G2NU - Guitar effects pedal ZOOM - Free user manual and instructions

USER MANUAL G2NU ZOOM

• GeNu/ GeiNu OPERATION MANUAL Thank you very much for purchasing the ZOOM G2Nu/G2.1Nu (in this manual, we will call it the G2Nu/G2.1Nu). Please read this manual carefully to learn about all the functions of the G2Nu/G2.INu so that you will be able to use it fully for a long time. Keep this manual in a convenient place for reference when necessary. Contents Usage and Safety Precautions 2 | Setine masterlevel tempo, and tuner standard pitch 30 Terms Used in This Manual 3° | settne direct monitoring and recording levels p. 30
• G2Nu Part Names 4 | Setine display backlight and contrast a G2.1Nu Part Names 6 | Setingthe battery type El Check ihe current version EN Select a Patch and Play (Play Mode) 8 Upgrading the Firmware Version 32 Using the Tuner 10 Effect Types and Parameters 33 Using the Looper 18 COMP (compressor) module 34 Using Rhythms (Rhythm Mode) 16 EFX module 35 Creating and Changing Patches (Edit Mode) .… 18 ZNR (ZOOM noise reduction} module 87 s ac patches (Store Mode) 22 DRIVE moduie 38 aving and Copying Patches (Store Mode) EQUALIZER module Using Direct Mode 24 (low and middle frequency range) 40 Patch Pre-selection (PRE SELECT) 25 EQUALIZER module (high frequency range). 40 Using a Foot Switch 26 MODULATION module #1 DELAY module 46 Using an Expression Pedal 27 REVERE module 47 Set ne control parameter and adjustment range. 27 Adjusting the builtin expression pedal 8 TOTAL module ‘8 Using Audio Interface Functions 29 | Troubleshooting 49 Recording and playback with DAW software | Specifications 50 Changing Various Settings (Global Menus). 30 | Rhythm List st Open the global menus 30 © ZOOM CORPORATION Copying or reproduction of this document in whole or in part without permission is prohibited p. 29

Usage and Safety Precautions Safety Precautions In this manual, symbols are used 10 ighlight wamings and cau- tions that you should read to avoid accidents. The meanings of these symbols are as follows. This symbol indicates explanations about extremely dangerous matters. If users ignore this symbol and handle the device the wrong way, serious injury or

9 death could result. “This symbol indicates explanations about dangerous matters. H users ignore this symbol and hand the ÉR device the wrong way, bodil injury and damage to the equipment could result. Please observe the following safety tips and precautions to ensure safe use of this unit Power considerati nce power consumption of this unit is high, we recom- LAN mend the use of an AC adapter. If you use batteries, use alkaline batteries. AC adapter operation + Always use a DCOV center minus 500-mA AC adapter {ZOOM AD-16). Use of an adapter other than that speci- fied could damage the unit or cause malfunction and pose a safety hazard + Always connect the AC adapter to an AC outlet that supplies the rated voltage required by the adapter. + When disconnecting the AC adapter from an AC outlet, always grasp the adapter itself + During lightning or when not using the unit for an extended period, disconneet the AC adapter from the AC outlet Battery operation + Use 4 conventional 1.5-V AA batteries (or nickel metal hydride batteries) refully read the safety indications on the batteries before use. + When not using the unit for an extended period, remove the batteries from the unit. + If battery leakage should oceur, thoroughly wipe the battery compartment and the battery terminals to remove battery fluid. + Close the battery compartiment cover when using the G2Nu/G2.INu. Use environment considerations Avoid using the unit in any of the following conditions Ÿ that could cause malfunction. + Extremely hot or cold places + Near heaters and other heat sources + Places that are extremely humid or exposed to splash- ing water Sandy or dusty places + Places with lots of vibrations Handi + Never put objects filled with liquids, such as vases, on ctric shock. des and other burning object INu. Doing so could aus on top of + The G2Nu/C ion instrument, Do not apply excessive force to the switches and other controls. Exposing the unit to strong impacts, including applying excessive force, dropping it or bumping it, could cause it 10 break. + Do not put foreign objects, including coins and wires, or liquids, including water, soft drinks and alcohol, into the G2Nu/G2.INu. Connecting cables and input and output jacks You should always turn OFF the power to the unit and all other equipment before connecting or disconnecting any. F cables. Also make sure 10 disconnect all connection cables and the AC adapter before moving the unit. Alterations Never open the case or attempt 10 modify the product in any way since this can result in damage to the unit. Zoom ST Corporation will not take responsibility for any damage to. the unit caused by alterations. Volume De not use the G2Nu/G2.INu at a loud volume for a long LA time since this could cause hearing impairment. Usage precautions Electrical interference with other equipment In consideration of safety, the G2Nu/G2.1Nu has been designed 0 provide maximum protection against the emission of electro- magnetic radiation from the device and to minimize external electromagnetic interfe equipment that is very susceptible to interference or that emits powerful clectroma, netic waves should not be placed near the G2Nu/G2.1Nu, as interference could occur. In such a case, place the G2Nu/G2.1Nu and the other equipment suffciently far apart. With any type of digital control device, the G2Nu/G2.1Nu included, clectromagnetie interference could cause malfunction and could corrupt or destroy data. Please use caution. nee. However Cleaning Use a soft cloth to clean the panels if they become dirty. I ne sary, slightly moisten the cloth, Never use cleansers, wax, or sol- vents such as paint thinner, benzene or alcohol. Malfuns If the unit should malfunction, disconnect the AC adapter and tum the power OFF immediately. Then, disconnect all other con- nected cables. Prepare information including the model name, serial number, specific symptoms related to the malfunction, your name, address and telephone number and contact the store where you bought the unit or ZOOM support. Please keep this manual in a convenient place for future ZOOM G2Nu/G2.1Nu

Terms Used in This Manual ERESES EDEN a oo CE dE A rome | Pan Le mn | Fe | nes ? Booster combo Surocno | [anuiog | | Sprno a El En ae + Module e Bank As shown in the illustration above, you can use up A set of 10 paiches is called a "bank." aultancously. Each of these units This unit has a total of 20 banks, including user is called a "module." banks A-J, which can be edited and saved and preset banks 0-9, which can only be recalled. (See the + Effecttype illustration at the top right.) Among the modules, some allow different "effect + Mode types” to be activated. For example, when using the , MODULATION module (modulation/delay effects) Fach operation status of the G2Nu/G2. INu is called you can choose one of several effect types, including 2 "mode." Depending on the currently selected chorus, flanger and delay. mode, the functions of keys and knobs change. The © modes include the play mode in which you choose a + Parameter patch and play your instrument, the rhythm mode in Variables that determine the application of an effect which you can play back a rhythm pattern, the edit are called "parameters." If we imagine each module mode in which you can create and change patches, as a separate effect pedal, then each parameter and the store mode in which you can save patches. would be a knob on that pedal. + Patch The ON/OFF status of each module and the parame- fer settings are stored in units called "patches." Use patches 10 recall and save effects. Operating the unit on batteries

1. Turn the unit over and open the battery 2. Insert 4 AA batteries into the battery compartment.

compartiment cover on the bottom:

When the remaining charge is low, “Low Batiery!' appears on the display. When operating with batteries, you can check the amount of remaining charge in the top right corner of the display when in play, rhythm and direct modes. à À Remaining battery charge 1 Latch When operating wilh an AC adapter Press the latch to release it and raise the cover. 69 15 _ 86 Mans LEAD USB icon appears instead. or USB bus power, an adapter or Cover ZOOM G2Nu/G2.1Nu

G2Nu Part Names Top Panel

ZOOM AC adapter (AD-16) DC9V AC adapter jack CONTROL IN jack G2Nu Part Names Bottom Panel ECS . eco switch où or When the eco switch is ON: + Ifthe unit is not used for about 25 minutes, it will enter power standby mode. + As long as there is a signal input from a guitar, the unit will not enter standby mode. When in power standby: + The unit functions at the minimum necessary level to prevent battery drain and wasteful power consumption. + Guitar signal input is ignored. + Any operation causes the unit to return to normal. ZOOM G2Nu/G2.1Nu

G2.1Nu Part Names Parameter knobs 1-3 RHYTHM [> /n] key TAP key PEDAL ASSIGN key USB/GLOBAL key Bottom Panel Expression pedal USB connector EE : Computer eco switch When the eco switch is ON: + Ifthe unit is not used for about 25 minutes, it will enter power standby mode. + As long as there is a signal input from a guitar, the unit will not enter standby mode. When in power standby: & + The unit functions at the minimum necessary level to prevent battery drain and wasteful power ZOOM AC adapter (AD-16) consumption. + Guitar signal input is ignored. + Any operation causes the unit to return to normal.

Select a Patch and Play (Play Mode)

1. Turn the power on

Minimize the volume of the amp. = When using batteries = When using an AC adapter Turn the POWER switch ON Connect the AC adapter, and turn the POWER switch ON

a por en 3 a ( + @) L pen When using an amp, turn its power on and raise its volume. Fin) Turn the POWER switch OFF and connect he USB connector to a computer to operate the unit using bus power (—»P29).

2. Set the unit to play mode

Turn the module selector to "PLAY. Le jam Turn one of the parameter knobs (1-3) to open the following screen. MODULATION veut Rev Æ ma ou [_ Functions of Parameter knobs 1-3 1 gg —| Curent seuines or | Parameter knobs 1-3

INT) Immediately after tuming the power ON, play mode is Bank name) patch number activated regardless of the position of the module selector nana nnz nana DRIVE module Patch volume distortion depth tech vorume DRIVE module tone HiNT) + Ifyou do not save changed parameters (— P22) all changes will be lost when you select a different patch. When using headphones or a mixer, we recommend that you use the direct mode (— P24), which simulates the sound of a guitar cabinet + Adjust the volume for all patches using the master level (—P30) 8 ZOOM G2Nu/G2.1Nu

Select a Patch and Play (Play Mode)

Press the [A ] foot switch to select the next patch. Press repeatedly to cycle through the banks and patches in order from A0-A9...10-J9-00-09..90-99-A0. ess the [W] foot switch to select the previous patch. INT) Using pre-select mode (—>P25), you can jump directly to a patch that is far from the current patch

Use the bank [ VJ/[A] keys to change to the next or previous bank. V EHETTPE À (HINT) vou c: ct an external foot switch (FSO1) and use ZOOM G2Nu/G2.1Nu 9

Using the Tuner Set the unit to play mode leo HODULTION DEuY REVERS ae SR

2. Set the unit to bypass/mute

Press both [ VJ/[ A] foot switches at the same time. = Tosetthe unit to bypass DSSCHROMATIC Afier "Bypass/Tuner” appears on the screen, release the switches within one second = To set the unit to mute HA ECHROMATIC After "Bypass/Tuner' dis nd "Mute/Tuner” appears on the screen, release the switches within one second. ppears When set to bypass/mute, the tuner becomes active. CT TE CT Standard pitch Tuner type Drop tuning adjustment NOTE) * fou continue to press both [ Y J{ A] foot switches for more than 2 seconds, the looper becomes active (—P13). +" You cannot set the unit to bypass/mute from edit mode (—P18). +" When you press both [ Y J/[A ] foot switches at the same time, the foot switch that is momentarily pressed first could change the tone in some cases. Please avoid making sound when pressing the switches. 10 ZOOM G2Nu/G2.1Nu

Turn Parameter knob 2 to select the tuner type. L m CHROMATIC The chromal € tuner shows the nearest pitch name (semitone) and how far the sound input is from that pitch. = Other tuner types Depending on the selected type, the nearest string name and how far the sound input is from that pitch is shown. Select from the following tunings. Tone CR String number/Note name Display Meaning PA D D EU EC EE GUITAR __ | Standard tuning for guitars, mauding 7-string guitars Bjefaljo|jc|s|e OPEN A __ | In open Atuning, ie open strings make an À chord EjaAjelalæ|Ee OPEND [in open D iuning, the open strings make a D chord pjafjoj#m|alo OPENE [in open E tuning, the open strings make an E chord Ejsfelæ|s]e OPEN G __ | In open G tuning, the open strings make a G chord pjsfo|jc|s|o DADGAD _ | This altermate tuning is often used for tapping, etc. pjafjofjc{jalo

Play the open string that you want to tune, and adjust the pitch. =_ When set to CHROMATIC The name of the nearest note, and the pitch accuracy is shown. Low (flat) Correct pitch High (Sharp)

EA4GECHROMATIC EAABECHROMATIC BAG ECHROMATIC

=_ When set to other tuner types The number of the nearest string, and the pitch accuracy is shown. For example. s, raise the pitch, and if 2 or a lower number appears, lower the pitch. Afñer the correct number appe: when tuning the 3rd string, if 4 or a higher number apps s fine tune the string, String number (when the 3rd string is tuned correctly) IMAGEGUITAR Ebx8 ) 34 HINT) You can also use the keys above the display to check the pitch. do (8 )5 6 ©

Low (flat) Correct pitch High (sharp) ZOOM G2Nu/G2.1Nu 11

You can tune a string 1 to 3 semitones lower than usual for drop tuning. Turn Parameter knob 3 to lower the tuning one ( b *1), two ( b X2) or three ( b x3) semitones.

Drop tuning As shown in the illustration at right, if the tuning is lowered by one semitone ( » *1) HHABEGUITAR Ebxi when using the "GUITAR" tuner type, E b is shown as the correct pitch when tuning the Gth string ) e' (NOTE) Drop tuning eannot be used with the CHROMATIC tuner

6. Change the frequency of the tuner's standard pit

Turn Parameter knob 1. Standard pitch E 445 ÉCHROMATIC

The standard pitch of middle A can be set in a range from 435-445 Hz. (Default value: 440 Hz) NOTE) 1! you change the standard pitch in tuner mode, the setting is reset to the default value whenever the power is turned OFF and ON again. If you want this setting to be saved, set it using the global parameters (—> P30)

Press either [ Y]/[A] foot switch.

In play mode, press both [ Y]/[ A] foot switches until "LOOPER" appears on the screen. Recording time Tempo Volume of recorded phrase (ROTE) When the looper is activated, the DELAY module is turned OFF.

2. Set the recording time

Turn Parameter knob 1 to select the recording time. PAUL Len] = Note mark Set the recording time by setting the tempo and the number of quarter notes. For example, the recording time is two beats at the current tempo when set to " J x2." = Manual Use the foot switch to start and stop recording

Turn Parameter knob 2 to set the tempo. Duran] Tempo can be set in a range from 40-250 BPM (beats per minute). If you selected a note mark in step 2, recording time is calculated according to the tempo. HINT) You can also adjust the tempo using the TAP key (—P17) ZOOM G2Nu/G2.1Nu

4. Record a phrase and play

Press the [A] foot switch, and play the phrase that you want to record.

"REC" appears on the display and recording starts. Depending on the recording method chosen in step 2, recording occurs as follows m_lfa note mark was chosen = _lf"Manual" was chosen Recording continues for the set time and then loop When the [A ] foot switch is pr or the playback starts (and PLAY" appears on the display) maximum time (about 5 se loop playback starts (and "PLAY" appears on the display) H— Loop playback #— Loop playback pd JON) papa | DA ANA cours JT rocorang | [7 5)! = este [A] foot switch Set time [A] foot switch INT) When using the looper, the unit can also play a rhythm (—P16). However, the parameter knobs only control the looper.

During loop playback, press the [A] foot switch.

"REC" appears on the display and overdubbing stats. When the end of the recorded phrase is reached, playback returns to the loop beginning and overdubbing continues. 14 ZOOM G2Nu/G2.1Nu

Using the Looper To end overdubbing, press the [A] foot switch again. "PLAY" appears on the display.

Recording ! “us [COOPER (ROTE) Please note that if you turn Parameter knob 1 or 2 when a phrase has à already been recorded, that phrase will be erased.

Press the [ W] foot switch until "CLEAR" appears on the display to erase the recorded phrase.

8. Return to play mode

PRESS both [ YJ/[A] foot switches.

In play mode, press the RHYTHM { » /# ] key to start playing a rhythm pattern. >/u =

Rhythm pattern Rhythm tempo Rhythm volume When rhyühm mode is activated, the REVERB module is turned OFF. Qu + When using the tuner or the looper, you can also play a rhythm. However, the parameter knobs will control the tuner or looper When in rhythm mode, you can use the [ V J{ A] foot switches and bank [VJ/TA] keys to change the patch

Using Rhythms (Rhythm Mode) Set the tempo by tapping (Tap tempo) Press the Tap key wo or more times at the automatically according to the interval betw sired tempo. The tempo is set en key presses. qu) You can use a FS01 foot switch (sold separately) to adjust the tempo (—>P26)

Press the rhythm | » / # ] key to stop the rhythm playback and return to ordinary play mode. ZOOM G2Nu/G2.1Nu 17

Creating and Changing Patches (Edit Mode) Select a module to edit Turn the module selector to the module you want to edit. This activates edit mode.

cour me Lu SR The selected module is shown larger. Parameter The edit screer ens automaticall: he edit screen opens automatically he paet 8 E 84 AutoWah Pre Effect type HINT) The edit sereen does not open if the selected module is OFF. PP: runs raz mans Hs Ed Parameter 1 of the Parameter 3 of the current effect type wype The EQ module is a single module, but it is separated into "EQ Lo” and "EQ Hi" screens for editing, The TOTAL module is a special module that you can use to set the overall patch volume (patch level) and to edit the patch name, for example.

Creating and Changing Patches (Edit Mode)

(HinT) * The EQ module can be tumed ON/OFF from either the "EQ Lo" or à the "EQ Hi screen. + The TOTAL module cannot be turned OFF.

4. nge the effect type

Press the EFFECT TYPE [Y]/[A] keys to change the effect type.

Creating and Changing Patches (Edit Mode)

6. Adjust the volume of the patch (patch level)

Turn the module selector to "TOTAL" and use the effect type [ Y]/[A] keys to select "PatchLvl" Turn Parameter knob 1. Patch level

patch n ge e Turn the module selector to "TOTAL" and use the effect type [ Y]/[A] keys to select "’PatchName." Cursor PRVE ü 2 uuoN Ex sr cor [] co 0 Use parameter knobs 1-3 to change the name. Pan ruu2 nus Cr o® Change the character/symbol Change the type of character Move the cursor at the cursor position one symbol at the cursor position character at a time. Cuppercase letters, lowercase letters, numbers and symbols). The following characters and symbols can be used. 1#$%&'0+-;=@[]" "{}- AZ, a-z, 0-9, (space) 20 ZOOM G2Nu/G2.1Nu

Creating and Changing Patches (Edit Mode) e Parameter knob 3 to move For example, to change "PatchO1" to "Patch02 the cursor and Parameter knob 1 to change the character/symbol. The cursor is on sind —Dat chO1 à E:SKIP + Use Parameter knob 3 10 move the cursor PARHA Turn Parameter knob 1 to the right to change the number to "2." Lan] Turn the module selector to "PLAY" to return to the play mode. le som HODULTION peur

Gain Tone P-LYL REVERS er SL NOTE If you change to another patch, all edits will be lost. Save the patch to keep your edits (—>P22). ZOOM G2Nu/G2.1Nu 21

Saving and Copying Patches (Store Mode)

1. Activate store mode

Select the patch that you want to save or copy, and press the STORE/SWAP key. SIORE/SWAP = To save the patch the STORE/SWAP key quickly. ppears on the display. sors Patch to save : (7) AUS ERD

L_Store® | | Loc: to = To swap the patch save patch Continue pressing the key until "Swap?" appears on the display. STORE/SWAP Patch 10 Wap —1 AG:MS gi

L_Suar? | | Second patch à 10 swap (HAT) + Swapping can only be between patches in the user (A--J) ba + When the unit is shipped from the factory, the user banks contain the same patches as the preset banks

BL'FunkyC In HINT) To switch banks, use the bank [ W J[ A] keys. (NOTE) Swapping can only be between patches in the user (A-J) banks. 22 ZOOM G2Nu/G2.1Nu

Saving and Copying Patches (Store Mode)

3. Execute patch saving/swap

Press the STORE/SWAP key. When "COMPLETE!" appears, the patch will be saved to the destination location or swapped with the second patch. STORE/SWAP COMPLETE! To cancel this operation, tum the Module selector instead of pressing the STORE) SWAP key. € Restoring patches to their factory settings (ALL INITIALIZE function) à You can restore all the patches in the AJ banks to Press the STORE/SWAP key again to restore all patch- their factory settings. es to their factory settings and return to play mode. STORE/SWAP To use the ALL INITIALIZE function, turn the POWER switch ON while pressing and holding the STORE/SWAP key. STORE/SWAP uw To cancel this operation, press the rhythm [ > / 8 ] key rw 0 — 7 0 [=] Æ- ( instead of pressing the STORE/SWAP key. + us

The following message appears on the display. LL INITIALIZE âre You Sure? re tou sure Executing ALL INITIALIZE erases all the ES: SRE patches saved in the user banks. Use this function with caution.

Direct mode simulates the sound of a guitar cabinet. This allows you to Using Direct Mode headphones or a mixer

In play mode, press the DIRECT key. The key will light and the unit will switch to direct mode. DIRECT,

69 MATCHED 84 As in play mode, you can use the edit, rhythm and store functions, as well as the tuner and looper functions Select patches in the same way as in play mode. Use Parameter knobs 1-3 to adjust the parameters.

DRIVE module distortion depth Overall patch ‘Type of cabinet volume simulated chieve a sound that is optimized for use with = Cabinet types Type Description This cabinet setting is MATCHED | optimized according to the drive effect type: comgo | Simulates a 2 x 12 Fender combo amp. TWEED Simulates a 4 x 10 Fender tweed cabinet. Simulates a 4x12 Marshall STACK Stack cabinet Press the DIRECT key to turn its light OFF and return to play mode. DIRECT ZOOM G2Nu/G2.1Nu

Patch Pre-selection (PRE SELECT The pre-select mode allows you to select a bank and patch in advance, and only switch to that patch after you confirm the selection. This function is convenient during a live performance when you want to prepare switching to a patch that is saved in a distant position

1. Turn the power ON while pressing the [A] En) If you enter edit mode or store mode when the

foot switch. screen for step 2 is open, the current patch is the "PRE SELEC one affected. appears on the screen and the unit starts in pre-select mode. To change the patch, press both | Y]/[A] foot switches at the same time. To return to the usual patch order, tum the power OFF and ON again

2. Usethe[YJ/[A] foot switches and bank

LY VIA] keys to select the next patch. Patch selection is the same as in ordinary play mode. However, the patch does not change until confirmation is completed in step three. Current patch Next patch to be selected p1- B1:FunkaC [nl ZOOM G2Nu/G2.1Nu 25

Using a Foot Switch You can connect an optional foot switch to the CONTROL IN jack, and use it to control additional settings of the unit with your feet, for example, by changing banks and operating effects 1... Connect a foot switch (FSO1) to the The foot switch can be set to one of the following CONTROLIN jack. functions. RG ee BP/MT Setthe unit to bypass/mute

2. Press the USB/GLOBAL key to light it and BANK UP Increase the bank number by one

open the GLOBAL menu. with each press of he foot switch. RHYTHM Turn Rhythm mode ON/OFF. TUNER BPM TAP Set the tempo used for the rhythm, ns NL BPM CALIB looper and effect by pressing the JE foot switch repeatedly at the 88 128 _448Hz desired tempo. DLTAP Setthe Time parameter of the DELAY module by pressing the foot switch repeatedly. DL HOLD Turn hold delay ON/OFF. Hold delay is a function that allows the ""FootSwiteh." delay sound to be repeated without decay (see the illustration below) V_ERKTTE À DLMUTE Tumthe DELAY module's input mute ON/OFF.

3. Use the effect type | Y]/[A] keys to select

switch function. GLOBAL key again to turn its 1 Foot switch function The foot switch function setting affects all HINT. patches. Moreover, this setting is saved even pu when the power is turned OFF. BP/WT me FootSuitch Sound Hold delay source L.._ Delay sound | TS a ñ F Press he foot switch F1 Press again a 26 ZOOM G2Nu/G2.1Nu

Using an Expression Pedal Use the G2.INu's built-in expression pedal or an optional connected expres and effect parameters in real time n pedal (FPO1/FP02) to control volume Set the control parameter and nu : Indicator | Destination | | parameter controlled adjustment range (DEST) display OFF (None) None)

1. Select a patch that uses the expression [VOLUME | |VOLUME [Volume

pedal. EFx EFX EFX module DRIVE [DRIVE DRIVE module (NOTE) _ When using the G2Nu, connect an optional Moo MODULATION [MODULATION module expression pedal (FPO1/FPO2) to the CONTROL IN jack DELAY |DELAY DELAY module REVERB |REVERB REVERB module

2. Set the module selector to "TOTAL" and

use the effect type [ V]/[ A] keys to select Gr) + In the Effect Type Parameters section, a pedal "RIM." icon appears next to effect types/parameters hat can be controlled by an expression pedal DRNE ü V EFECTIVE A (> P33-48). mm unrou + When set to "VOLUME," the volume cannot ex s Ô ) exceed the range set by the master level and Es patch level parameters. COM TE 8 + For settings other than "VOLUME," if you press Lourd the built-in expression pedal until it stops and Select control Set range then push it down farther, you can turn the con- destination (minimum) {rolled module ON/OFT- ñ + When the controlled module is OFF, the indica- LI tor next to it blinks (on the G2.INu). In this DEST © MIN à MAX State, you can press hard on the built-in expres- F- im Sion pedal to tum the module ON, or choose a VOLUME .@. 108 different module to be controlled = (maximum) Use Parameter knobs 2 and 3 to change the

3. Turn Parameter knob 1 to set the module to adjustment range of the control parameter.

be controlled by the expression pedal. Use Parameter knob 2 to set the minimum value On the G2.1Nu, you can also use the PEDAL (MIN) and Parameter knob 3 to set the maximum ASSIGN key to set the module controlled. The value (MAX). The range that can be set depends indicator lights next to the selected destination on the controlled module selected in step 3 Sun Parameter value Suns MAX = _ eur

( MIN ZOOM G2Nu/G2.1Nu 27

Using an Expression Pedal The minimum value can be set higher than the maximum value, Set this way, the effect is smallest when the pedal is fully pressed and largest when it is fully up. Parameter value When MAX < MIN When you are finished setting the expression pedal, turn the module selector to "PLAY! to return to play mode. HINT) The expression pedal setting will be lost if you select a différent patch. Save the patch if necessary (—P22). Adjusting the built-in expression pedal (G2.INu only) The G2.1Nu expres on pedal has been adjusted for optimal performance when shipped from the factory, but you can adjust its sensitivity if necessary. IF there does not seem to be much effect even when you press the pedal, or the volume or tone changes greatly even when the pedal is only pressed lightly, use the following procedures to readjust it.

1. Turn the power on while pressing the

PEDAL ASSIGN key. us row we PEDALASSIEN PEDAL_ CALIBRATION Set Pedal to

2. Press the pedal all the way back toward the

heel, and press the STORE/SWAP key. STORE/SWAP Press pedal back The display should appear as below PEDAL_ CALIBRATION Set Pedal_to Max

3. Press the pedal all the way forward, lift

your foot and then press the STORE/SWAP key. Afler you finish making the adjustment, the unit enters play mode

com || Fæecom Press down hard so that Pedal rises slighty when contact occurs here. you remove your foot. STORE/SWAP RiNT) _ÉERROR!" appears on the screen, return to Step 2 and repeat the calibration. ZOOM G2Nu/G2.1Nu

Using Audio Interface Functions This unit can be used with computers running the Recording and playback with DAW following operating systems software = Compatible OS + Windows XP SP2 or later You can connect a guitar to the unit input jack, Windows Vista or later apply effects to its sound, and record it on an audio + Mac OS X (10.4.6/10.5/10.6 or later) track in digital audio workstation (DAW) software (Figure 1 below). For recording and playback, this unit supports the You can output a mix of the playback sound from following formats DAW sofiware audio tracks and the connected guitar with effects applied through the unit's output jack = Quantization (bit-rate) (Figure 2 below). 16-bit When necessary, you can turn OFF the sound of the guitar that passes directly to the output jack before going to the computer (turn direct monitoring OFF) (Figure 3 below). For detai Setting the direct monitoring and recording levels" (—»P30) For details about recording, playback and other functions, please see the DAW software manual. = Sampling frequency 32/44.1/48 kHz The unit will be recognized by the computer as an ted by the USB cable audio device when it is conn When running Windows, install a dedicated ASIO driver to make low-latency audio recording and 2 When using direct monitoring, ifthe DAW playback possible. software has an echo back function (which sends the input signal directly to the output INT) If you turn the power switch OFF and connect during recording), always turn it OFF. If you the unit to a computer by USB, it will operate on record with it ON, the signal output will bus power from that computer sound like it has been processed with a flanger. You can also adjust the recording level sent to the DAW software (—P30). Figure 1. Signal flow during recording G2Nu/G2 1Nu sara / eur | Pers L use A ÿ TT Y OUTPUT Figure 2. Signa flow during playback (direct monitoring ON) EMEA q INPUT Elfects —||" software Ja Le JL Gi use I Ÿ SH üs Figure 3: Signal flow during playback (direct monitoring OFF) EMEA] 7 DE ES, °T & ÿ Ÿ usa : ZOOM G2Nu/G2.1Nu 29

1. Use the effect type [ V]/[ A] keys to select

"GLOBAL," and use the Parameter knobs 1-3 to adjust the master level (knob 1), tempo (knob 2), and tuner standard pitch (knob 3). Master level Tempo Tuner standard pitch 1 TUNER

86 : 126 : 44842 INT) You can also use the Tap key to adjust the tempo (—P17).

ettings related to the master level, display, USB and other items.

2. When you are done changing the settings,

press the USB/GLOBAL key to turn its light OFF. Fin) The tuners standard pitch will be saved even when the power is tumed OFF. Set the direct monitoring and recording levels

1. Press the effect type [ Y]/[A] keys to select

"USB." Use Parameter knob 1 to turn direct monitoring ON/OFF, and use Parameter knob 2 to adjust the recording level. Direct monitoring ON/OFF Recording level DIRECT REC MONLTOR GAIN I ON: 8dB.

2. When you are done changing the settings,

press the USB/GLOBAL key to turn its light OFF. The recording level setting will be saved even when the power is turned OFF. ZOOM G2Nu/G2.1Nu

Set the display backlight and contrast

1. Use the effect type [ V]/[A] keys to select

2. When you are done changing the settings,

press the USB/GLOBAL key to turn its light OFF. (im) The backlight and contrast settings will be saved K even when the power is tured OFF. Setting the battery type

1. Use the effect type [ V]/[A] keys to select

"BATTERY," and turn Parameter knob 1 to set the battery type to one of the following. + ALKALINE Use this setting for alkaline or oxyride (oxy nickel hydroxide) batteries. e NiMH Use this setting for nickel metal hydride batteries that can be recharged and reused. Battery type BATTERY

— BATTERV Set the battery type that you are using in order to & display the remaining battery charge accurately ZOOM G2Nu/G2.1Nu Changing Various Settings (Global Menus)

2. When you are done changing the setting,

press the USB/GLOBAL key to turn its light OFF. INT) The battery type setting is saved even when the power is tuned OFF. Check the current version

1. Use the effect type | J/[ A] keys to select

2. When you are done checking the ve

information, press the USB/GLOBAL key to turn its light OFF. ion En) See the next page for how to upgrade the version

Upgrading the Firmware Version Download the latest version upgrade application from the ZOOM website (ttp:/vww:z00m.c0.jp/). You must connect the unit to a computer to. upgrade the version. See the previous page for how to confirm the current version. Confirm that the POWER switch is set to "OF While pressing both [ Y]/[A] foot hes, connect the unit to a computer using the USB cable.

If connection with the computer is successful, the following mess VERSION UPGRADE, £e appears on the display. Ready for version upsrade! Ga)

Launch the version upgrade application, and conduct the version upgrade. See the ZOOM website for the upgrade procedures. When you complete the version upgrade, "Please Restart" appears on the screen. VERSION UPGRADE, Conpletet Please Restart Do not disconnect the USB cable during the ver- sion upgrade process When the version upgrade is complete, disconnect the USB cable and turn the power OFF. Turn the power ON again in the usual manner, and the unit will start operating with the new version. ZOOM G2Nu/G2.1Nu

Te TE ITTE re) C) \rodtact ce Sets the delay time. Adjufs he feedback amount. an ne à al nan (rap KE \ You can use the TAP key to set a parameter that has this icon shown next to it. When a module/effect type with this option is selected in EDIT mode, the parameter interval (modulation frequency, delay time, etc.) can be set by repeatedly tapping the TAP key. Tempo mark D When a note mark is shown next to a parameter, the tempo set using the GLOBAL menu (—P30) can be synchronized to note intervals. For example, if the Time Parameter of the DELAY module is set to an 8th note, the delay time will be equivalent to an 8th note at the current tempo. Expression pedal Æ& When a pedal icon is shown next to a parameter, it can be controlled with an expression pedal. If your set the module to be controlled by the expression pedal (—P27), you can control the parameter in real time when you select a patch that uses it. With the G2Nu, you will need to connect an external expression pedal (FP01/FP02) Delay tap, hold delay and delay mute (HOLD) (MUTE Effect types that show these icons allow you to use a foot switch to set the delay time (DELAY TAP), to turn the hold delay function ON/OFF (HOLD) and to turn the DELAY module input mute ON/OFF (MUTE). To use these functions, you must connect a foot switch, set the function (—»P26) and activate a compatible effect type. L J Note: Manufacturer names and product names mentioned in the following table are trademarks or registered trademarks of their respective owners, The names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION ZOOM G2Nu/G2.1Nu 33

Effect Types and Parameters COMP (compressor) module This module reduces high level signals and increases low level signals. COMP (compressor) This compressor in the style of the MXR Dyna Comp

Sense (Sensitivity) | 0-10 ATTCK (attack) | Slow, Fast || Level | 2-10 Adjusts the compressor sensitivity. | | Sets compressor attack speed to Adjusts the level of the signal after Higher values result in higher Fast or Slow. it has passed through the module sensitivity. RackComp (rack compressor) This compressor allows more detailed adjustment than COMP.

THRSH (threshold) | 0-50 Ratio | 1-40 Level | 2-100 Sets the level that activates the Adjusts the compression ratio. Adjusts the level of the signal after compressor. ithas passed through the module: M Comp (M compressor) This compressor provides a more natural sound.

THRSH (threshold) | 0-50 Ratio | 1-40 Level | 2-100 Sets the level that activates the Adjusts the compression ratio. Adjusts the level of the signal after compressor. ithas passed through the module: 34 ZOOM G2Nu/G2.1Nu

Effect Types and Parameters EFX module rx This module includes wah and filter effects, as well as special effects such as a ring modulator and an octaver. AutoWah This effect varies wah in accordance with picking intensity. Resonance This effect varies the resonance filter frequency according to picking intensity. The two effect types above have the same parameters.

Sense 401, || Reso (sensitivity M | 1-10 (resonance) 910 Level 2-10 Adjusts the sensitivity of the effect. | | Adjusts the intensity of the Adjusts the level of the signal after When set to a negative value, the | | resonance sound. it has passed through the module. filter movement is reversed. The booster increases signal gain to make the sound more powerful.

Range 15 Tone 0-10 Level | 210 Adjusts the frequency range that | | Adjusts the tone. Adjusts the level of the signal after is boosted. it has passed through the module. Tremolo This effect varies the volume at a regular rate.

UP 0, Depth 0-10 Rate hi os) || Wave DWN 0-9, TRIO-9 Adjust the depth of the Adjusts the rate of the modulation. Sets the modulation waveform to modulation. "UP" (fising sawtooth), "DWN" {alling sawtooth) or "TRI" {triangular). Higher numerical values cause stronger clipping, which emphasizes the effect. ZOOM G2Nu/G2.1Nu 35

Effect Types and Parameters RingMod (ring modulator) sound character. This effect produces a metallic ringing sound. Adjusting the "Freq" parameter results in a drastic change of PARM1 PARM2 PARM3 Freq (frequency) 450 Tone Bal (balance) 0-100 Sets the frequency of the modulation. Adjusts the tone. Adjusts the balance between original and effect sounds. SIowATTCK (slow attack) This effect slows the attack of each note, resulting in a violin-like performance. PARM1 PARM2 PARM3 Time Curve | 0-10 Level | 2-100 Adjusts the attack time. Set the curve of volume change during attack. Adjusts the level of the signal after it has passed through the module. Adds an effect sound one octave bel low the unaffected sound. PARM1 PARM2 PARM3 Tone 0-10 OctLV (octave level)

DryLV (dry level) 9100 Adjusts the tone of the effect. Adjusts the volume of the effect. Adjusts the volume of the unaffected sound PedalVox This simulates a vintage CRYBABY This simulates a vintage Vox wah pedal. PedalCry wah pedal The two effect types above have the same parameters: PARM1 PARM2 PARM3 Freq (frequency) DryMX (dry mix) 0-10 Level 2-100 Adjusts the emphasized frequency. When an expression pedal is not used, the effect is Similar to a half open pedal. Adjusts the mix with the unaffected sound Adjusts the level of the signal after it has passed through the module.

Effect Types and Parameters ZNR (ZOOM noise reduction) module This module reduces noise when not playing. ZNR (ZOOM noise reduction) ZOOM's unique noise reduction cuts noise during pauses in playing without affecting the tone. NoiseGate This is a noise gate that cuts the sound during playing pauses. DirtyGate This vintage style gate features a characteristic way of closing. The three effect types above have the same parameter. PARMI THRSH (threshold) 146 Adjusts the effect sensitivity. Set the value as high as possible without causing the sound to decay unnaturally. ZOOM G2Nu/G2.1Nu 37

Effect Types and Parameters FD Combo Modeled sound of a Fender Twin Reverb (65), which is loved by guitarists in various genres. BG Crunch Crunch sound of a Mesa Boogie Mklll combo amp. DRIVE module This module includes 29 types of distortion and acoustic simulators. VX Combo Modeled sound of a VOX AC30 combo amplifier operating in Class A. HW Stack Modeled sound of the legendary Hiwatt Custom 100 all-tube amplifier from the UK. US Blues Crunch sound of a Fender Tweed Bassman. MS Crunch The crunch sound of the Marshall 1959 that has given birth to many legends. MS Drive The high gain sound of a JCM2000 Marshall stack amp. The high gain sound of a Peavey 5150 developed in cooperation with a worid-famous hard rock guitarist DZ Drive The 3-channel high gain sound of à Diezel Herbert, which is a handmade German guitar amplifier that allows control of three independent channels. BG Drive The high gain sound of the Mesa Boogie Dual Rectifier red channel (Vintage mode). OverDrive Simulation of the Boss OD-1, the compact effect box that was the first to take the ‘overdrive" title. T Scream (tube scream) Simulation of the Ibanez TS808, which is loved by many guitarists as a booster and has inspired numerous clones. Governor Simulation of the Guv'nor distortion effect from Marshall Dist + (distortion plus) Simulation of the MXR distortion+ effect that made distortion popular worldwide. Dist 1 (distortion 1) Simulation of the Boss DS-1 distortion pedal, which has been a long-seller. Squeak

Simulation of the popular Pro Co Rat famous for its edgy distortion sound. Simulation of the Fuzz Face, which has made rock history with its humorous panel design and Smashing sound.

Simulation of the Electro- Harmonix Big Muff, which is loved by famous artists around the worid for its fat, sweet fuzz sound.

Effect Types and Parameters MetalWRLD (Metal Word) HotBox Z Clean Simulation of the Boss Metal Simulation of the compact ZOOM original unadomed clean Zone, which is characterized by Matchless Hotbox pre-amplifier sound. long sustain and a powerful lower | | with a built-in tube. midrange. Z Wild Z MP1 Z Bottom Ahigh gain sound with even more | | An original sound created by A high gain sound that overdrive boost. merging characteristics of an ADA | | emphasizes low and middle MP1 and a MARSHALL JCM800. | | frequencies. Ahigh gain sound for lead playing | | An original high gain sound A crunch sound modeled on the based on the Mesa Boogie Road | | balanced from low to high sound of a modified VOX AC30. King Series II Lead channel frequencies. A bright and smooth distortion This distortion effect boasts the sound. highest gain in the world [The 29 effect types above have the same parameters.

Gain 0-10 Tone 0-30 Level 14100 Adjusts the gain (distortion depth). | | Adjusts the tone. Adjusts the level of the signal after ithas passed through the module.

im (acoustic simulator) This effect changes the tone of an electric guitar to make it sound like an acoustic guitar.

Top F-* 0-10 Body 0-10 Level 14100 Adjusts the unique string tone of | | Adjusts the body resonance of Adjusts the level of the signal after acoustic guitars. acoustic guitars. it has passed through the module. ZOOM G2Nu/G2.1Nu 39

Effect Types and Parameters EQUALIZER module (low and middle frequency range) This unit has a six band equalizer. Set the module selector to "EQ Lo” to adjust the three low and middle frequency bands. Adjusts the low and middle frequency bands.

160Hz #12 400Hz | #12 800Hz #12 Boosts or cuts the low (160 Hz) Boosts or cuts the low-middle Boosts or cuts the middle (800 Hz) frequency band. (400 Hz) frequency band. frequency band. EQUALIZER module (high frequency range) This unit has a six band equalizer. Set the module selector to "EQ Hi" to adjust the three high frequency bands. EQ HIGH Adjusts the high frequency bands

3.2kHz #12 6.4kHz #12 12kHz #12 Boosts or cuts the high (3.2 kHz) | | Boosts or cuts the extremely high | | Boosts or cuts the harmonies frequency band (6.4 kHz) frequency band {12 kHz) frequency band 40 ZOOM G2Nu/G2.1Nu

Effect Types and Parameters PTT MODULATION module delay effects. This effect mixes a shifted pitch with the original sound to add movement and thickness. This module includes chorus, pitch shifter, delay, echo and other modulation and PARMI PARM2 Depth 0-100 Rate 1-50 Mix 0-100 Sets the depth of the modulation. Sets the speed of the modulation Adjusts the amount of effected sound that is mixed with the original sound VintageCE This is a simulation of the BOSS CE-1 PARMI PARM2 PARM3 Comp

Sets the sensitivity of the compressor. Sets the speed of the modulation Adjusts the amount of effected sound that is mixed with the original sound StereoCho (stereo chorus) This is a stereo chorus with a clear toi PARMI Depth 0-100 Rate Mix 0-100 Sets the depth of the modulation. Sets the speed of the modulation Adjusts the amount of effected sound that is mixed with the original sound This is a chorus ensemble that features three-dimensional movement. PARMI PARM2 Depth 0-100 Rate 1-50 Mix 0-100 Sets the depth of the modulation. Sets the speed of the modulation Adjusts the amount of effected sound that is mixed with the original sound ZOOM G2Nu/G2.1Nu

Effect Types and Parameters Phaser This effect adds a phasing variation to the sound.

4STG,8 Rate IE os) || Color STG,inv4, || Level 2-00 inv Sets the speed of the modulation. Sets the tone of the effect type to either regular 4 stage (4 STG) or 8 stage (8 STG) or inverted 4 stage {inv 4) or 8 stage. Adjusts the level of the signal after it has passed through the module. This effect adds variation and strong undulations to the sound. PARM1 PARM2 PARM3 Depth 0-100 Rate Æû IE 0-50 D Reso (resonance) #0 Sets the depth of the modulation. Sets the speed of the modulation. Adjusts the intensity of the modulation resonance. DynaFLNGR (dynamic flanger) The volume of the effect sound changes according to the input signal level wi ith this dynamic flanger. PARM1 PARM2 PARM3 Depth 0-100 Rate 2h IT] 0-50 D Sense (sensitivity) #0 Sets the depth of the modulation. Sets the speed of the modulation. Adjusts the sensitivity of the effect. When the input signal becomes louder, positive values increase the effect while negative values decrease it. This effect automatically adds vibrato. PARM1 PARM2 PARM3 Depth 0-100 Rate 2h IN 0-50 D Bal (balance) 0-100 Sets the depth of the modulation. Sets the speed of the modulation. Adjusts the balance between original and effect sounds.

Effect Types and Parameters This special effect gives the sound a stepped quality. PARMI PARM2 PARM3 Depth 0-100 Rate Æh IE os D Reso (resonance) 0-10 Sets the depth of the modulation. Sets the speed of the modulation. Adjusts the intensity of the modulation resonance sound. This effect varies the sound like a tal Iking modulator. PARMI PARM2 PARM3 Range 140 Reso (resonance) co Sense (sensitivity) #0 Adjusts the frequency range processed by the effect. Adjusts the intensity of the modulation resonance sound. Adjusts the sensitivity of the effect. without much sense of modulation. By mixing an effect sound that is slightly pitch-shifted with the original sound, this effect type has a chorus effect PARMI PARM2 PARM3 Cent 450 0-50 PreD (pre-delay) Mix 0-100

Adjusts the detuning in cents, which are fine increments of 1/100-semitone. Sets the pre-delay time of the effect sound. Adjusts the amount of effected sound that is mixed with the original sound PitchSHFT (pitch shifter) semitones. Selecting "dt" gives a detuning effect. This effect shifts the pitch up or down.

42-4, dt, Bal (balance) Shift tx || Tone 0-10 c 0-100 Adjusts the pitch shift amount in Adjusts the tone. Adjusts the balance between original and effect sounds. ZOOM G2Nu/G2.1Nu

Effect Types and Parameters This is a pitch shifter with litle sound variance for monophonic (single note) playing. PARM1 PARM2 PARM3 424, dt, Shift 1-12,24 Tone 0-10 Bal (balance)

0-100 Adjusts the pitch shift amount in semitones. Selecting "dt" gives a detuning effect. Adjusts the tone. Adjusts the balance between original and effect sounds. This intelligent pitch shifter outputs t HPS (harmonized pitch shifter) he effect sound with the pitch shifted accoi rding to scale and key settings. PARM1 PARM2 PARM3

Scale (80e below] key c8 PS 0-100 Mix Sets the pitch of the pitch-shifted sound added to the original sound {see Table 1). Sets the tonic (root) of the scale used for pitch shifting. Adjusts the amount of effected sound that is mixed with the original sound. Use an expression pedal to change Fable 1 Setting [Scale used interval_ | [Setting [Scale used interval s Gin down | [5 ra up Es Bin down | [4 ain up Fa Major aindoun | [5 Major Sin up Fs Br don | [5 Gin up Em Era doun - Minor Eee PDL Pitch (pedal pitch) the pitch in real time with this effect.

Color Led Tone 0-10 Bend F4 0-100 (See below) Sets the type of pitch change Adjusts the tone. Sets the amount of pitch shift. control with the expression pedal Depending on the Color setting, (see Table 2). this also changes the balance between the original and effect sounds. Table 2 Color æ$ Pedalmin Pedalmax 2 Color æ Pedaimin Pedalmax 28 1 Dean 1 ave @ [toc + oïgna | +1 ociave + orgnai 2 Dean F2 oûaves 7 [fro0 cons + onginai | +500 cents anal 3 Dean 00 cents ë Doubins Datuned + ina ï Dean Zoase 9 [0H ang | Frocuve + orge 5 Dean =

CombFLTR (comb filter) Effect Types and Parameters This effect uses the comb filer that results from fixing the modulation of the flanger like an equalizer. PARMI PARM2 PARM3 Freq (frequency) 150 Reso (resonance) | -10-10 Mix 0-100 This sets the emphasized frequency. Adjusts the intensity of the resonance sound of the effect. Adjusts the amount of effected sound that is mixed with the original sound L\s This effect reproduces the ambience of a room to create spatial depth. PARMI PARM2 Size 1-00 Tone 0-10 Mix

0-100 Sets the size of the space. Adjusts the tone. Adjusts the amount of effected sound that is mixed with the original sound The maximum delay of this effect is 2000 mS.

1-2000 mS Time à FL (feedback) 0-100 Mix 0-100 Sets the delay time. Adjusts the feedback amount. Higher values cause more delay sound repetitions. This adjusts the amount of the effect sound that is mixed with the original sound This effect simulates a tape echo. Ci hanging the Time” parameter changes t TapeEcho he pitch of the echoes. PARMI PARM2 PARM3 1-4200 mS Time Æû (EU F8 (feedback) 0-100 Mix 0-100 Sets the delay time. Adjusts the feedback amount. Higher values cause more delay sound repetitions. Adjusts the amount of effected sound that is mixed with the original sound ZOOM G2Nu/G2.1Nu

Effect Types and Parameters ModDelay (modulation delay) This delay effect allows the use of modulation.

1-2000 mS Time D F.B (feedback) 0-100 Mix F4 0-100 Sets the delay time. Adjusts the feedback amount. Adjusts the amount of effected Higher values cause more delay sound that is mixed with the sound repetiions. original sound. DynaDelay (dynamic delay) This dynamic delay adjusts the volume of the effect sound according to the input signal level.

1-2000 ms Time D» Sense (sensitivity) #0 Mix + 0-10 Sets the delay time. Adjusts the effect sensitivity. As Adjusts the amount of effected the input becomes louder, the sound that is mixed with the effect sound increases with original sound. positive values and decreases with negative values. DELAY module This delay module allows the use of a hold function. Delay (ELAY TAP(HOLD)|MUTE) This long delay has a maximum length of 5000 mS. Echo (DELAY TAP(HOLD)\MUTE) This tape echo simulation has a long delay with a maximum length of 5000 mS. AnalogDLY (analog delay) (DELAY TAP(HOLD)(MUTE) This analog delay simulation has a long delay with a maximum length of 5000 mS. PingPongD (ping-pong delay) (DELAY TAP(HOLD)(MUTE) This ping-pong delay outputs the delay sound alternately to the left and right. The four effect types above have the same parameters.

1-5000 mS Time D a F.B (feedback) 0-100 Mix F4 0-100 Sets the delay time. Adjusts the feedback amount. Adjusts the amount of effected sound that is mixed with the original sound. 46 ZOOM G2Nu/G2.1Nu

ReverseDL (reverse delay) Effect Types and Parameters (DELAY TAP)(HOLD)(MUTE) This reverse delay is a long delay with a maximum length of 2500 mS. PARMI PARM2 PARM3 rime EM 11-20 ms F8 (feedback) 0-100 Bal (balance)

0-100 Sets the delay time. Adjusts the feedback amount. Adjusts the balance between original and effect sounds. reves | This module has various reverbs, an early reflections effect and a multi-tap delay. Hall REVERB module This reverb effect simulates the acoustics of a concert hall. Room This reverb effect simulates the acoustics of a room. Spring This reverb effect simulates a spring reverb. Arena This reverb effect simulates the acoustics of a large enclosure such as a sports arena. TiledRoom This reverb effect simulates the acoustics of a tiled room. The 5 effect types above have the same parameters. PARMI PARM2 Decay 1-30 Tone 0-10 Mix F-* 0-100 Sets the duration of the reverberations. Adjusts the tone. Adjusts the amount of effected sound that is mixed with the original sound ZOOM G2Nu/G2.1Nu

Effect Types and Parameters EarlyRef (early reflections) This effect reproduces only the early reflections of reverb. PARM1 PARM2 Decay 1-30 Shape 10-10 Mix 0-100 Adjusts the duration of the reverb. Adjusts the effect envelope. When negative, it is reversed. At 0, the effect is a gate reverb. When positive, itis a decay-type. Adjusts the amount of effected sound that is mixed with the original sound. This effect produces several delay soi MultiTapD (Mult-tap delay) unds with different delay times.

Time 1300 m8 || BTTRN (pattern) 14 Mix F-S 0-10 Sets the base delay time. Sets the tap patte, which varies from rhythmical to random patterns. Adjusts the amount of effected sound that is mixed with the original sound. TOTAL Sets the overall volume for the patch PARM1 P-LVL (patch level) | 2-100 Sets the overall patch volume. RTM (real time modulation) TOTAL module Sets parameters for the entire patch. PatchLvl (patch level) Sets the module/parameter controlled by the expression pedal (—P27) PARM1 PARM2 PARM3 DEST (control destination) MIN (minimum value) MAX (maximum value) Sets the module controlled by the expression pedal Sets the value sent to the parameter when the pedal is fully up. Sets the value sent to the parameter when the pedal is fully down. PatchName Changes the patch name (+P20)

Troubleshooting <_ The unit will not tum ON + Confirm that the POWER switch is set to "ON." + When using bus power, confirm that the switch is "OFF" before connecting the USB cable. + When using batteries, confirm that they are still charged. + No sound or very low volume + Check the connections (+P4-7). + Adjust the patch level (—>P20). + Adjust the master level (—P30). + When adjusting the volume with an expression pedal, make sure that a suitable volume setting has been set with the pedal. + Confirm that unit is not in mute mode (—>P10). + The unit might have switched to standby to save power (PS, 7). In standby, audio input and output are disabled. + There is a lot of noise + Check the shielded cables that you are using for defects + Use only a genuine ZOOM AC adapter. + Try adjusting the ZNR module settings again. + Cannot change patches The unit might be in "pre-select mode" (-P25). If itis, turn the power OFF and ON again to restart in the normal mode. + Sound is distorted/tone is extreme + Try adjusting the Ga ameters of the DRIVE module. and Level pa + The unit might be in direct mode (—P24), which simulates the sound of an amplifier cabinet. ZOOM G2Nu/G2.1Nu The reverb effect is not working If the unit is in rhythm mode, the REVERB module is disabled. Stop the rhythm and exit rhythm mode to use the reverb effect (PI) The delay effect is not working If the looper is activated, the DELAY module is disabled. Stop using the looper (P15) The expression pedal is not working well lal settings (—+P27). + Check the expression pe + Adjust the expression pedal (—>P28). The recorded level in a DAW is low Check the recording level setting (—P30) Batteries lose their charge quickly + Are you using manganese batteries? Alkaline batteries should provide 6.5 hours of operation + Check the battery setting (-+P31). Set the type of battery being used for a more accurate display of the remaining charge.

Specifications Effect types: 83 types Effect modules: Max. 8 simultaneous modules Number of user banks/patches: 10 patches x 10 banks Preset banks/patches: 10 patches x 10 banks Sampling frequency: 96 kHz AID conversion: 24-bit with 64x oversampling D/A conversion: _24-bit with 64x oversampling Signal processing: 32-bit Frequency characteristics: 20-40 kHz +1 dB, -3 dB (10 kQ load) Display: LCD Input: Standard monaural phone jack Rated input level: -20 dBm* Input impedance: 1 MQ Output: Standard stereo phone jack (line/headphones) Maximum output level: Line: +5 dBm* (with output load impedance of 10 KQ or more) Headphones: 20 mW + 20 mW (into 32 Q load) Control input: For FP02/FS01 SIN (equivalent input noise): 120 dB Noise floor (residual noise): _-100 dBm* Power: AC adapter: DCOV (center minus plug), 500 mA. {ZOOM AD-16) Batteries: 6.5 hours of continuous operation using 4 AA alkaline batteries when BACKLIGHT set to LOW USB: Bus power Dimensions: G2Nu: 166 mm (D) 160 mm (W) X64 mm (H) G2.1Nu: 169 mm (D) X260 mm (W) X67 mm (H) Weight: G2Nu: 800 g (without batteries) G2.INu: 1300 g (without batte

Options: FP02 expression pedal and FSO1 foot switch *0 dBm = 0.775 Vrms 50 ZOOM G2Nu/G2.1Nu

frcc 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 harmiul 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 to an outlet on a circuit different from that to which the receiver is connected. + Consult the dealer or an experienced radio/TV technician for help. For EU Countries Declaration of Conformity: This product complies with the requirements of EMC Directive 2004/108/EG, Low Voltage Directive 2006/95/EC and EuP Directive 2005/32/EC 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 correctly, you will help prevent potential negative consequences for the environment and human health, which could otherwise be caused by inappropriate waste handling of this product, The recycling of materials wi help to conserve natural resources. For more detailed information about recycling of this product, please contact your local city office, your household waste disposal service or the shop where you purchased the product. ZOOM CORPORATION 4-4-3 Surugadai, Kanda, Chiyoda-ku, Tokyo 101-0062 Japan http:/www.zoom.co.jp G2Nu/G2.1Nu - 5000 - 1

GeNU I G2i1Nu GUITAR EFFECTS & USB AUDIO l/F PEDAL (De é-© + Bank À (Demo) and Bank E (SVX) are created by Steve Vai. + The preset area of banks 0 — 9 contains the same patches as A — J. + We recommend you to adjust the Noise Reduction parameter according to your guitars, amps and recording or performance situation. Manufacturer names and product names mentioned in his patch lis are trademarks or registered trademarks of their respective owners and do not indicate any aflation with ZOOM CORPORATION. AI product and artist names are intended only to ilustrate sonic characteristics that were used as reference in the development of this product

COMMENT | PEDAL SETTING

0 | Scoops | Spacey smooth but filthy tone in a cave. The scooping of the mids and high mids leaves bottom movement and a fuzzy top. VOLUME 1] Cream | Great warm sound for lead. Even if you turn the FX you can get a simple raw drive sound. VOLUME 2] Chalk | Midrangy semi-dirty tone with many peculiar anomalies and dimensions. VOLUME 8 | Wowmen | Talking patch good as a semi clean FX sound with an FD Combo. Semi-clean, VOLUME 4 | Synthish | Low octave synth sounding patch with some grit and attack. Cool for doubling a bass line. VOLUME 5 | Leading | Squeak distortion, Warm usable lead tone with heavy fattening FX. Very lush melody playing. VOLUME 6 | Grossnes | Grotesque tone with heavy scooping and pitch shifting. Play ‘Frankenstein" type riffs with this patch VOLUME 7 | angus Arena style rhythm, HW Stack and some slight delay. If you double rhythms with Simphryt and then triple with Angus its VOLUME 8 | Juice | Straight ahead crunchy rhythm tone with slight pitch shift for fatness. Good for chunky 5ths. VOLUME 9 | ACHouse | Clean, warm acoustic tone with rich reverb, Good stand:by for clean strumming. VOLUME o | ecuean | Lead sound for "Layla' by Eric Clapton. Fender crunch sound. The great sound for guitars with single-coil pickups. VOLUME 1] J80c« | Octave sound for "Come Dancing" by Jeff Beck. Warm echo is great for "the oldies' VOLUME 2 | ZepStd | Recording Supro amp sound for Jimmy Page (ex. Led Zeppelin) in his early days. Bright crunch sound. VOLUME 8 | Jimifuzz | The fuzz sound for Jimi Hendrix. Using PitchSHFT to add a sound octave higher to emulate the Octavia pedal VOLUME al Single note rhythm guitar sound for "Give It Away” by John Frusciante from Red Hot Chili Peppers. Great crunch sound for VOLUME Telecaster with bridge pickup. 5 | 2Miead | The sounds for "Gravity" by John Mayer. Well compressed lead sound. Great for finger picking playing. VOLUME 6] pride | Tight tube-amp sound for "Leaving Trunk” by Derek Trucks. Great sound for finger picking and bottle-neck playing. VOLUME 7 | widoz | Sound for "No Rest for the Wicked” by Zakk Wylde. Slight chorus gives a nice character to this powerful distortion sound. VOLUME 8 | cowboy The metal sound for "Cowboys from Hell” by Dimebag Darrell from Pantera. The sound is so tight and great for bridge mute | by pitch: Bend a | kcsolo The sound or “Smells Like Teen Spirit” by Kurt Cobain from Nirvana. DS-1 and chorus effect really make this sound come VOLUME 0 | Gshou Modern metal sound or technical guitarist Gus G. from Firewind. Wellbalanced in tone that this metal sound is great for VOLUME 1 | Every8G | Blues sound for Buddy Guy. Dry overdriven sound adds some nice colors to your blues licks. VOLUME 2 | evuiess | The famous sound for Eddie Van Halen in his early works. Great sound for playing "Eruption" when you add Phaser. VOLUME à | sugace | Intro souné for "Welcome To The Jungle” by Slash from Guns N'Roses. When you depress the expression pedal, you can get | Day: the sound of the main ri a | esrit Roca sound for "Rock This Town" by Brian Setzer from Stray Cats. The sound changes with echoes and picking VOLUME 8 | rianpre | The drive sound for Brian May using Z Noos. You can make the lead sound for "Brighton Rock” when you push down the | Day: Mix expression pedal. 6 | ritchsta Main sound for "Machine Head by Deep Purple. You can get a perfect Richie Blackmore sound when you play with VOLUME 7 | Carlos | Smooth’ sounds like Carlos Santana with BG Crunch Arena : Mix 8 | PeteHW | HIWATT Crunch sound for Pete Townshend. This powerful sound was made by turn the clean amp to 10. VOLUME 8 | BROTHER | Fat jazz sounds like George Benson. His unique sound is laid back with an edge to it VOLUME o [ walk | Solo sound for "Rocky Mountain Way” by Joe Walsh. This sound emulates the Talkbox. PedalCry :Freq 1 | m8 shock The rare amp sound of HE for "Shock Rock” by Marc Bolan from TRex. This sound is great for LesPaul guitar with bridge | hslogpuy : Mix 2 | Kstone | Intro sound for "Satisfaction" by Keith Richards. This sound is beyond legend. VOLUME 3 z ‘The sound for ZZ Top used in their early works. Great sound for Texas boogie rock style using Z Wild. VOLUME 4] RRMt | The sound for 80's Metal with the Metal Zone. Try optional chorus to get on the "Crazy Train’ by Randy Rhoads. VOLUME 5 | RSSitar | The sitar sound for Ravi Shankar. The unique attack of this sound is done by increasing the resonance VOLUME 6] YngDrv | Shred guitar sound for Yngwie Malmsteen. Best for harmonie minor classical solo lines. VOLUME 7] EriFuz | Fuzz sound for Eric Johnson, This great sound was blended with fuzz and analog delay, VOLUME 8 | Edge | Perfectiy delayed clean sound for The Edge from U2, Tap tempo to adjust to the song. FD Combo : Gain 8 | Por | High gain sounds of John Petrucci. Get a great sustain for solos when you push down the expression pedal. Delay : Mix 0] May | Midrangy lead tone with a long delay. Great for building harmonies in time. VOLUME 1] Woosh | Z-Clean tone with step for a rhythmic waterfall effect. Reminiscent of Zappa "Ships Ahoy” VOLUME 2 | WetHead | Dark and clean with wow resonance. Good for dynamic, clean lead playing. VOLUME 3 | Wackjob | Phased and clean with sharp attack thats good for smacking rhythms. VOLUME 4 | Dreamdrg | Clean tone with delayed attack and heavy FX dimensioning. VOLUME 5 | mitkyway Lang, rich cavernous kind of clean tone. Acoustic simulator. Stare into the night sky and play descending double stops in a VOLUME 6] Oceans | Clean warm sound with folding reverse echoes in a lush hall. Good for background chords. Hall: Mix 7 | Wreckles | This has the "kitchen sinkl' Auto Wah, StereoChorus, Hall, etc. Play a solo with jumping intervals on every note. VOLUME 8 | waves Wet ct wet lush clean tone with forever delays in all directions. Try playing tension chords with sight whammy bar VOLUME 8 | Oceantir | Heavy phased and revered delay melody tone. Good for legato type Holdsworth riffs. VOLUME

COMMENT PEDAL SETTING

M | Fdcomp | Fender Twin Reverb and compressor. Great for clean funk rhythm guitar. VOLUME É 1] Fullvx | Overdriven Vox AC30 with room reverb. The reverb adds a unique closed back type sound Rooi $ 2 | TexasMan | Texas blues sound of a Fender Bassman volume at 10. The sound responds to the guitar volume. Great sound for blues. EarlyRef : Mix a 3 | Bglead | MESA/BOOGIE MKIN mild drive sound. Great for sustained leads. Echo : Mix FL: Lacunc | at crunch sound of HIWATT CUSTOM 100. Great rock crunch sound TiledRoom : 5 | Mecruneh | Marshall 1959 classic crunch sound. Feel the dynamics of this sound. TiledRoom : 8 | MdRhythm | Marshall JCM2000 rhythm sound. Heavy, but the sound still has a classic Marshall sound. EarlyRef : Mix 7 | PvRhythm | Peavey 5150 rhythm sound. Great for metal rhythm guitar. VOLUME DzRhythm_| Diezel Herbert heavy rhythm sound. Great for heavy riffs with tuned down guitars. VOLUME 8 | SdRhythm | MESA/BOOGIE Rectifier rhythm sound. Great for the progressive metal. VOLUME o| Fatod | Natural overdriven sounds like OD:1 with EQ. Great for both lead and rhythm TiledRoom : Mix 1] rsrive | Sounds like Tube Screamer overdriven. Great for blues to rock. VOLUME 2 | Gvorive | Guvnor pedal is great for hard rock sound. VOLUME 8 | dists | MXR distortion drive sound. VOLUME G a] os DS-1 pedal sound with some extra low end. VOLUME s| rar Well sustained lead sound of RAT. AnalogDLY : Mix 6 | FatFace | Great fuzz sound using FUZZ FACE with added some low end TiledRoom : Mix 7 | Mufforv | BIG MUFF high gain sound. Rooi 8 | Mworid | Classic Metal Zone shrapnel shred sound. Echo : Mix s | Hororv | Mild driven sound made by a tube saturation. Even though it is hard driving it still has a strong melodic core in the sound VOLUME o | Zc@ean | Crystal clean sound based on Z CLEAN with chorus and delay. Great for arpeggio. VOLUME 1] zwup | ZOOMS original hard overdrive sound. Boosted Overdrive gives à nice compression VOLUME 2] zmp1 | The sound combination of ADA MPI and Marshall JCM800. VOLUME 8 | ZBottom | ZOOMS original high gain sound. Rich depth in the mids and lows. Great for 80 metal VOLUME 4 | zoREAM | ZOOM' original high gain sound. Great for 7 strings or tuned down guitar. Great progressive metal sound. Spring : Mix H 5 |2ScREAM | Well balanced ZOOM' original high gain sound, The sound is really sharp and cut through in the mix. 8 | znros | Modified VOX AC30 crunch sound. Responds well to the guitar's volume. Room: 7 | ua | ZOOMM classic lead sound with strong mid-boost and long sustain VOLUME 8 | exros | Hard saturated distortion sound. Great sound for technical lead. VOLUME s | acosim | Acoustic guitar simulator. Sounds best with single coil pickups in the neck position. VOLUME 0 | Mcomp | M Compressor. Best sound for funk rhythm guitar. VOLUME 1 | AutoWah | Auto Wah. Set sensitivity to cover rhythm guitar to lead. AutoWah : Sense 2] Reso | Resonance. Best sound to play long sustained chords. Resonance : Sense 8 | Tremolo | Tremolo. Rich versatile sound great for all kinds of style Tremolo : Rate a | Policy | Cry Wah. Use the expression pedal to control the wah PedalCry :Freq I 5 | Octave | Octave sound. You can play one note and an octave lower note plays simultaneously. VOLUME 8] Vince | Vintage Chorus Great chorus sound of BOSS CE-L. This sound has fatness and strong chorus waves. VOLUME 7] Phaser | Versatile phaser with four types to choose from. You can set to use for rhythm to lead. Phaser : Rate Flanger | Flanger sound. Adds sweeping waves to the chorus effect. Use this sound with drive sound for a jet sound. Hlanger : Rate 8 | Vibrato | Automatic Vibrato. Great sound for chord arpeggio. Vibrato : Rate o! y Cry. Sound changes like a talkbox. Cry :Reso 1| Hps | Harmonized pitch shifter set to the key of C major. Great for playing melody or leads. VOLUME 2 | PDLpitch | Pedal controlled pitch shifter. Use the expression pedal to control the pitch PDL Pitch : Bend 8 | TapeEcho | Tape echo effect gives you a unique sound by turn the feedback all the way up and control the pedal. TapeEcho : Time 4 | PPDelay | Ping Pong delay. Delay sound moves from left 10 right when you use stereo outputs/headphones. PingPongD : Mix J 5 | Reverse | Reverse delay. It creates a unique reverse effect. ReverseDL : Bal 6] Haï Concert hall reverb. You can control the size of the hall is by controlling Decay. Hall : Mix 7 | Spring | Spring reverb. Simulation of spring reverbs built into guitar amplifiers. Spring : Mix 8 | EaryRef | Early Refection. The nice reverb sound that emulate the sound that was played in the studio. VOLUME 8 | MuitirapD | Multi Tap Delay. Rhythmic echoes come back from everywhere. GANU/G21Nu -PatchList-E-2

GeNu [l Ge 1NU Modeling Description Reference for drive effect types and its original models. FD Combo This amp modeling is based on the pre-CBS “Tin Reverb” from 1965 aka "Blackface". This amp has four 7025 (12AX7), one 12AX7 and two 12AT7 total of 7 tubes for preamp section and four 6LGGC tubes for power-amp section and silicon diodes for the rectifier circuit The amp incorporates à diode rectifier which is believed toi give a tighter sound to than a tube rectifier does, this is the reason for this charactetisticglitering sound of this “Tin Reverb The original amp has two 12° loudspeakers by Jensen and 80 watts of output péwer. VX Combo

Tracing back the long history of VOX, one finds that it all began in 1958 under the moniker "Jennings Musical Instruments" (JMI). Originalh, this company built amps in the ten to fifteen watt range, but as time went on, the demand for higher-power amps became stronger It lead to the birth of the famous AC30. The original AC30 had two Alnico Celestion 12" speakers, one EF86 tube for preamp section and one EL84 tube for power-amp section, along with a GZ34 rectifier. In the following years, musicians wanted even higher gain, and VOX responded with the Top Boost unit, an add-on that was later integrated in the AC3OTBX. We decided to emulate AC3OTBX US Blues When it first came out in 1951,-the-BASSMAN had an output of 26 watts and used a single Jensen 15-inch speaker. After various modifications, ureemergedin 1959 witha-50-watt-output and four speciall designed Jensen 10-inch speakers. We emulated the “bright* channel of the "59 BASSMAN. It was introduced at the 1951 NAMM show along with the Precision Bass, This amp was originall intended for bass guitars but is reedy distortion made Ît a favorite with some of the eary blues giants, and later with many rock guitarsts, Of course, the amp continues to be used by many musicians today. BG Crunch MESA/BOOGIE Mark III The origin ofithe:MESA/BOOGIErampliienwassaumodified Fender Princeton, Randall Smith,'an amp tech/in San Francisco, souped up these small guitar amps to-100 watts of pourer and sold them to various clients. The first model was called "Mark 1°. The second model, the “Mark 1° had lead and rhythm channels and a 4band EQ to give widerVariety of tone. Untl the model Mark Il, MESA/BOOGIE amps were quite expensive, hand-made amplifiers, but the next model, the “Mark 1Il* was more affordable. Ithad one 10° loudspeaker and 60 watt of power but retained all ofthe classic BOOGIE features: simul-pouer circuit) the graphic EQ, and three (Rhythmt, Rhythm2 and Lead) separate channels. We emulated his famous combo amp “Mark HW Stack HIWATT Custom 100 The Custom 100 was the flagship amp from HIWATT, a British manufacture that ranks With Marshall among the British legends. Vintage HIWATT amplifiers, whichwere made before the mid-1980s, used high-graded. military-spec parts andühand-soldered point-to-point wiring. Their sound was the epitome of clean. The pre-stage tubes were ECC83, the power tubes were the same EL34s as used by Marshall. Unlike the glitering clean sound of a Fender amp, the clean sound of a HIWATT is darker, having that characteristic British tone. Especially in the "normal" channel, tuming up the volume to maximum will simply increase the sound pressure, without bbreakup or loss of detail. In the high-gain “brilliant* channel Slight distortion is possible by connecting a guitar with à high-output pickup such as a Les Paul. But the sound ahways remains detailed and transparent, allowing the istener to clearly pick out the individual notes that make up à chord. Marshall 1959 SuperlLeadi00 ©" This 1959 stack amp that received.the nickname "PLEXI" from the material of its front panellis one of the most famous amplifirs in Rock history s iconic sound was used on à number of rock albums by many famous guitarists all over the world. It is no exaggeration to say that virtually everybody has heard the sound of this amp at least once. lt uses three ECC83 tubes for the preamp section and four EL34 tubes in the poweramp section. To cabinets with four Celestion 12" speakers complete the package to make this épitome of British Rock. With the volume full up, the aggressive transients and resulting distortion are complemented by smooth harmonies are à quitarist dream. MS Drive Marshall JCM2000 “JCM2000" is based on the “PLEXI* amp [aka Old Marshall whose rich overtones and powerful soundiwerelegendary. It has very a flexible sound and-can produce the traditional. Marshall sound, modem heavy metal sound or sounds suitable fon many musical genres. t has a modérn Marshal! standard circuit with four ECCE3 tubes in the preamp section and four EL34 tubes or the power section. It is an alltube amplifier that can produce clean or heavily distorted sound and can be used in al kids of musical situations. The sound is rather grainy but the response is fast and the guitar cuts through the mix very well. "JCM2000" series has two different models: the TSL and the DSL. We decided to emulate “DSL-100" for this one, We combined this amplifier with à "19604" cabinet and used the Lead channel that has more distortion. PV Drive PEAVEY 5150 STACK The “5150” and the 5150 MkIl” were very famous guitar amplifiers original developed as the signature models for Eddie Van Halen in the 19905. We modeled the first version of the “5150”. This amplifier has two (Rhythm and Lead) channels and 120 watis of power using five 12AX7 tubes for preamp section and four SLSGC tubes for the power-amp section. The rectifier circuit employs silicon diodes. The uniqueness of the sound of this amplifier is characterized by its sharp attack, deep and smooth tone, fine distortion and/fat and dinging low register This modeling is based on the combination of the Lead channel of the 5150 head with a "5150$L" four-12" cabinet Diezel Herbert DZ Drive This modem three-channel amp features great tonal versatility, ranging from a clean tone to heavy distortion. In particular, the extremely dry and gritty distortion produced by channel 3 gives a piercing effect thatiis hard:to produce withany other amp. It is a favorite of Heavy Rock bands such as Metallica and Slipknot. The undluttered sound compliments the tones of a tuned-down guitar. A DEEP control allows.further boosting ofthe bass frequencies, for an extremely low sound! BG Drive MESA/BOOGIE Dual Rectifier This modeling is based on Mesa/Boogie Dual Rectifier, which has five 12AX7 tubes in the preamp section, and four 6L6GC tubes in the power-amp section, the amp produces 100 watis ofpowrer Unlike the Mark series, this model gives more priority to the tone shaping, it features a tone control circuit after the Volume control. After this model hit the scene, the Mesa/Boogie brand image changed from Fusion to Metal. The distinguishing feature-of this amplifier, and its namesake, is of course the rectifier. The sound provided by this modeling is based on the Dual Rectfier which has two rectifier direuis, one of which is tube based and one configured with silicone diodes. The diodes create atight, high-powered sound, while the tube sound is more soft and wa OverDrive BOSS 0D-1 The “OD-1" released by BOSS in 1977 was originally developed to simulate the natural overdrive sound of tube amplifiers, but this Stomp box tumed out to be Popular as a booster used in front of the real tube amplifier to get ighter and more punchy sound with increased gain, The %OD-1" employs. an _asymmetrical “clipper” section in its circuit design that uses three diodes to create the overdrive sound that both mild-and richlin nuances. If you are lucky enough to hear the sound of the reéll"OD-1#e invite you to ty à blind test to turn off all of the effect modulessexcept the “OD-1* and compare the sound of this modeling and that of the real one. We believe that you wil not hear a difference. Ibanez TS808 TSeream This modeled is the early Tube Screamemathat was introduced by Ibanez in 1979 for the non-US market. In Japan, it was sold under the MAXON name as the OD808. As themonikerimpliespwhen using the pedal on its own, it produces natural distortion suchras when driving à tube amp hard. But it often was used simplÿ as à booster, with gain at 0 and volume at 10, to drive an amp up even further. Normally, this would not change the tone of the amp, but à slight peak in the mid-range gives an overall softer tone. This pedl is also famous for being used by blues guitar legend Stevie Ray Vaughan. Governor Marshall Guv'nor The Marshall official sales talk for this distortion pedal “Guv'nor” was that you could get the distortion sound of the Marshall amps with this small stomp box, Depending (on which guitar amps you combine, you can actuallÿ/getthe Marshall'amps distortion. There are ‘two different versions ofsthe” Guvinor; the Britain:made ones from 1988 and the Koreanmade,ones.fromd1998. This model is based on the original version frôm 1988. The Guv'hors characterstic feature is the frequency point you can tieak using/the "TREBLE” control. Even if you lower this parameter value, the sound will get fat instead of dull. As you raise the value, the sound wilhgetsweeter and clearer. Dist+ MXR Distortion+ MXR, a company founded in the seventies by two high school students, is famous for stop boxes such as the Dynacomp and Phase 90, In the early.days,théin products were actually built and painted in their garäge and'setout to dry in the garden. As the story goes, sometimes smalllinsects would get stuck on the surface, and the lot would be shipped out as is: The pedals soon gained fame in the seventies, but eventually lost their market share to products from large companies like BOSS and others that provided high performance at lower cost. MXR disappeared from the. scene, but in the late eighties, Jim Dunlop bought the companÿ and is now producing à number of re-issue models. This pedal was loved by Randy Rhoads who made its “distortion” sound. The hard-edged tone stays detailed when playing fast solos or riffs with the muted lower strings. The music of heawy metal and hard rock wouln't be the same without it. BOSS DS-1 pitt This orange-colored pedal can-be called the standard of distortion sound. Among the many distortion pedals from BOSS, is a big-seller, along with the SD-1{In Japan, sales of the pedal ceased at one point {elthough production for the/U.S. market continued), but as of 2005, the product is available again. This was theconly.BOSS pedal to be reintroduced to the market in this fashion: The sound is trebly and very “distortion-ike”, but it can hold its own in a band. This pedal was favored by Joe Satriani and Nirvana's Kurt Cobain Squeak PROCO RAT This is one of the most widely used Pedals. It has only three knobs (Distortion, Filter, Volume), but‘each knob,has a wide adjustment range, allowing for a variety of sound types, With the distortion turned all-the-way-üp, the fat, up-front sound isssimilar to à Fuzz pedal. At the twelve o'clock position, it gets crunchyÿrand brings out fine picking nuances, allowing the player to tweak the) sound by varing the playing style Unlike a regular tone control, the filter knob aus the treble when tumed clockwise, This is the secret behind the ypical "RAT" sound, This model is simulated by the TONE parameter, but operation is reversed) (treble is cutwhen tumed counterclockwise) FuzzSmile Dallas-Arhiter FUZZ FACE “FUZZ FACE" was originally released from the Dallas-Arbiter company in 1966 encased.insa uniquely designed housing that lieraly looked like a face, It was famous fo being one of legendary guitarist Jimi Hendrix favorite pieces of gear. He combined this “FUZZ FACE" with his Marshall amps because at the time, it was hard to get distorted sound from them. The heavy, fat low end and the fuzz sound with long sustain are the characteristics of this unit. The earliest model used two PNP germanium transistors and was very different in sound from the later models using silicon transistors, The model is based on the old/Fuzz Face, the earliest, most sought after version that was released: GreatMuff There are several versions of this pedal. This model is based on the so-called “Ram's Head” from the early seventies, characterized by very long sustain andlrich distortion canvas. Players from the 70's associated with this sound are Carlos Santana and Robert Fripp of King Crimson. From the late eighties into thé nineties, the grunge movement took over, with Nirvana's Cobain and J. Mascis of Dinosaur J. using the pedal to do their thing. Compared to an ordinary fuzz pedal, the BIG MUFF offers rich mid-range and detailed distortion that maintains presence, even when playing chords. The result is a wholly unique sound somewhere between distortion and fuzz MetalWRLD BOSS MT-2 The “MT-2” (“METAL ZONE”) has the most intense distortion of lot. Its unique distortion sound ha$Very fat mid to low range and it has a parametic EQ in addition toithe HiandiLow EQ, which is the key to the scooped metal soundAThis stomp box isreputed for its flexibility in sound because You can not only get that scooped metal sound by cutting the mid-range and boosting the high and low range but also the overdrive sound. by, reducing the gain andhboosting the mid-range. This is one: of the best-selling stomp boxes among many ‘of the popular line-ups of BOSS products, Once connected, a Strat or Les Paul will have the “NTE2" sound regardiess of the types of guitar pickups, It was first invroducedin1991 anis still in the BOSS's catalog today! HotBox

The “HOT BOX was released as à pedal preamp bearing the MATCHLESS brand namealtquses.wout2AX7A tubes for an accurate reproduction of the soundiof the "MATCHLESS") guitar amplifier, It has a compressed sound and quick response that are distinctive characteristics of tubelampsalts sounds fatland cuts through very well. Even if you crank up the gain to get a distorted sound, you will still rétain the nuances of the original guitar tone. Although it is ategorized as preamp, the ideal way to get the best possible sound is to connect it like a regular stomp box, to the input of your guitar amp. Is design features a case that is polished Îke à mirror and the “MATCHLESS" logo lights up when you tu it on. This “HOT BOX" is literall a magic box you can get the signature sound of “MATCHLESS" amps regardiess of the guitar amplifier you connect it to. 1 Clean Z Clean This is a clean sound that makes the drive module virtually disappear. The lower range is tight, with a very slight treble emphasis. Why choose this effect type? Ty it when creating patches for arpeggios and funk guitar. You‘ get smoother and more rounded sound. you Want to produce clean guitar sound via à line input, excessive bass may make it sound as if the pick got caught between the Strings. This effect type should solve such problems. 1 Wild ZWid This is the original overdrive sound which is made by boosting the normal overdrive pedals. Unlike the distortion pedals this model has à hard driven tone but it.stl has natural warmth, This model doesn't have à hard edge that is unpleasant to your ears but it has its own unique characteristics, Have you ever thought about wanting more gain when you are using the overdrive pedals? The Z Wild is the answer to that question. 1 MP1 ZMP1 This is the original sound combining of using ADA MP1 and Marshall 1CM800.This sound has a unique character at high frequencies and it cut through the mix when playing with a band. This sound is best matched with the single-coil pick up at the bridge position. You can easily adjust the amount of the drive by adijusting the guitar‘ volume knob. 1 Bottom Z Bottom The original drive sound that has atheavil boosted bottom. À great sound for power chord riffs, it covers the entire range of the bass guitar. you play this sound with bridge mute, it sounds a very tight and not as heavy. When you use this sound for lead playing, your lead will sound really wide with the support of the lower frequencies. IF you're looking for an 80s metal sound this model would be à good place to start Z Dream This is the original high-gain sound based on the lead channel of Mesa/Boogie Road King Series I. The drive sound is powerful and sounds like Recter series amps but with a quicker response to picking dynamics. The sound is great for heavy metal rhythm and also great for technical lead playing. works great with tuned-down or a T-sting guitar. ZScream This is the original high-gain sound, wel-balanced in tone from bottom end to the high registers. The tight low end has a great sharp edge, even if you crank up the gain to 10. Also, the quick response of this sound lets you to play fast lines and stil easily hear all of the notes. This is Marshalktype sound but we tweaked the tone and make it a bit more modem. The sound is a great match for Hard Rock/Heauy Metal playing but can also work with manÿ other styles of music.

1Neos S This sound is based on mod-VOX AC3OTBX. The color of the sound changes by tuning the gain knob. When you set the gain slightly lower, you can get the traditional British tone, and when you bring the gain higher you can get an old hard rock type sound Lead Lead This bright distortion sound is good for lead with smooth saturation. Itworks wellin situations from fusion to hard rock. The middle range is boosted a bit to slice through the mix. If you use single-coils or humbucking pickups it, you'll get a great sound for solos, long sustained leads or legato passages. ExtremeDS Extreme Distortion We deliberately made use of the power of digital processing and this sound the edge to get highest possible distortion. It raises the signal level to the highest amount at the input stage that generates wild distortion sound at the dipping stage. In fact, you won't change the distortion rate even if you lower the volume on your guitar! Its distorton is that deep. Contrary to the usual distortion effects whose sound gets thinner as you raise the gain, this “Extreme Distortion” won't lose the fatness and tightness of the sound Aco.Sim Acoustic Simulator This is the acoustic simulator that makes an electric guitar sounds like an acoustic guitar. We tweaked the tone to have it work best with the neck position pickup of a guitar. Now, you don't have to worry about feedback on stage, caused by using an acoustic guitar this simulation gives a perfect solution for that problem and you can add an acoustic sound to your Songs at any time you want Such as product names and company names are all (registered) brand names or trade marks of each respective holders, and Zoom Corporation is not associated or affliated with them. All product names, explanation and images are used for only purpose of identifying the specific products that were referenced during product development.

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.