (Ping Po: This is a ping-pong type echo wher ng Delay) re the delay sound alternates between This is a ping-pong delay with a delay time of up to 8000 ms. left and right. Long delay settings up to 3000 ms are possible. The above to effect types have the same parameters. effect sound.

| 0-10 movement. LAdijusts the scope of sound position Adjusts the modulation rate. Adjusts the modulation depth Sclecis a waveform for. ettect. Higher seting values result in Ktronger clipping of the waveform ps, giving a stronger auto-panning | modulation. This is a delay effect which allows adjustment of panning and mix level using the pedal or another control source. Try assigning the vertical direction of the Z-pedal (PA - PVA) to the ‘Pan parameter and the horizontal direction (PH1 - PH4) t the ‘Mix parameter. PARMI PARMZ PARMS PARM4 Time | -3000ms FeedBack | 0-100 L50-L2,0, æaPan R2-R60 Mix 0-100 Sets the delay time. Adijusts the amount of feedback. Ajust the delay sound lefurignt original sound and effe Ajust the level balance between et sound anning, and reverberation using the pedal or anothé This is a spatial effect which allows adjustment of depth, vertical direction of the Z-pedal (PV1 - PV4) to the Pan” parameter and the horizontal direction (PH1 - PH4) to the "Depth' parameter. er control source. Try assigning the PARM PARMZ PARNS PARM4 Pan L50 - L2,0 R2-R50 2 Depth | 0100 Decay | 1-30 Mix 0-100 he sound Z-Tornado Ajust the efurighe panning 0 Adjusts the amount of feedback. 'Adijusts the reverb duration. This is a delay effect which causes the effect sound to sur ke a tornado. Try assigning the vertical direction reverb sound. Ajust the mbxing level ofthe ofthe Z-pedal PV - PA) tothe “Rate” parameter and the horizontal direction (PH1 - PH4) to the "Width* parameter.

PARMI PARM2 PARM3 PARM4

Time J'-sièns || a rate [1-50 || in ER0) PS 0-10 Sets the delay time. ÉAdjusts the modulation rate. 'Adjusts the sound shift range. JAdiusts the mixing level of the clay sound

This module comprises parameters that affect the entire patch. Species the patch specific level, tempo, and balance settings. PARMI PARM2 PARMS. PatchLevel 2-100 || 2x TotalBal 0-100 || Tempo 40-250 FSpecifies the mixing balance Species the overall level ofthe | [between the sound routed through || Specifes the patch specific tempo pat the effect module and the direct | | p. 38) sound. Species a name for the patch (> p. 26). ARRM (Page 1) Makes settings for the ARRM function > p.52). To bring up the second page of seing, turn the [TYPE] ko AatBe et D an op one an NOT ASS 9 UP ” ° mes b clockwise while the ARRM control

ARRM min (minimum value) |See page 52] | MAX (maximum ee cage 5 value) ARR controler eu cts : Select he ARRM control get. Eten een veto [[a se men con ave When NOT Asian is selected, EEE ent poire Feaches highest point he ARRM function is disabled ARRM (Page 2) To return to the frst page of settings, tu ne [TYPE] knob counterciockvise. PARMI PARM2 Wave [5e page 53] | Sync Ice page 54] ste control target Species control vaveform Select the control targe Éynchronizaion using the patch specific tempo as reference. PV1 to PV4 (expression pedal vertical direction setting) Speciy control targets 1 for vertical direction movement of ne expression pedal. PH1 to PH4 (expression pedal horizontal direction setting) Speciy control targets 1 à for horizontal direction movement of 1he expression pedal. The above eight effect types have the same parameters, However, for PHI 10 PH4 (expression pedal horizontal di off) à not available: rection setting), PARMA (module on/

PARM4 Expression pedal control target | | min (minimum value) Max (maximum value) Module on/off function FSpecifies the parameter value that set when the pedal is fully Jushed down, or when it is fully urned to the right. Éspecifies the parameter value that És set when the pedal is fully raised. or when it is fully turned to the Le. Specifes the expression pedal control target. Enables or disables 1he module on off function. This parameter is not available for the horizontal direction (PHI 10 PH4). FuncSW Assign (Function Foot Switch Assignment) Species the operation of function foot switches + - 3.

FuncSWi Assign (Function || FuncSW2 Assign (Function || FuncSW3 Assign (Function Foot Switch 1 Assignmenÿ __| | Foot Switch 2 Assignmenÿ __ || Foot Switch 3 Assignmenÿ Species the operation performed | [Species the operation pertormed | [Species the operation performed ÿ function took switch À bi function oct switch 2 by function foot switch FootSW Assign (Foot Switch Assignment) Species which module is tumed on and of by function foot switches À - in manual mode.

PARMI PARM2 PARMS PARM4

Foot Switch 1 [CMP.WAH|| Foot Switch2 [ExL.AMP||FootSwitch3 |EQ MOD |[FootSwitch4 | DLY.REV Select the module to be turned on | [Select the module 1 be turned on? | [Select the module 10 be tumed on | |Selects the module to be turned on [off by foot switch 1 off by foot suitch 2 of by foot switch à. off by foot switch 4. ZOOM B9.lut 79

Troubleshooting Æ No sound or very low volume Make sure that the POWER switch is on. Try adjusting the LEVEL knob on the rear panel Check the conne Make sure that the s defective. Try adjusting the patch level (-»p. 16). If the volume is being adjusted with the expression pedal, make sure that a suitable volume setting has been selected with the pedal. When both controls in the Accelerator section are fully turned down, there will be no sound. You must turn at least one control partially up. Make sure that the BO.Iut is not in mute mode (> p. 20) ions (— p. 8) hielded cable

ESoundis distorted Try lowering the Gain and Li of the PRE-AMP module. Try lowering the setting of the [SOLID STATE] and [TUBE] controls in the Accelerator section parameters Foot switches do not operate properly Check the current operation mode. The foot switch action is different in manual mode and play mode. Check the settings of the function foot switches 1 — 3 (> p. 36). Check whether a function with special foot switch assignments such as sound-on-sound (page 54) or pedal synth (page 55) is enabled. E Noise is noticeable + Make sure that only a ZOOM AC adapter is used. Adjust the ZNR setting. Try lowering the Gain and Level parameters of the PRE-AMP module. Check the settings of the built-in expression pedal (— p. 31). Depending on the parameter assigned to the expression pedal, a pedal action causing a drastic parameter change may result in noise.

O804BSE indb 17 ÆHum noise is heard (when usi BALANCED OUT connectors) A ground loop involving connected equipment may have formed. Try setting the GROUND switch to "LIFT" and check whether this improves the condition Effects do not work + When using the BALANCED OUT R connector, check whether the PRE/POST t to "POST" (signal after effect switch is processing). Check the total balance setting (> p. 16). If the value is too low, the effect processing result will not be heard. Cannot send or receive MIDI messages Make sure that the MIDI IN connector of the B9.lut and the MIDI OUT connector of the other MIDI device, and the MIDI OUT connector of the B9.lut and the MIDI IN connector of the other MIDI device are connected properly Check the MIDI channel setting (-> p. 42). Check whether send/receive of the respective type of MIDI message is enabled (— p.43, 46,49). MExpression pedal does not operate properly. + Check the expression pedal settings (-> p. 3D. + Adjust the expression pedal (-> p. 33). MOn/off switching with expression pedal does not work properly Check whether parameter 4 (module on/off) of the expression pedal vertical direction setting (PVI — PVA) is set to "Enable”. The expression pedal horizontal direction setting (PHI — PH4) does not allow module onoff switching. ZOOM B9.lut

Number of eff Number of eff Patch memory + modules Sampling frequency AJD conversion D/A conversi Frequency response Display Inputs Bass guitar input AUX input External return Outputs Line output Headphone output External send Balanced output Tube cireuit Control input Control connectors USB interface PC interface Sampling frequencies Power requirements AC adapter Dimensions Weight

16-bit (record/play, stereo) 32 kHz, 44.1 kHz, 48 kHz 12 V DC, 3 À (from supplied AC adapter AD-13) 235 (D) x 515 (W) x 81 (H) mm 45kg

© 9nH, v=127 IVelecity Note ON

lAfter Key's ITouch ch's

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 to 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. + Consuit the dealer or an experienced radio/TV technician for help. Disposal of Old Electrical & Electronic Equipment (Applicable in European countries with separate collection systems) ‘This symbol on the product or on its packaging indicates that this product shall not be treated as household waste. Instead it shall be handed over to the applicable collection point for the recycling of electrical and electronic equipment. By ensuring this product is disposed of correcly, you will help prevent potential negative consequences for the environment and human health, which could otherwise be caused by inappropriate waste handling of this produet, The recycling of materials will help to conserve natural resources, For more detailed information about recycling of this product, please contact your local city office, your houschold waste disposal service or the shop where you purchased the product ZOOM CORPORATION ITOHPIA Iwamotocho 2chome Bldg. 2F, 2-11-2, Iwamoto-cho, Chiyoda-ku, Tokyo 101-0032, Japan Web Site: http:/www.zoom.co.jp B9.lut - 5000-1 O804B9Eindb 21 08.425 11:00:26 AM

[=] CMP: Limiter | AMP Pp t : “Hartke MOD: C: e + a t C h L I sS 34 METAL | Heavy metal patch with a strident sound th DE | DLY:508 &ù | Volume 3 anal Mode ture on the *CombEltere Lee au even Sibnger métallie 1 Move the expression peda ‘ or an even stronger metall ve the Pre Nr pe ve al horizontally to vary the emphasized frequency. # allie tone. Move the | #7 | (MOD:CombFiiter:Frequency) mo: 5 î . = 5 modules: Effects are set to Off when patch is called. Si] REGGAE | utoWah ] AMP:AmpegSVT ] MOD:Chorus |] © DLy:De xpression pedal setting items are listed in the order module ff F4 SLTONE bass patch 1Or Reggae and Dub + \oume

• The ï name : effect t: ! . L “EF [&3] symbol in the table denotes a vertical direction setting, and the [3] sm bol a al din 8 te] os DORE (RCE To | eee or expression ped. ai ; le [22] symbol a horizontal directi i Sixties R&l arc =: Delay V b pedal setting items, effects enclosed in brackets {) can be swi al direction setting. © ixties R&B type patch using the Ampeg BIS much beloved by James Jamel oume y fully depressing the pedal. n be switched on by pressing switches 1 - 4, or 43] No:tunk WAH:Autoiah | AMP:Ampegsvr | Mo:c GT MOD MbEDEp) , 0. ; Ë + Chorus : New Orleans Funk sound with a clear, wide tone range. Good f ns Youme : ange. Goo zering or se 44 | 60'sROCK CMP : Compressor Î AMP : AmpegSVT ] MOD : Ch 7 TT Tr : Chorus DLY: Patch A patch tha esthe Delay Paeh | patch name nn ne patch that simulates the bass sound of 19605 Rock. Volume Foot switch 3 … c CMP : M Com : AMP:AmpegSVT:Gai Foot awitch Essonne Gil ormon He p Î_ AMP:Trae |] MOD:Chorus [| DLY:Detay Volume pegSVT:Gain — atch modeled on the Electro-Ha £ —. + patch modeled on 1 o-Harmonix Q-Tron. Suitably light mix of original sound makes oi iST: : Dela) WAH:A. : SlapSolo | Typical slap solo sound of the eighties. using short delay. C . a] voume ODB-3 WAH:X-Phaser | AMP:0DB-3 Nr Resonancessense moving the expression pedal horizontally. Pressing qe, ons mx mao can be adjusied by Patch 3 DES L Dr Vel Splitter" effect on, 10 emphasize the slap pull. ot switch 1 in manual mode turns the | Æ3 | MOD:ST-Chorus:Mix atch modeled on the Boss ODB-3. Strong distortion is great for solos. un De WAH : Tremolo : | El CMP : M Comp AMP: 5 ; GE] betune |A Tene | AuP:Tuberre | MOD:Deue [A REVEHN al 63] sansamp en l :SansAmp |] MOD:Flanger | DLY:Delay Volume e chorus sound to make the bass sta h ed on the Sansamp Bas e eferres make the bass stand out in an ensemble. Effective for ballads and solos. = just right for some Rock ME and om pression males Le BALE EASY LA Re. 2 WA OcuNS | AMP: Sansa DC = yles, and compression makes the patch casy to use. on is ANPSenam ai

23) synthtio [Sms ï p_ | MOD:AResonance | DIViDelay Ga | vom SU | pigmurr |-SMP:Compressor | AMP:Bigmuf | MoD:c —— RP

ù nn spe patch using "Octave" and "Auto Resonance", Suitable for funky bass lines with : Patch modeled on the Electro-Harmonix Big Muf — DÉTRSE" Volume ass lines “Harmonix Big u CPE M Come ANP:MX I 22 | AMP:SansAmp:Gain E! CMP: M Comp | red ig me its trademark radical distortion sound. AMP:BigMuff:Gain L . :MXR D.I+ MOD :z- j ° : Trace MOD: _ ù Li UP :Z-MonoPitc! : ‘ | OctaB: : Chorus : 2oct Distortion sound using Ie dedicated expression pedal ° h Ï DLY : Delay F3 | MOD:Z-MonoPitch:PdlPosi V aSS | Patch modeled on the EBS OctaBass. One-octave lowe: | DLY : Delay Volume Te CAPES PL Lo my pepe Dane NE ANONS PORTO USE | 2 | MOD: RE .. INDE — y ype play. :Z-MonoPitch:PdlPosi C2 XVI *Ghorus:Rate) 11 CMP:L - :PdlPosiH 2 WAH : X-Vibé : #4] FunkyWah imiter | AMP: WaterWds NOTES - &2 | chorus € AMP : TubePre MOD : Detune : Auto wah sound DLY : Delay F3 | Volume Basic chorus sound DLY : Delay Volume RC a a " $ sound with limited modulation. Suitable for all genres. 5 ù ay or ghost notes. ; C3 - - genres. ae 2| 8 AR AUONER D] AMP: Waïertes JNOD:Chons | DLV:Dei 22 | WAH:AutoWah:Resonance 63] mancer | PMCom [ AvPismut 7 MoD:Flamger | Divine (WAH:X Vibe:X-Fade) En asi AI DE comore. d : Dela) Flanger s ee î : Delay ° sic CP AI sounder comprewion sound at ges Le D OUR à UE, BIOS RC D y Ka | Volume = langer sound that starts to pulsate when you push the pedal. Great for highlighting a ph ire a y moving the ex e b à tight, glossy feel. Delay mix rat x : jghlighting a phrase. x : Ë can be sed à moving ie expression pal horizontal Ua far sy DRE [mx | DLviDelayx 54 | PHASER CMP:MComp | AMP:BigMutf | MOD:ModDelsy | Div:Ra P Del MOD:Flanger:Depth 5 sa 3 Delay: Phaser sound with a solid SIREN Volume 8! ;3| socavian DES ve NE — ce solid foundation. Enjoy smart play with a breezy feel. WARS This pa — = — ‘ : Delay x . : Limiter AMP: 4StagePhaser:R< Pa comes he PedulVox HE modeled on Vox pedale it the “Fuzz À Ha | WAH:PedalVox:Frequency o 11 | ENVELOPE re Î MP : AmpegSVT MOD : Chorus I DLY : Delay Volume = sion pedal horizontally for more radical distor e Fuzz Face” £ satile Funk sound using a mix of eigh adical distortion. m2 | AMP:FuzzFace:Gai £ ighties style auto wah and original mn , WAH: “Gain En - nal sound. - 14} DrumnBs | Octave D AMPETSS | MOD:Chous | REV:HaN 83 G|''C| Aguilar CMP:MComp__[ AMP:Aguiar [ MOD:Choms | 7 Divibe MAMAmoMenSense tra low note patch using "Octave" 2 olume T e e : Dela u note patch using "Octave". The slight chorus is the secret ingredient. = © Powerful and clean sounding bass patch modeled on the Aguilar. (This patch is suitable for 1 à Volume JAH : Defret + Aouil = . WAH:Octave:0( - : = “ suitable for line output.) x : 21] Defreti2 | This patch simul [__nuPinguter [ MoDiMeepteh | REV : Hall 53 | volume _ 2173 SuperBs Ce MRRDRTEEEN os | ur ne S patch simulates the characteristic - : e atch is characterize - Volume da ! stic attack sound of a fi à : aracterized by the typical e pedaorirnt to dd à noce higher Sound com fretless bass, Move the expression so great for solos. (This DA is sverdrive sound of the Marshall 1992 Super Bass, | w ious playing. ponent for a wider spread, areat for | 3 | MOD:MonoPitch:Bal ET | able for line output.) 22 | (MOD:Flanger:Depth) 5 : :Balance : Compressor AMP :H. : ° CMP : Compressor 7 m :Hartke MOD : BendChor! : 5 ES TE 14] Hartke | Patch modeled on the comt | us | DiWiDesy |53| voume ZE | AnalogPD | Pad sound using "Analog Delay". By moving th “Arategpelr _|Fh | Voume speak int, Sig sound brin ut te male punch of the aluminum con (TRS Pad sound usine "Analog Del”. By moving (he expression peda horizontal, sou à RE UN LE A es out the umistakable punch of the alu - n ECompressor | AMP:AmpegSVT _ CMP: Com: — £E! SVT : Ampeg MOD : Chorus = 23| visser | pressor | AMP:EigMuf | MOD:XFlanger | DLV:Delay Patch modeled on the combination of the Ampee Le amp SVT [= Der:Dser à | Voure Jet langer sound with radical istorton, Make the fanger vai b Flanger:X-Fade Sound his bass amp is one of he manstaÿs of ROCK. (Ti patch with the SI0E cabinet, The gutsy | my Crtically, and add delay with a horizontal movement. fhe expression pe | 2 CMP:DualComp |! AMP:G RE MT 21 | MPAMPEEEN 24 | FunkySyn WAH:AutoWah _[ AMP:VSyn | MOD: MonoPi DLYiDelay:Mix 82] G-kruger rain moacea on te c ES Aeger MOD : Autoñiter | REV: ModerSpring | &ÿ | Volume a en EMonoPitch | REV:E/Reflection | Ka | Volume The SON sound packs Source CH ofthe Gallien Krucger SOORB with the AIORBH cabinet : = ysy patch enhanced by resonance and light doubling that gives the sound body. | 2 | WAH:AutoWah: WAH : Defr CIS pate SURABIE Po ne Op) (77 | #2 | (MOD:AutoFiter:Sense) 31 : Limiter : == y FAutoWah:Resona _ Defret : à 21! ROCK ne SV cn [_AMP:AmpegSvT ] MOD:Chorus | DLY:Delay F3 | Volume nce 83] poiytone [rachmda on à AMP: Polytone ] MOD:Detune | REV:Room A une "A patch in the style of the fa - É odeled on the "Polytone M favore L > ampeg SVT” patch i le of the famous rock amp, The limiter that evens out the picking midrange character. Pressina où fo pre LI favored by Jazz musicians for its distinct EE CMP:MComp |] F 8 | #2 | AMP:AmpegSVT:Gain ET DE put) mode turns on “Defret" for fretless bass | 3 | AMP:Polytone:Gaï HEC POPS [account . AMP:Aguilar | MOD:Chorus | DLY:Delay Fa Volume 8 CNP: Compressorn] AMP: WalerWds _ [IMNOD: CN . asic sound for laying down a bottom 1 Ci 4 di = GROS DLY: ë Basie sound for ing dou a bottom ne in pop mue, Compatile tk a pavine ss, | = | oc WaiterWD | auch modeledon he conbinaton of the Water Woods M300 vi LL Ends Delay Volume Eu = :Chorus:Rate) alter Woods can be used with vari its, Bi ag End S-12B cabinet. 2 WAH : Defret : — s at ious instruments, but in this patcl 73 JAZZ TE [__AMP:Pohtons | MOD : Air DLY : Del (This patch is suitable for line output.) in this patch, the EQ is optimized | 4] | (MOD:Chorus:Rate) Use of the "Polytone Mini Brute Il” makes th Fa) voure CRD [EU | Useorihe Poiytone Mini Brute NT makes Ibis # great paich for playing Jazz. Pressing À g! = :Bassman MOD : Chorus : ns on "Defret" for fretless bass sound ing foot | w | MoD:A {| RecBass | Patch with slight compression for recording, By ct LES Volume your preferred bass ampliier. Here, he Sd son of en Banane aclected CVs patch is suitable for line output.) the Fender Bassman is selected. (This | #2] | AMP:Bassman:Gain Continued overleaf > B9.1ut-Patchlist-E-1

moving the expression pedal horizontally, you can control the "AutoPan" RATE pa: patch is suitable for line output.) REV:AutoPan:Rate WAH : Octave AMP : MonoSyn MOD : Chorus REV : Hall Ga | Volume WAH : AutoWah AMP : TubePre MOD:HPS REV: Room Ga] Volume 52] Joez F { | AmVocode L This patch simulates the synth bass of Weather Report Joe Zawinul. 22 | AMP:MonoSyn:MixBal Patch with Vocoder type sound. "H.P.S" for the patch is set to match a key of Cor Am. 2 | REVRoom:Decay WAH : AutoWah Ï AMP : Acoustic ] MOD : Chorus I REV: ModemSpring | ÿ3 | Volume WAH : Tremolo Ï AMP : FuzzFace ] MOD : Flanger I DLY : Delay Volume 93 St: EE : anley This patch simulates the sound of Stanley Clarke on his famous "School Days”. Best for chord [ns ChainSaw | wild distortion based on the image of a chain saw. Pressing foot switch 1 in manual mode | sy stroking and slap. . 22 | (MOD:Chorus:Rate) enables "Tremolo" for an even stronger chain saw effect. 24 | (MOD:Flanger:Rate) CMP:Compressor |] AMP:AmpegSVT | MOD:Chous ] DLY:Delay E a | Volume CMP:DualComp _] AMP:StdSyn | MOD:PitchShift | DLY:PingPongDiy | 3] Volume G4 | IRON MAI Meteor " " 3 This patch simulates the precision bass sound of Iron Maiden's Steve Harris in his early days . Ga Synthesizer sound patch. Pressing foot switch 3 in manual mode enables the "Pitchshifier" | my . . Great for melodic bass lines. 22 | AMP:AmpegSVT:Gain effect, and foot switch 4 adds "PingPongDIy" for a magical feel. 22 | WAH:4StagePhaser:Rate _ CMP : Limiter AMP :SWR MOD : Chorus DLY : Delay Volume CMP : Limiter AMP :Hartke MOD : Flanger DLY : Delay E à Volume A! Miller's | | : | si F4 PICK | | si This patch simulates the slap sound of Marcus Miller. Of course its great for slap playing. 22 | (MOD:Chorus:Rate) This patch gives just the right attack and solid bottom for playing with a pick 22 | (MOD:Flanger:Rate) WAH:Octave [| AMP:Aguilar | MOD:Chorus | REV:E/Reflection |f3] Volume 5 1] crunchwh WAH:AutoWah ] AMP:Acoustio |] MOD : Air Ï REV:Arena 3 | Volume Q2 ï Lui runc ñÈ Victor W |This patch simulates the sound of Victor Wooten who is famous for tapping and high-speed #3 | MoD:Chorus:Rate) Crunch sound with auto wah for that groovy dance feeling. 22 | WAH:AutoWah:Sense 5 slap. Best for use with an active bass. : : CMP:DualComp | AMP:SansAmp [| MOD:PichShit | DLY:PingPongDiy Volume : : : : 3 È CMP: Compressor_ |" AMP:Agoustie [77 MOD:Choms REV : Hall Ha | Volume Le | 1256 [m patch simulates a 12-string guitar that Works great when playing arpeggios. (This patch à a c is patch simulates a 12-string guitar that works great when playing arpeggios. (This patch is | my < A3] JacoMEL ax simulating the sound of Jaco Pastorius, the master of the fretless bass. Get the specdy | æ | LyiDelay:Mix suitable for line output.) ai] Balance fretless feel and use it for melodious phrases. Per qi WAH:Tremolo | AMP:ODB3 | MOD:ST-Chorus | REV:PanDelay | ÿ3 | Volume

CMP:Compressor | AMP:Acoustie | MOD:Detune ] © DLY:Delay F3 | Volume S|£52| Hold CL : S'Iu ol y Patch using the "Loop" effect. Pressing function foot switch 3 holds the immediately preceding | my . ; A4 Billy BS | This patch simulates the sound of Billy Shechan famous for tapping and high-speed play. The m2 | AMP:Acoustic:Gain ] sound, letting you overlay a melody. a4 | REV:PanDelay:Pan sound is distortion-based and brings out tapping play beautifully. ‘ à A CMP: Compressor | NPD | ND: Chan | DL: PingPorgDy | 43 | voue Fr £ d . d : ” WAH:AutoWah | AMP:Hartke MOD :PitehSnitt | DLY:Delay Fa | Volume m\i]| Fretless = —— = = = b! Bootsy Hs amnne es etre Oo _ ee This patch simulates a fretless bass by means of "Slow Attack” rather than "Defret”. 2 DLYPingPongDIy:Mix is patch simulates the sound of Bootsy Collins using auto wah. I gives a special Funk tone - - - = - with a dash of one-octave higher auto wah 2 , CMP:MComp _[ AMP:Hanke | MOD:DynamieDelay REV : Hall à | Volume WAREAUOWEN | AMP:Aguier MOD: Flanger DV: Delsy Fa voue H {| Storm PH Moving de expression pedal horizontally lets you control the RATE parameter of this unique | wx | waH-Bstagephaser:Rate A ase sour be | FleaMM gives a tig Gith a characteristic middle à, the ba This patch gives a it sound with a charucterstie middle, inspred by Fle, te basis of the | 53 | (MOD:FlangerDepth) ; NP EDP] AMP: ocSyn | MOD: fsonemee | DIV-RersDey [43 [ioure PRES HE | AVoiceSy , WAH:X Phaser | AMP:Trace | MOD-Chons | SE F3 AH Phaser Fade Synthesizer patch using “4VoiceSyn” with Add9 for the played sound. Most effective when used like a pad. | E2 | DLY:ReverseDelay:Balance 3] Markking [rs patch simulates the attack sound of ultra high-speed ap bassist Mark King from Level | = | IMOD:Chorus:Rate) CMP : DualComp Ï AMP : PedalSyn | MOD : Detune Ï DLY : PingPongDIy à | Volume 42. Great for slap. _ _ H27{ P-Syn.Am | When you press the function foot switch 2, this pedal synthesizer type patch lets you play WAH : AutoWah | AMP :SynTik MOD : Flanger ] DLY:ReverseDelay | & à | Volume sounds with the foot switches like Moog Taurus. Moving the expression pedal horizontally | E3 | (AMP:PedalSyn:Key) 4 | Psvco-er | A SE NIUE mr TT shifts the key upwards by as much as one octave. aperimental path rom te real oF SF Move te expresion pad horizontal diet th | 3 | yon-langennate WWE AOWER | AMP | NO Cm ET ue Fi WAH : Octave AMP : AmpegSVT MOD : MonoPitch REV: Hall Fi volume H4 Live 1 Basic effect settings useful during a live performance. Compression is the main element, with | sx | (MOD:Chorus:Aate) C1 | tupidown foot switches 1 - 4 adding auto wah, distortion, chorus, and reverb. Cl Rich sounding patch adding a one-octave up and one-octave down component. 22 | MOD:MonoPitch:Balance WAH :4StagePhaser | AMP : G-Krueger MOD : Flanger | Rs = | voue : 164 : : t] CMP: Limiter] AMP:StdSyn | MOD:ST-Chous ] DLv:s0s Eù | Volume ‘! Live 2 ra Basic effect setings useful during a live performance. Compression is the main element, vith | æs | iwaH:StagePhaser:Rate) LE | PhaseTap |This phaser patch is convenient for rythmical 16-beat play while using mute. Pressing foot #2 | wateStagePhaserRate foot switches 1 - 4 adding phaser, head amp, flanger, and reverb. as FAStag É switch 2 in manual mode turns on "Bass Synth” for a gimmicky sound. F8Stag : - - - nn WAH:Octave [| AMP:0DB3 | MOD:Zaking ] DL:Delay À | MOD:Z-Talking:Formant V F7 WAH:AutoFilter | AMP:Polytone ] MOD:Pitchshitt ] EME Hù | volume ECHODOUG | pistortion sound using "Z-Talking" and the "ODB-3" effect, You can make the bass sound talk | y MOD:Z-Talking:Formant H L3 Ac.BasS | This patch simulates the sound of an acoustic bass. Use mute and play with your thumb for m2 | REvHaliMx in a human-like voice using the expression pedal. ss d A en better results Fall: CNCN DENTS WAH:Tremolo [| AMP: MetalZone |] MOD:Autowsh | | Div:Delay Yi | REVZ-Dimension:Depth CMP:Compressor | AMP:MetalZone | MOD:MonoPitch | DLY:Delay Ha | volume Ël Heli Gtr uni Helicopter sound capable of front/back and lef/right movement, The expression pedal moves | x | ReV:Z-Dimension:Pan This patch lets you play a riffin unison with a guitar. Effective for backing up a guitarina guitartrio. | m2 | Balance the sound seamlessly in all directions. (This patch is suitable for line output.) ma4) REV: : WAH:Octae |] ‘AMP : TS9 | MOD : Vibe REV : Arena a | Volume CMP:Compressor | AMP:TubePre | MOD:ZEcho | DLY:PingPongDiy |] MOD:Z-Echo:time ea Squarter Patch using "Octave" and "Vibe". Pressing foot switch 2 in manual mode adds "TS9" distortion, . À Using the expression pedal while playing muted sounds produces a bubbly kind of sound, while g #2 | MOD:ibe:Rate Z-Bubble g P P< playing Pi y great for solos and long tone playing. d using the expression pedal during regular playing gives an effect like à tape being rewound. | 3 = This patch is suitable for line output | WAH:Octae | AMP: Waïterwas MOD:Detune | REV : Hall fa | Volume 3 (This patch fs suitable for line output.) _ n A : : : 3 . m2) MelowSP | Chorus sound for playing a melody in slap style. Pressing foot switch 1 in manual mode adds a 2 | REvHaliMx d| ,, WaH:autoWan | AMP:AmpegsT |" MOD:Chorus T REV: AuoPan à | REVAUtoPar:Rate 5 one-octave lower component. FHall: au PSYIFI Stereo patch using AutoPan”, The expression pedal can be used to control rotation rate and | wx | Rev:AutoPan:Depth vidth. (This patch is suitable for line output. 24) REV: : 4 CMP:DualComp | AMP:SansAmp | MOD:PaMonoPich | DLY:PingPongDiy | Z3 | Volume N width. (This patch is suitable for line output.) = - D\uZ]) SynLead | This patch is most suited for ballads and slow-tempo solos. Moving the expression pedal 17 WA Auto] AMP: MetaïZone MOD: rianger T° REV:ZTomade [43 | REWZTomasex horizontally gives a bend-down effect like a harmonica. Pressing foot switch 4 in manual mode | Æ3 | MOD:PdlMonoPitch:PdiPosi ue PHAZE Jet sound patch combining "Flanger' and the distortion effect "MetalZone". Operating the | mx | RE vZ-TomadoaWidth adds delay for a wider synthesizer sound. expression pedal causes the jet sound to rotate. (This patch is suitable for line output.) 24) REV: ? j4 | autoa WAH:AutoWah _ ] AMP:BigMuf | MOD : Vibe | DLY:50S a | Volume CMP:Compressor | AMP:0DB3 | MOD : Step [_ DLV:PingPongDiy | 3 | REV:Z-TornadoiRate [=] utoQes. 17 À Pris patch is a combination of "Big Muff” and ‘Auto Wah”. Good for solos and lead 2 | WAH:AutoWah:Resonance 13 Step This patch is designed for solo playing and uses the "Step" effect. The expression pedal can be | æ | Rey:Z-Tornado:Width d to control sound rotation. (This patch is suitable for line output “4 à MA: Ocve | ANP:Poÿiome | NOD:STCons | ETAT F3 | Voume used to control sound rotation. (This patch is suitable for line output.) -, | - = - ” — = = = E 1 | HitSound |Hssive synthesizer type bass sound such as used for backing on hit songs, Pressing foot switch 4 in #3 | MOD:ST-Chorus:Mix 14 CMP:DualGomp _[ AMP:StéSyn | MOD:PaMonopiteh T° DLY:PingPongniy MOD:PdiMonoPitch:PdiPosi manual mode enables the Air” effect, adding room ambience for an even more solid sound. ; 1 ui Z-Cats | Moving the expression pedal lets you play along with a cat chorus. (This patch is suitable for REVZ-Dimension:Pan line output É : E2 | siowPaa CMP:MComp | AMP:MetaZons | MOD:PitchShiit | DLY:PingPongDy | f3 | Volume ine OMUr) Le low Pa Synthesizer pad patch using "Slow Attack”, resulting in soft sound without overbearing presence. 2 | WAH:SlowattackTime WAH:PedalVox | AMP:FuzzFace | MOD:XStep |] DLY : Delay F3 | (WAH:PedalVox:Frequency) — = _ 2 Ajustihe ZNR vale to achève an optimum match wihthe bass || Méruiciurer names and product names mentioned in this path Is are trademarks or registered trade- £3 | PedalWH | Rock patch with wild distortion. Pushing down the expression pedal turns "Pedal Vox" on. à marks of their respective owners and do not indicate any affiliation with ZOOM CORPORATION. Al product letting you emphasize a bass solo. Horizontal movement of the expression pedal adds "STEP" | EX | MOD:X-Step:X-Fade guitar and amp that you are using ; Pre and artist names are intended only to ilustrate sonic characteristics that were used as reference in the devel- for a gimmick effect + Wen using a bass amp, the EQ should be set to the flat setting. pment fi product WAH:BStagePhaser | AMP:Trace | MOD:PitchShift | REV:AutoPan | Ej | Volume EE EP Playing a chord with this patch makes it sound as if an electric piano is playi B9.tut-Patchlist-E-1

Cubase LE 4 installation » Connections and preparation > Use Cubase LE 4 to record » Cubase LE 4 installation » Cubase LE 4 installation » Connections and preparation > To connect this unit to a computer running MacOS X and enable audio input/output, proceed as follows. ‘eee Audio MIDI Setup (Audio Devices | MIDI Devices | To connect this unit to a computer running Windows Vista (or Bring up the "Sound" window from the Control Panel Windows XP) and to enable audio input/output, proceed as © and make the input device setting for the computer. follows. The installation description uses Windows Vista as an To bring up the "Sound" wind lect "Control Panel” g up the ‘Sound window, select "Control Panel” from the au " : example. Start menu and click "Hardware and Sound”, then click "Sound". O Insert the supplied "Cubase LE 4" DVD-ROM into the system settings DVD drive of the Macintosh. Gerau mur C4 use nucio coDEe TH Detau Output: [7 USE Aucio CODEC The contents of the DVD-ROM appear automatically. If nothing SAM OUR LE Eu mAude D rer jen happens when you insert the DVD-ROM, double-click the "Cubase LE De 4" icon shown on the desktop. Properues For: {€ Buit-in Audio CS rs | [2] Install Cubase LE 4 on the Macintosh. ‘Audio Input ‘Audio Output Download the latest ASIO driver from the web site of = O ZOOM Corporation (http://www.zoom.co.jp) and install [æ) the driver. The ASIO driver software is required to enable use of Cubase LE 4 for audio input and output with a computer. Refer to the read_me file included in the download package for instructions on how 10 install RE the driver correctly. Insert the supplied "Cubase LE 4" DVD-ROM into the a DVD drive of the computer, and perform the installation steps. When you insert the DVD-ROM, a screen asking what you want to do appears. Select "Open folder to view files”. When the contents of the DVD-ROM are shown, open the "Cubase LE 4 for Windows" folder by double-clicking on it, and then double- click the executable "Setup" ("Setup.exe") file to start the installation process. { \ Setup HINT If nothing happens when you insert the DVD-ROM, open the Start menu and select “Computer* (‘My Computer” in Windows XP). Then double-click the “Cubase LE 4* DVD-ROM icon to display the contents of the DVD-ROM. NOTE When the installation of Cubase LE 4 is complete, a screen asking about installation of activation (software license authentication) management software appears. Install this software, because it is required for registering Cubase LE 4. © Connect this unit to the computer using a USB cable. 1,#/ Guitar or other instrument É Computer 2 ÿ [INPUT] jack pi In the “Sound” window, verify that "USB Audio CODEC" is listed under the Play and Record devices and that the device is checked. (To switch between Play and Record, click the tabs at the top of the window.) If the device is not checked, right-click on the icon for the device and click "Set as Default Device” so that a check mark appears. Start Cubase LE 4. Then access the "Devices" menu, select "Device Setup..." and click "VST Audio System". To start Cubase LE 4, double-click the Cubase LE 4 shortcut icon that vas created on the desktop. After startup, select "ZOOM ASIO Driver" as the ASIO driver in the right section of the Device Setup window. When you change the ASIO driver selection, a confirmation message appears. Click the "Switch" button. ASIO driver VST Audio System Fer Hoi D niporsern M Pe5eDira vhenelcanin Bahoouré koslaens Si0Btme The device indication in the left section of the window now shows “ZOOM ASIO Driver" as the ASIO driver. Click on this indication to select it, and then click the "Control Panel" button in the right section of the Device Setup window. (Then click here IrpuLaencr or This unit 1

= IOUTPUT] jack Audio system or other ©) KO kif playback equipment C7. use Fi || Batteries NOTE +_lf you monitor the audio signal during recording via the audio output of the computer, there will be an audible delay. Be sure to use the [OUTPUT] jack of this unit to monitor the signal. When this unit is operated on USB bus power via the USB cable, insuficient power may result in unstable operation or error indications appearing on the display. In such a case, power the device from an AC adapter or batteries. Use a high-quality USB cable and keep the connection as short as possible. If USB bus power is supplied to this unit via a USB cable that is more than 3 meters in length, the low voltage warning indication may appear. HINT No special steps are necessary for canceling the USB connection. Simply disconnect the USB cable from the computer. When you connect this unit for the first time to a computer running Windows Vista, a message saying "New Hardware Found" will appear. Before proceeding, wait a while until this message disappears. COTES D Die Pate Eu TETE ETS in (Znnon uno amor EN The window that appears lets you set the latency and sampling frequency for the ASIO driver. The latency should be set to a value that is a$ low as possible without causing sound dropouts during recording and playback. ASID Settings: lA5Io ASID Latency [486 samples (653 ms) % ETS When the setting is complete, click the OK buttons in the respective windows to return to the startup condition of Cubase LE 4. Sample Frequency @ Continued overleaf When the contents of the DVD-ROM appear, open the "Cubase LE 4 for MacOS X' folder by double-clicking it, and then double-click the "Cubase LE 4.mpkg" file to start the installation process.

Cubase LE 4.mpkg © Connect this unit to the computer using a USB cable. AC adapter 7 $# Guitar or other instrument Macintosh 7 pineun jack es uni USB cabl or This unit — Souress [ünein D || suce Ciremaispesier rome oo Menu I format Honor) (2er 24be Ch Volume sader ch volume sager If another device is selected, use the pull-down menu to change the selection to "USB Audio CODEC". When the setting has been made, close Audio MIDI Setup. Start Cubase LE 4. Then access the "Devices" menu, select "Device Setup..." and click "VST Audio System". To start Cubase LE 4, double-click on the Cubase LE 4 icon that was placed in the "Applications" folder during installation. After startup, be sure to verify that "USB Audio CODEC (2)" is selected as ASIO driver in the right section of the Device Setup window. Device Setup 3 (OUTPUTIjack E Audio system or other Batteries -fi playback equipment NOTE +_lf you monitor the audio signal during recording via the audio output of the computer, there will be an audible delay. Be sure to use the IOUTPUT] jack of this unit to monitor the signal. When this unit is operated on USB bus power via the USB cable, insufficient power may result in unstable operation or error indications appearing on the display. In such a case, power the device from an AC adapter or batteries. Use a high-quality USB cable and keep the connection as short as possible. If USB bus power is supplied to this unit via a USB cable that is more than 3 meters in length, the low voltage warning indication may appear. HINT No special steps are necessary for canceling the USB connection. Simply disconnect the USB cable from the computer. Open the "Applications" folder and then the "Utilities" folder, and double-click "Audio MIDI Setup". The Audio MIDI Setup screen appears. Click "Audio Devices" and check whether "USB Audio CODEC" is selected as default input/ default output.

ER: 00 BA Lower Latency M uit Processing SA Adjust for Record Latency Dr ETES ETES) Car) © If another item is selected, use the pull-down menu to change the selection to "USB Audio CODEC (2)". When the setting has been made, click the OK button to close the window. @ Continued overleaf

Continued from front @ From the "Devices" menu of Cubase LE 4, select "VST Connections" and select the device containing the string "Zm In (Out)" ("USB Audio CODEC" for MacOS

X) as input port and output port.

SEAT Press EN. Eux ne TaudoDevee Tavce rat Use the tabs at top (top center for Mac OS X) left to switch between input and output, and verify that "Zm In (Out)" is selected as device port. If another device is selected, click the device port field and change the selection. Access the "File" menu and select "New Project". The new project window appears. Here you can select a project template. Make sure that the "Empty" template is selected, and click the OK button. A window for selecting the project file save location appears. After specifying a suitable project file save location (such as the desktop), click the OK button (Choose button in MacOS X). A new project is created, and the project window for controlling most of the Cubase LE 4 operations appears. Project window To create a new audio track, access the "Project" menu and select "Add track". In the submenu that appears, select "Audio". he Add Track window for specifying the number of audio tracks and the stereo/mono setting appears. Add Audio Track =] Audio Track Configuration [ 1 Stereo F Poount.) configuration | |__ speakers Select number of tracks ) (Sclect stereo/mono setting ) Cu Je ]] In this example, set the number of tracks to "1" and select stereo, then click the OK button. A new stereo audio track is added to the project window. Audio o1 Cie Eat Pret Auo MDI Mode Tampet Dore inde Hop LD [0l>Le trs enxe ur [mis awubo © stereo @[RLw) (€) à 5 7 Make the following settings for the newly created audio track. If the Inspector is not shown, click here to toggle the Inspector show/hide setting. Aude 01 track settings) Select the input/output path for the track. (The path name assigned to the this unit in step 6 is shown here.) To select a different path, click this section and select a new path from the menu that appears. The Inspector shows information about the currently selected track. If nothing is shown, click on the track to select it. Connect the guitar or other instrument to the [INPUT] jack of this unit and select the desired patch. The sound selected here will be recorded on the computer via the [USB] port. Access the "Devices" menu of Cubase LE 4 and select "Mixer". The mixer window appears. This window shows the channel assigned to the created track, and the master channel. Perform the following steps here. Mixer window € Mixer Click monitoring button so that it lights up in orange. Click recording standby button so that it lights up in red, to activate recording standby condition. Channel assigned to audio track Master channel HINT When the monitoring button is enabled, the level meter next to the fader shows the input level to the audio track. When the monitoring button is disabled, the meter fader shows the audio track output level. (14) While playing your instrument, adjust the output level of this unit to achieve a suitable recording level for Cubase LE 4. lalsl Level meter Bas ele) @c. The recording level for Cubase LE 4 can be checked with the level meter for the channel that is assigned to the recording standby track. Set the level as high as possible without causing the meter to reach the end of the scale. To adjust the level, do not use the fader of Cubase LE 4. Instead change the recording level and gain settings at this unit. NOTE +_ While the monitoring button is enabled, the direct signal input to this unit and the signal routed to the computer and then returned to this unit will be output simultaneousiy from this unit, causing a flanger-like effect in the sound. To accurately monitor the sound also while adjusting the recording level, temporarily set the output device port for the VST connection (step 6) to “Not Connected”. The level meter as in the above illustration shows the signal level after processing in this unit. When you pluck a guitar string the meter may register with a slight delay, but this is not a defect. When the recording level has been adjusted, click the monitoring button to disable it. The input level is no longer shown on the meter, and the signal returned to this unit via the computer is muted. In this condition, only the signal before sending to the computer can be monitored via the [OUTPUT] jack of this unit. (6) Verify that the transport panel is being shown. If the transport panel is not shown, access the "Transport" menu and select "Transport Panel". To start recording, click the Record button in the transport panel. Stop button Record button Recording starts. As you play your instrument, the waveform appears in real time in the project window. To stop recording, click the Stop button in the transport panel. Use Cubase LE 4 to record > MMA ETE CN ILES ® Check the recorded content. To play the recording, perform the following steps.

1. Move the fader of =

the master channel 4. Raise the fader of the (as displayed in master channel to obtain step 13) fully . a suitable volume. fx» nt)e] Go to beginning of project Play button

2. Use the button in the Ÿ{/3. click the Play button in the

transport panel to move transport panel to start to the beginning of the playback. project. HINT If no sound is heard when you click the Play button after recording, check the VST connection settings (step 6) once more. NOTE To continue using Cubase LE 4, a process called activation (license authentication and product registration) is necessary. When you start Cubase LE 4, a screen offering to register the product will appear. Select "Register Now”. À web site for registration will open in your Internet browser. Follow the instructions on that page to register and activate the product. ( For optimum enjoyment

While using Cubase LE 4, other applications may slow down drastically or a message such as "Cannot synchronize with USB audio interface* may appear. If this happens frequently, consider taking the following steps to optimize the operation conditions for Cubase LE 4. {1) Shut down other applications besides Cubase LE 4. In particular, check for resident software and other utiities. (2) Reduce plug-ins (effects, instruments) used by Cubase LE

When there is a high number of plug-ins, the computer's processing power may not be able to keep up. Reducing the number of tracks for simultaneous playback can also be helpful. (8) Power the unit from an AC adapter. When a device designed to use USB power is powered via the USB port, the current supply may sometimes fluctuate, leading to problems. See if using an AC adapter improves operation. If applications still run very slowly or the computer itself does not function properly, disconnect this unit from the computer and shut down Cubase LE 4. Then reconnect the USB cable and start Cubase LE 4 again.