G21U - Guitar Effects ZOOM - Free user manual and instructions

USER MANUAL G21U ZOOM

SAFETY PRECAUTIONS Usage Precautions SAFETY PRECAUTIONS In this m nanual, symbols are used 10 highlight warnings and cautions for you 0 read so that accidents can be prevented. The meanings of these symbols are as follows: Warning Caution This symbol indicates explanations about extremelÿ dangerous matters. f users ignore this symbol and handle the device the wrong way, serious injury or death could resui. This symbol indicates explanations about dangerous matters. If users ignore this symbol and handle the device the wrong way, bodil injury and damage to the equipment could result. Please observe the following safety tips and precautions 10 ensure hazard-free use of the G2.Iu. Power requirements Since power consumption of this unit is fairly high, we recommend the use of an AC adapter whenever possible. When powering the unit from batteries, use only alkaline types. [AC adapter operation] + Be sure to use only an AC adapter which supplies 9 V DC. 300 mA and is equipped with a “center minus" plug {Zoom AD-0006). The use of an adapter other than the specified type may damage the unit and pose a safety hazard Connect the AC adapter only 10 an AC outlet that supplies the rated voltage required by the adapter + When disconnecting the AC adapter from the AC outlet, always grasp the adapter itself and do not pl at the cable. + During lighining or when not using the unit for an extended period, disconnect the AC adapter from the AC outlet [Battery operation] + Use four comventional IEC R6 (size AA) batteries (alkaline). + The G2.1u cannot be used for rechargi: Pay close attention to the labelling of ü sure you choose the correct type. + When not using the unit for an extended period, remove the batteries from the unit as occurred, wipe the battery compariment and the battery terminals carefully to remove all remnants of batery fluid. + While using the unit, the battery compartiment cover should be closed. attery 10 make Environment ‘To prevent the risk of fire, electric shock or malfunction, avoid using your G2.u in environments where it will be exposed 10: + Extreme temperatures + Heat sources such as radiators or stoves + High humidiy or moisture + Excessive dust or sand + Excessive vibration or shock Handling AN + Never place objects filed with liquids, such as vases, on Vans je G2,1u since this can cause ek + Do not place naked flame sources, such as lighted candles, on the G2.1u since this can cause fre + The G2.Iu is à precision instrument, Do not exert undue pressure on the keys and other controls. Also take care not to drop the unit, and do not subject it Lo shock or excessive pressure. + Take care that no foreign objects (coins or pins etc.) or Hiquids can enter the unit. ic shock Connecting cables and input and output jacks You should always turn off the power o the G2.1u and all other equipment before connecting or disconnecting any cables, Also make sure 10 disconnect all connection cables and the power cord before moving the G2. 11 Alterations Never open the case of the G2. lu or attempt 10 modify the product in any way since this can result in damage to the unit Volume D Do not use the G2.u at a loud volume for a long time Since this can cause hearing impairment. Usage Precautions Electrical interference For safety considerations, he G2.1u has been designed 10 provide maximum protection against the emission of lectromagnetic radiation from inside the device, and protection from external interference. However, equipment that is very susceptible to interference or that emits powerful lectromagnetic waves should not be placed near the G2.1u, as the possibility of interference cannot be ruled out entrely. With any type of digital control device, the G2.1u included, electromagnetic interference can cause malfunctioning and can Corup or destroy data. Care should be taken Lo minimize the risk of damage. Cleaning Use a sofl dry eloth 10 clean the G2.lu. I necessary, stighuly moisten the cloth, Do not use abrasive cleanser, wax, or solvents {such as paint thinner or cleaning alcohol), since these may dull Ah finish or damage the surface. Please keep this manual in a convenient place for future reference. ZOOM G2.1u SAFETY PRECAUTIONS Usage Precautions. SAFETY PRECAUTIONS .. Usage Precautions. Features Terms Used in This Manual Controls and Functions / Connections Selecting a Patch Using the Tuner Using the Rhythm Function Editing a Patch Storing/Copying Patches Using the Built-in Expression Pedal. Use of Expression Pedal/Foot Switch. Using the built-in expression pedal. Adjusting the sensitivity of the built-in expression pedal Using an external expression pedal (FP01/FP02 Using a foot switch (FS01) Using the G2.1u as audio interface for a computer. Restoring Factory Defaults Linking Effects. Switching between live sound and direct recording sound Effect Types and Parameters. How to read the parameter table . COMP. WAH/EFX ZNR DRIVE . EQ . . : EXTRA EQ/CABI&MIC . MOD/SFX .. . DELAY REVERB … CONTROL... Sper ations Troubleshooting . G2.1u Preset Pattern Back cover The FCC regulation warning (for U.S.A.) This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmfül interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures + Reorient or relocate the receiving antenn: + Increase the separation between the equipment and receiver. + Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. + Gonsult the dealer or an experienced radio/TV technician for help. ZOOM G2.iu

Thank you for selecting the ZOOM G2.lu (hereafter simply called the "G2.lu"). The G2.lu is a multi effect processor with the following features and functions © Latest processing technology for outstanding performance 96 kHz / 24 bit sampling (with 32 bit internal processing) assures excellent sound quality. Frequency response remains flat up to 40 kHz, and input-converted signal-to-noise ratio is an amazing 120 dB, demonstrating the high level of performance achieved by the G2.lu. The G2.lu also has a USB connection and can be used as a direct guitar/computer interface © Versatile palette of effects including new creations Out of a total of 54 effects, up to nine (including ZNR) can be used simultaneously. The high-quality choices provided by the G2.lu include distortion effects that simulate the tones of famous amps and effects pedals, 6-band guitar EQ and delay effects with "hold" controloperated by foot switch. © Great for live performances and direct recording The distortion effect module provides two different algorithms for each of its 17 effect types, one for live performance and one for direct recording. Depending on the on/off setting of the CABINET & MIC effect which simulates amp cabinet sound and mic characteristics, the most suitable algorithm is automatically selected, giving you the best sound for any application. © Integrated rhythm functions and auto-chromatic tuner A number of rhythm patterns using realistic PCM drum sounds are provided. This is convenient for use as a metronome during individual practice or to provide a simple rhythm part for a quick session. An auto-chromatic tuner for guitar is also built right into the unit, allowing you to easily tune your instrument also at home or on stage © Sophisticated user interface The combination of a rotary type selector and three parameter knobs make the effect editing process intuitive and quick. The mute interval when switching patches has been reduced to less than 5 milliseconds. Seamless patch changing is now a reality. © Dual power supply principle allows use anywhere The G2.lu can be powered from four IEC R6 (size AA) batteries or an AC adapter. Continuous operating time on batteries is approximately 7.5 hours with alkaline batteries. © Easy operation with expression pedal and foot switch The expression pedal on the top panel lets you adjust the tonal quality of an effect or the volume in real time. An optional expression pedal (FPO1/FPO2) or foot switch (FS01) can be connected to the CONTROL IN jack. The external expression pedal is used for controlling the volume. The foot switch is convenient for quickly toggling effect programs or for setting the tempo of the rhythm function. Please take the time to read this manual carefully so as to get the most out of the unit and to ensure optimum performance and reliability. 4 ZOOM G2.1u Terms Used in This Manual This section explains some important terms that are used throughout the G2.lu documentation: IN +(COMP}-{WAH/EFX)-(2NR) DRIVE) {EQ)EXTRA EQ/CABIEMIC) {MOD/SFX }{DELAY }{REVERB }>- OUT M Effect module As shown in the illustration above, the G2.1u can be thought of as a combination of several single effects. Each such effect is referred to as an effect module. In addition to modules comprising compressor effects (COMP), amp simulator/distortion effects (DRIVE), and modulation/special effects (MOD/SFX), the G2.lu also provides a module for ZNR (ZOOM Noise Reduction). Parameters such as effect intensity can be adjusted for each module individually, and modules can be switched on and off as desired. M Effect type Within some effect modules, there are several different effects which are referred to as effect types. For example, the modulation/SFX effect module (MOD/SFX) comprises chorus, flanger, pitch shifter, delay, and other effect types. Only one of these can be selected at a time. M Effect parameter All effect modules have various parameters that can be adjusted. These are called effect parameters. In the G2.lu, effect parameters are adjusted with the parameter knobs 1 — 3. Similar Lo the knobs on à compact effect, these change aspects such as tonal character and e tensity. Which parameter is assigned 10 each knob depends on the currently selected effect module and effect type. m Patch In the G2.lu, effect module combinations are stored and called up in units referred 10 as patches. À patch comprises information about the on/off status of each effect module, about the effect type used in each module, and about effect parameter settings. The internal memory of the G2.lu holds up to 80 patches (including 40 patches which allow read/write). M Bank and area A group of ten patches is called a bank. The memory of the G2.lu comprises a total of eight banks, labelled A 10 d'and 0 10 3. Banks A d form the user area which allows read/write. Banks 0 1 3 are the preset area containing read-only patches. The patches within each bank are numbered 0 through 9. To specify a patch of the G2.lu, you use the format "AL" (patch number 1 from bank À), "06" (patch number 6 from bank 0), etc M Play mode/edit mode The internal status of the G2.Iu is referred 10 as the operation mode. The two major modes are ‘play mode” in which you can select patches and use them for playing your instrument, and "edit mode” in which you can modify the effects. The module selector serves for switching between the play mode and edit mode. Operating the G2.1u on batteries

1. Tum the G2.1u over and open the cover

of the battery compartment on the bottom. f G2.1u bottom view | Press the latch to release it and then raise the cover.

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

RG (size AA) batteries. the battery compartment. Push the cover in until the latch audibly snaps into place. Four IEC R6 (size AA) batteries QC Insert batteries facing h VE® in altemate directions. Use four IEC RG (size AA) batteries. © When the batteries are getting low, the indication "bt" appears on the display. ZOOM G2.iu

Controls and Functions / Connections Module selector Top Panel Controls and Functions / Connections Parameter knobs 1 - 3 These knobs allow changing the level of effect parameters or of the overall patch. During rhythm playback, the knobs let you Switches between play mode and edit mode. In edit mode, the knob selects the module for operation. BANK [-J/[+] keys In play mode, the keys serve for directly switching to the next lower or higher bank. In edit mode, the keys switch the effect type for the currently selected module. [STORE] key Serves for storing edited patches in memory. [VY/[A] foot switches These switches are used for selecting patches, switching effect modules on and off, controlling the tuner, and other functions.

CE CE. CE Q select a pattern, set the tempo, and adjust the rhythm volume. F D NN ail [PEDAL ASSIGNI] key This key lets you select the function of the built-in expression pedal. The currently selected function is shown by a lit LED. [TAP] key C1 es Il Allows manual input of time related effect parameter values such as delay time, and rhythm pattern tempo. Guitar [USB] connector Allows you to connect the G2.lu. to a computer, for exchanging audio data. When you plug a cable from this connector into the USB port of the computer, you can use the G2.Iu. as an audio interface for the computer. [OUTPUT/PHONES] jack RHYTHM D>/] key | 10 start/stop rhythm playback.

LA Display à Shows patch numbers, setting values, and other information (about operating the G2.lu.

(Expression pedal Lets you adjust the volume or various effect parameters in real time during play. [INPUT] jack Serves for connecting the guitar.

This stereo phone jack serves for Guitar amplifiers connection to a guitar amplifier or : ©0 recorder. It is also possible to use a

Y cable for sending the output to two amplifiers, or to plug a pair of stereo headphones into this jack. Headphones

[DC IN] jack An AC adapter (ZOOM AD-0006) with a rated output of 9 volts DC, 300 mA (center minus plug) can be plugged into this jack. AC adapter [POWER] switch Turns the unit on and o! [CONTROL IN] jack Serves for connection of the optional foot switch (FSO1) or expression pedal (FPO1/FP02). MTR (multitrack recorder)

Selecting a Patch To try out the various effects of the G2.1u, we recommend that you simply play your instrument while switching patches. © Turn power on e Use a monaural shielded cable to connect the guitar to the [INPUT] jack of the G2.1u. e When using the G2.1u with the AC adapter, plug the adapter into the outlet and plug the cable from the adapter into Selecting a Patch the [DC IN] jack on the G2.1u. 6 Adjust tone and volume e To adjust the effect sound and volume levels in play mode, the Parameter knobs 1 -3 can be used. Each knob controls a specific parameter. Parameter knob 1 Parameter knob 3 Adjusts the GAIN Adjusts the PATCH parameter of the LEVEL parameter DRIVE module (mainly (output level of the distortion depth). entire patch). + Set the [POWER] switch on the rear E C. panel of the G2.1u to ON. Ju " Turn the guitar amplifier on and adjust the volume to a suitable po: F1 Set the G2.1u to play mode e If the Module selector is set to a position other than "PLAY", set it to "PLAY". The bank and patch that were selected when the power was last turned off will appear on the display. Bankname’ Patch number HINT immediately after turning the G2.1u on, the unit wi be in play mode, even if the Module selector is set to a position other than "PLAY". Æ Select a patch e To switch the patch, press one of the [W]/[A] foot switches. Pressing the [ W ] foot switch calls up the next lower patch, and pressing the [A] foot switch calls up the next higher patch. Repeatedly pressing one foot switch eycles through patches in the order AO — A9 … d0 — d9 — 00-09 … 30 — 39 — AO, or the reverse order. 8 ZOOM G2.1u o ° Parameter knob 2 Adjusts the TONE parameter of the DRIVE module (mainly distortion sound character). When you turn a Parameter knob, the corresponding LED lights up and the display briefly shows the current value of the respective parameter. NOTE + Ifthe DRIVE module is set to OFF for the currently selected module (display shows "oF"), Parameter knobs 1 and 2 have no effect. + Changes made here are temporary and will be lost when you select another patch. To retain the changes, store the patch in the user area. + The master level in common to all patches is set in edit mode (> p. 34). @ Directly selecting a bank + To select the banks A - d, 0 -3 directly, use the BANK [-J/[+] keys. Pressing the BANK [-] key calls up the next lower bank, and pressing the BANK [+] key calls up the next higher bank. ZOOM G2.iu

Using the Tuner Using the Tuner ©) Adjusting the reference pitch of the tuner If required, you can fine-adjust the reference pitch of the G2.Iu tuner. The default setting after power-on is center À = 440 Hz. The G2.lu incorporates an auto-chromatic tuner. To use the tuner function, the built-in effects must be bypassed (temporarily turned off) or muted (original sound and effect sound turned off). + Turn Parameter knob 1. The current reference pitch is shown. @ Switch to bypass or mute The adjustment range is 35 — 45 (center A = 435 to 445 Hz). + Setting the G2.1u to the bypass us rem In play mode, press both [W J/[A] foot switches together briefly and release. + While the reference pitch value is shown, turn Parameter knob 1 to adjust it. + Setting the G2.1u to the mute state In play mode, press both [W JA] foot — switches together and hold for at least 1 second. When you release the Parameter knob, the display indication will return to the previous condition after a while.

When you turn the G2.1u off and on again, the reference pitch setting will be reset to 40 (center À = 440 Hz). ÂÀ Patch change at bypass/mute When you press both [W]/A] foot switches together while playing your instrument, the bypass/mute condition is activated. However, the sound may change momentarily just before the condition is activated. This is because the G2.1u switches to the next higher or lower patch when one of the foot switches is pressed slightly earlier. (When you cancel the bypass/mute condition, the original patch number will be active again.) This kind of behavior is not a defect. it is due to the very high speed at which the G2.1u responds to patch switching. To prevent the sound change caused by the above condition, do not produce sound with your instrument until the bypass/mute condition is fully N U established. 3 Return to play mode Press one of the [W]/[A] foot switches. The right side of the display shows a | Pitchishigh Pitchis correct Pitch is low symbol that indicates by how much the tuning is off. F1 Play the string to tune + Play the open string to tune, and adjust the pitch. F+ 0 + © “x PAS The left side of the display shows the note which is closest to the current pitch. Tune other strings in the Indication turns faster the more same way. the pitch is off 10 ZOOM G2.1u ZOOM G2.1u 11

Using the Rhythm Function The G2.lu has a built-in rhythm function that plays realistie drum sounds in various patterns. The rhythm function is available in play mode or in the bypass/mute condition. O1 Set the G2.1u to play mode e If the Module selector is set to a position other than "PLAY", set it to "PLAY". Æ1 Start the rhythm function e To start the rhythm function, press the RHYTHM [b-/I] key. NOTE During rhythm playback, the REVERB module is OFF. € Select a rhythm pattern The G2.lu has 40 built-in rhythm patterns. For more information on the pattern contents, see the back cover of this manual. e To continuously switch rhythm patterns, turn Parameter knob 1. e To select the next higher or next lower rhythm pattern, press one of the BANK [-J/[+] keys. ‘When the above steps are carried out, the current rhythm pattern number (01 — 40) is briefly shown on the display.

ZOOM G2.1u €3 Adjust the rhythm volume e To adjust the rhythm volume, turn Parameter knob 3. When you turn the Parameter knob, the current setting (0 — 30) is shown on the display. 6 Adjust the tempo The rhythm pattern tempo can be adjusted in the range of 40 — 250 BPM (beats per minute). e To continuously change the rhythm tempo, turn Parameter knob 2. e To manually specify the rhythm tempo, hit the [TAP] key at least three times in the desired interval. . At the first push of the [TAP] key, the current tempo value is shown on the display. The G2.1u then automatically detects the interval for the second and subsequent keypresses and sets the tempo accordingly. While the above steps are carried out, the current tempo value (40 — 250) is shown on the display. For values in the range from 100 to 199, a dot is shown after the first digit. For values of 200 and above, dots are shown after the first and second digits. apr

Dot is shown Dots are shown Tempo = 120 BPM Tempo =240 BPM G Stop the rhythm e To stop the rhythm, press the RHYTHM [b-/M] key. The G2.lu returns to the previous condition. ZOOM G2.iu

Editing a Patch The patches of the G2.Iu can be freely edited by changing the effect parameter settings. Try editing the currently selected patch to create your own sound. O1 Select the effect module + Turn the Module selector to select the effect module to edit. The following settings are available.

4)onve_£0 maso/asieur (6) jan MODS (7)

Editing a Patch O Terminate the edit mode + To terminate the edit mode and return to the play mode, set the Module selector to the "PLAY" NOTE When you return to play mode and select another patch, the changes you have made in edit mode will be lost unless you store the patch first. To retain the changes, store the patch as described on page 16. position. € Change the parameter value + To change the setting value of effect vut (8) Cow reve (9) (ur ConrRoL (10) _- (1) COMP module @) WAH/EFX module (3) ZNR module (4) DRIVE module (5) EQ module (6) EXTRA EQ/CABI&MIC module (7) MOD/SFX module (8) DELAY module () REVERB module (10) Pedal/foot switch related parameters When you switch to a different module, the effect type currently selected for that module is shown on the display. While the G2.Iu is in edit mode, a dot appears in the bottom right of the display. CE. CE C parameters, use the Parameter knobs 1-3. Which parameter is assigned to a knob depends on = which effect module/effect type is selected. For NOTE When a module that is set to OFF is Qe— Dot shows that unit is in edit mode The indication "oF" appears on the display. When you press one of the foot switches again, the indication returns to the previous condition. To switch an effect module on and off + To switch the selected module between ON and OFF, press one of the [W]J/[A] foot switches. 14 ZOOM G2.1u

information on parameters for effect modules/effect types, see page 27 — 34. S When you turn a Parameter knob, the corresponding LED lights up and the display briefly shows the current value of the respective parameter. ac ana non w) Œ 65 selected, the display will show "oF". E Select the effect type ° To switch the effect type of the selected module, use the BANK [-J/[+] keys. If you press the BANK [-J/[+] keys for a module that is set to OFF, the module NOTE ji betumed ON. For modules that have only one effect type, pressing the BANK [-J/[+] keys has no effect. ZOOM G2.1u 15

Storing/Copying Patches Sto An edited patch can be stored in a bank of the user area (A — d). It is also possible to store an existing patch in another location to create a copy. G To cancel the store process e To cancel the store process, operate the Module selector before pressing the [STORE] key again (£3). @Q !n play mode or edit mode, press the [STORE] key. e The bank and patch number are shown on the display as a flashing indication. ar ji €3 Press the [STORE] [0 - = key once more ILE st De a ” + When the store/copy process is 7 G completed, the G2.1u returns to NOTE goes SI pans NA EM preset area (o- / | " the previous mode, with the target are read-only. No patches can be atch being selected. stored or copied into these locations. If P 8 you press the [STORE] key while a patch from the preset area is selected, the patch "A0" (bank A, patch number 0) will be selected automatically as default store/copy target. F1 Select the store/copy target bank s ify the store/ t t e To select the store/copy target bank, [3] pecify the store copy targe use the BANK [-J/[+] keys. P + To specify the store/copy target patch number, use the [V]/[A] foot switches. NOTE Oniy a bank of the user area (A — d) can be selected as store/copy target bank. 16 ZOOM G2.1u ZOOM G2.1u 17

Using the Built n Expression Pedal The expression pedal on the top panel of the G2.Iu lets you adjust the effect sound or the volume in real time during play. Which element is controlled by the pedal can be selected for each patch individually. © Select the patch for which the expression pedal is to be used P1 Select the element to be controlled by the expression pedal e Press the [PEDAL ASSIGN] key to select the element to be controlled by the expression pedal. The row of LEDs above the key shows which element is currently selected. © VOLUME

ODRIVE © MOD/SFX O DELAY O REVERB The respective selection is indicated as follows. + All LEDs are out The expression pedal has no effect. + VOLUME

effect. The expression pedal controls the volume for the entire patch. + WAH/EFX, DRIVE, MOD/SFX, DELAY, REVERB The expression pedal controls a parameter from the respective module. HINT : Which parameter will be changed by the expression pedal depends on the effect type selected for the respective module. For details, see pages 27 - 33. + The pattern in which the parameter changes when the expression pedal is operated can be selected in edit mode from four choices. For details, see page + Ifthe module to which the expression pedal was assigned is set to OFF in the patch, the LED flashes. In this case, operating the expression pedal has no Using the Built-in Expression Pedal

€) Operate the pedal Move up or down e While playing your instrument, move the expression pedal up or down. Ë es Œ.C Ô). = (O

ZOOM G2.1u E3 To switch a module on or off + When you push the expression pedal fully down, the module selected with the [PEDAL ASSIGN] key is Switched on or off. Push fully down f Store the patch as necessary + The expression pedal setting can be stored for each patch individually. NOTE If you select another patch in play mode without storing the patch, any changes that you have made to the settings will be lost. ZOOM G2.iu

Use of Expression Pedal/Foot Switch The G2.lu lets you use the built-in expression pedal or an external expression pedal (FPO1/FP02) connected to the [CONTROL IN] jack to adjust the effect sound or the volume in real time during play. Connecting an optional foot switch (FS01) to the [CONTROL IN] jack allows changing patches or setting the tempo for the rhythm function. Using the bu expression pedal The built-in expression pedal on the top panel of the G2. lu can function as a volume pedal or it can be used to control an effect parameter in real time. Which function is selected for the expression pedal is stored for each patch individually. For details on parameters that can be modified with the expression pedal, see pages 27 - 33.

1. Select the patch for which you want

to use the expression pedal.

2. Set the Module selector to the

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

3. Tum Parameter knob 1 to select one

of the following modulation targets for the expression pedal (> p. 34). e0F Pedal is inactive. evL Volume © WU, Wd, WH, WL WAH/EFX module © GU, Gd, GH, GL DRIVE module © MU, Md, MH, ML MOD/SFX module © du, dd, dH, dL DELAY module © rU,rd,rH,rl REVERB module HINT + The modulation target can also be selected by using the [PEDAL ASSIGN] key (— p. 18). This method is available both in edit mode and in play mode. Which_ parameter changes when the expression pedal is operated depends on the effect type selected for the module. For details, see pages 27 -

The pattem in which the parameter changes when the expression pedal is operated can be selected in edit mode from four choices. For details, see page

4. |f necessary, store the patch.

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

5. Select the patch in play mode and

operate the expression pedal. The selected function will be activated. When the G2.lu is in the bypass condition, the expression pedal always functions as a volume pedal, regardless of the setting made in step 3.

ZOOM G2.1u Use of Expression Pedal/Foot Switch The expression pedal of the G2.Iu is adjusted for optimum operation at the factory, but sometimes, readjustment may be necessary. If the sound does not change when the pedal is fully pushed down, or if it changes excessively even if the pedal is only lightly pushed, adjust the pedal as follows.

1. Turn power to the G2.1u on while

keeping the [PEDAL ASSIGN] key depressed. The indication "dn" appears on the display.

2. With the expression pedal fully raised,

3. Push the expression pedal fully down

and then lift your foot off the pedal. Push strongly, + 50 that podal touches

Se — When foot is lifted, 1 pedal returns slightly.

4. Press the [STORE] key once more.

The expression pedal adjustment is completed, and the unit returns to the play mode. HINT +_The point where the module is switched on or off when the pedal is depressed is always the same, regardiess of the action taken in step 3. +_If "Er" appears on the display, repeat the procedure from step 2. Using an external expression pedal (FPO1/ FPO2) When you connect an optional expression pedal (FPO1/FP02) to the [CONTROL IN] jack of the G2.lu, you can use that pedal as a volume pedal, separately from the built-in expression pedal.

1. Plug the cable from the external

expression pedal into the [CONTROL IN] jack, and then turn the G2.1u on.

2. Operate the external expression

pedal in play mode or edit mode. The volume changes. HINT The external expression pedal always functions as a volume pedal.

Using a foot switch (FS01)

Connecting an optional foot switch (FS01) to the ICONTROL IN] jack of the G2.1u allows bank switching in play mode. It is also possible to switch bypass/mute on and off, control the tap tempo function, or perform other functions with the foot switch.

1. Plug the cable from the FS01 into the

Use of Expression Pedal/Foot Switch

2- Set the Module selector to the

of the following functions for the foot itch. © bP (bypass/mute) The foot switch controls bypass or mute on/off. This has the same effect as pressing both [W]/ [A] foot switches at the same time in play mode. © tP (tap tempo) Pressing the foot switch repeatedly can be used to set the interval for the rhythm function or to make settings for effect parameters supporting the tap function. This has the same effect as pressing the [TAP] key. © bU (bank up) Each push of the foot switch switches to the next higher bank. This has the same effect as pressing the BANK [+] key. © rH (rhythm on/off) The foot switch controls start/stop of the rhythm function. This has the same effect as pressing the RHYTHM [b-/M] key. © dH (delay hold) The foot switch controls on/off of the delay hold function. When a patch using the hold function is selected, pressing the foot switch will activate hold, causing the current delay sound to be repeated (see illustration at the bottom of this page). Pressing the foot switch once more cancels the hold condition, and the delay sound will decay normally. © dM (delay input mute) The foot switch controls muting onfoff for the delay module input signal. HINT For information on effect parameters supporting the tap function, see pages 27 - 33. To use the hold function, an effect type that supports the hold function must be selected in the patch. For details, see page 34. While the delay module is set to hold or mute, the dot in the center of the display flashes.

4. Select the patch in play mode and

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

Using the G2.1u as audio interface for a computer By connecting the [USB] connector of the G2.lu to a computer, the G2.lu can be used as an audio interface with integrated AD/DA converter and Original sound Delay sound

Foot switch pressed == Æ Pressed again

ZOOM G2.1u Use of Expression Pedal/Foot Switch effects. The operating environment conditions for this type of use are as follows. = Compatible operating system + Windows XP + MacOS X (10.2 or later) M Quantization 16-bit quantization = Sampling frequency 32 kHz /44.1 kHz /48 kHz HINT With each of the operating systems listed above, the G2.1u will function as an audio interface simply by. connecting the USB cable. There is no need to install any special driver software. To use the G2.lu as an audio interface for the computer, connect the [USB] connector of the G2.lu to a USB port on the computer. The G2.lu will be recognized as an audio interface. HINT +_Ifthe [POWER] switch of the G2.1u is set to OFF, power will be supplied via the USB connection. +_Ifthe [POWER] switch of the G2.1u is set to ON, power will be supplied from the batteries in the G2.1u or the AC adapter. Care should be taken especially when running on battery power, because setting the switch to ON may result in faster depletion of the batteries. In this condition, the sound of a guitar connected to the [INPUT] jack of the G2.lu can be processed with the effects of the G2.lu and then recorded on the audio tracks of a DAW (Digital Audio Workstation) software application on the computer. At the same time, the [OUTPUT] jack of the G2.lu caries the playback sound from the audio tracks of the DAW application, mixed with the guitar sound processed by the effects of the G2.u. For details on recording and playback, refer to the documentation of the DAW application. NOTE Also when using the G2.1u as an audio interface, the signal after effect processing is always available directly at the [OUTPUT] jack K the DAW application has an echo back function {input signal during recording is supplied directly to an output), this must be disabled when using the G2.1u. If recording is carried out with this function enabled, the output signal will sound as if processed by a flanger effect. Use a high-quality USB cable and keep the connection as short as possible. If power is supplied to the G2.1u via a USB cable that is more than 3 meters in length, the low voltage warning indication may appear. 621 | hopiation INPUT Erects | USB (OUTPUT] Record Te — ps | N eh | USB ==, [OUTPUT] [USB] _ Playback ZOOM G2.iu

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

1. Turn the G2.1u on while holding down

2. To carry out the All Initialize function,

press the [STORE] key once more. All patch settings are returned to the factory default condition, and the unit switches to play mode. To cancel All Initialize, press the RHYTHM [B-/M] key instead of the [STORE] key. NOTE When you carry out AI Initialize, any newly created patches that were stored in the user area will be deleted (overwritten). Perform this operation with care to prevent losing any patches that you want to keep. 24 ZOOM G2.1u The patches of the G2. lu consist of nine serially linked effect modules, You can use all effect modules together or selectively Effect module shown in the illustration below. use certain modules by setting them to on or off. (EP LEE EEE Ex

PHASER US BLUE SHIFTER MULTI TAP

RING BG CAUNCH PEDAL DELAY

MobuLaroR | MS DANE PITGH

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

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

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

SENSE - ATTACK LEVEL -

Effect parameters 1 -3 © o=10 2 Fs SL © 2798.10 Ajust he compressor SERIE CIS compresser auack speed in two These are the parameters that can be adjusted with Parameter knobs 1 - 3 when er setting values result in higher | [levels. Available setines ane *FS" (Tus0) dust he signal level after passing the the effect type is selected. The setting range for each parameter is shown. Sensitivity and "SL" (Slow) Three-digit setting values are shown with a dot between the two numerals. Example: 1 - 98, 1.0 = 1-98, 100 “ (@) WAH/EFX (Wah/Effects) module Module selector Comprises wah and filter effects as well as VCA type effects. The Module selector Effect module REA AUTO WAH symbol shows the Effect type This effect varies wah in accordance with playing intensity. position of the knob at EAN" FORGE which this | EE : : dur EL AY mod [This effect varies the frequency band of the resonance filter according to the picking intensity. module/parameier is ÎThi 15 a delay module which a [os long delay te | and'use ofthe poid function. [The no elfect types above have the same parameters. called up. TRE This 5 à la à MM EE 1 000 ma POSITION SENSE 40-1,1- RESONANCE |o- ee a eee sen [1] bF, AF a 10-4,1-10| |©) o-10 —+*) Fe pr pong pe layer re day sou ar | Ectneon ef era Selects the connection position ofthe Cm ss à effect se qe Me vb Gale des À lg Adiusts the effect semstivity. | | Adjusts ie resonance of he sound ee ame parie !"AF" (after EQ/EXTRA EQ module). Orecosacx |o_08 10 mx Len 10 = Ï e 55 DES BOOSTER Raises signal gain and creates a dynamic sound. Qrance 1-5 @TonE 0-10 O’EvEL 2-98, 1.0 " Sclecis he frequency and that is Adiust the sound qualit, Adjusts he Expression pedal boosted. Jjusts 1 quality 2 passing the mod A pedel icon (2 ) in the listing indicates a parameter that can be controlled with the expression FRE EG pedal (FPOt/FPO2). [This effect periodically varies the volume Specify the respective module as modulation target for the expression pedal (-> p. 20), and then select the respective effect type of the module. The parameter can then be controlled in real time O DEPTH 0 - 98, 1.0 a RATE 0-50 (3) WAVE a Fr e a s with a connected expression padal. Allows selection of the modulation Tap waveform. Available settings are "u" A [TAPI] key icon (@TAP') in the listing indicates a parameter that can be set by hitting the [TAP] Adjusts the modulation depth. a ©TAP Adjusts the effect rate. : key. values result in more clipping of wave peaks, which reinforces the effect. In edit mode, when the respective module/effect type is selected, repeatedly hitting the [TAP] key wil set the parameter according to the key press interval (modulation cycle, delay time, etc.). FAP PHASER In play mode, if the DELAY module is ON for the currently selected patch, repeatedly hitting the This effect produces sound with a puisating character. [FAP] key will temporarly change the parameter. OpPosmion |br, ar (21 0-50 @ coior 1-4 Hold A foot switch icon (HOLD ) in the listing indicates an effect type for which hold can be turned 1e connection posion on and off with the foot switch (FSO1). a GTAP Adjusts the modulation rate. | |Adjusts the type of sound. are "bF" (before D Set the foot switch function to "dH” (delay hold) (-> p. 22) for the respective patch. When this patch M'AF" (afier EQ/EXTRA EQ module) is then selected in play mode, the hold function can be switched on and off by pressing the foot switch. 26 ZOOM G2.1u ZOOM G2.1u 27

Effect Types and Parameters

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

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

Simulates a vintage pedal wah sound. Adjusts the attack volume change curve. 2-98, 1.0 [1] POSITION |bF,AF [2] FREQUENCY |:-50 [3] LEVEL 2-98, 1.0 Selects he connection position of 1e Ajust de Frequency dat WAH/EFX module. Available settings emphasized. When no expression | | Adjusis the signal level after passing the are "bF" (before DRIVE module) and 2 pedal is used, the effect is the module. "AF" (after EQ/EXTRA EQ module). same as with a half-raised pedal. ZNR (ZOOM Noise Reduction) module This module serves for reducing noïse during playing pauses. I offers a choice between noise reduction (reduction of noise components) and noise gate (muting during pauses). nr Din ZNR (ZOOM Noise Reduction) ZOOM original noise reduction which reduces noise in playing pauses without affecting the overall tone. GE Gt GATE [This is a noise gate which cuts off the sound during playing pauses. dE MG DIRTY GATE This is a vintage type gate with special closing characteristics. Al above effect 1ypes have 1e same param Q rHrEshoiD 1-16 Adjusts the Sensitivity. For maximum noise reduction, set Ihe value as unnaturally as possible without causing 1he sound 10 di 28 ZOOM G2.1u Effect Types and Parameters ne DRIVE module CABINET & MIC effect (> p. 25). his module provides 16 types of distortion and an acoustic simulator Each effect type of he module has two modeling algorithms (for live performance and direct recording). These algorithms are switched automatically according to the on/off condition of the

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

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

FF FF FUZZFACE FEI ME METALZONE

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

0-10 O!EEL 2-98, 1.0

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

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

0-10 O!EEL 2-08, 1.0

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

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

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

Adjusts the three remaining bands of the six-band equalizer. The HARMONICS control allows adjustment of the harmonics frequency range level. Q'ouo #12 400Hz @PRESENCE |+2 Gaz @HarMonics «12 12kHz Adjusts the mid-low frequency rang level. Adjusts the extremely high frequency range level. Adjusts the harmonies Frequency range level. L'h BCb: CABINET & MIC recording on a muli-track recorder This effect type simulates amplifier cabinet sound and mic directional ci r. The cabinet characteristics are automatically set either to Combo (12* x 1, 12" x 2) or to Stack (12* x 4), depending on the selected drive type. The onvoff condition of this effect in turn automatically switches the modeling algorithm of the DRIVE module (> p. 25). haracteristics, suitable for direct [1] MIC TYPE dy, Co @ mic posirion|o - 2 Selects the mic type. "dy" simulates the frequency response of a dynamic mic and "Co” simulates the frequency response of a condenser mic. characteristics ac bickup position. The following settings are available. 0: Mic pointed at speaker center 1: Mic pointed halfway between speaker edge and center Mic pointed at speaker edg MOD/SFX(Modulation/SFX) module Comprises modulation and delay effects such as chorus, pitch shifter, delay, and echo. L'HCH: CHORUS [This effect mixes a variable pitch-shifted component to the original signal resulting in full-bodied resonating sound! Ooer“ 0-98, 1.0 1-50 QPRATE 0-98, 1.0 om"x Adjusts the modulation depth. 2%, Adiust he modulation rate Adjusts the level of the effect sound mixed 10 the original sound. SC ISC STEREO CHORUS [This is a stereo chorus with clear sound. 0-98, 1.0 Over“ 1-50 QPATE Adjusts the modulation depth. lAdjusts the modulation rate. sound.

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

-10--1,0, @rEsonance 0 Adjusts the modulation depih. a ©TAP Adjusts the modulation rate: Adjusts the modulation resonance intensity riginal sound up or down.

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

[This effect allows using a pedal to shift the pitch in real time. See Table 1 © coton Q@more UP, dn @TONE o-10 Selects 1he type pitch change type ffected by the pedal. Selects the direction of the pitch change. Adjusts the sound quality Fable 1 COLOR MODE æ Pedal minimum value = Pedil maximum value COLOR MODE <# Pedl minimum value za Pedel maximum value UP] -100cent Original sound only UP [-toctve+ DAY | +1octave + DAY 1 | dn [original sound onty -100 cent 5 | dn |+toctave+DRY | -1 octave + DRY UP | DOUBLING Detune + DAY UP | -700 cent+ DAY | 500 cent + DAY 2 | dn| Detune + DRY DOUBLING 6 | dn | 500cent+DRY | _-700 cent + DRY UP D cent +1 octave UP | = OH) + DAV +T octave 3 [an +1 octave 0 cent T7 Jan +1 octave 2 (0 Hz) + DRV UP Ocent 7 octaves UP | QOH2+ DAV | +1octave + DRY 4 Jdn/ -2octaves 0 cent 8 | an |+1octave+DRY | + (0 Hz)+DRY LE Bb VIBRATO Effect with automatic vibrato. Qoer“H 0-98, 1.0 (21 0-50 98, 1.0 Adjusts the modulation depih. a, GTAP Adjusts the modulation rate. sound mixed 10 the original sound. SE Est STEP Special effect that changes the sound in a staircase pattern. M EAN 0-98, 1.0 QRATE 0-50 © RESONANCE 0 - 10 Adjusts the modulation depih. 2 GTAP Adjusts the modulation rate. Adjusts the modulation resonance intensity di Idb DELAY [This is a delay with a maximum setting of 2000 ms. adjusment is made in 10-ms steps (1 99). For 1 second and above, the adjustment is made in 100-ms steps (1.0 2.0). 1-99, QE 5% @reeosack |0-08, 1.0 [3 LL 0-08, 1.0 OP Adusts the delay me. In the range from 10 — 990 ms, the Adjusts the feedback amount. Adjusts he level of the effect 2% sound mixed to the original sound. ZOOM G2.iu

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

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

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

HARMONIZED PITCH SHIFTER

Deicrmines Ie interval For the pitch Deiermines the one for the scale used Adjusts the leve of the ellect sound shified sound (see Table 2) for pitch shifting (see Table 3). 2 mixed (0 the original sound Table 2 Table 3 Setting [Type ofscale] _Interval_|Setting [Typeofscale] _Interval | [Setting [Tonic _[Setiing [Tonic 6 Sixth down | 3 Third up G G Fo | E Eh down Four u C G S_| Major scale 4} Major scale P Se S _ 4 Fourth down | 5 Fifi up a D Go | 3 Third down | 6 ch up do | D# A A E Third down, E M] Minor scale E È Ao | ñ* m Third up F F Bb B 32 ZOOM G2.1u Effect Types and Parameters wur |DELAY mod This is a delay module which allows long delay times and use of the hold function. SE DDDIDE AY. =H0D This is a delay with a maxi imum setting of 5000 ms. Fo Pa PINGPONG DELAY LD This is a ping-pong type delay where the delay sound altemates between left and right.

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

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

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

Effect Types and Parameters Specifications CONTROL module Serves for making pedal settings and lets you control the foot switch function and master Effect types 54 mo |Ievel setting appiying to all patches. Effect modules Max. 9 simultaneous modules Ormossrauon see rabie a | |@FS See Tabies | |@MASTERLEVEL 08, 10 Patches User area: 10 patches x 4 banks Preset area: 10 patches x 4 banks Wen an expression pedal (FPOUPOD) | ER COR Re eee Sampling frequency 96 kHz is connected to the [CONTROL IN] he function that can be operated with AD converter 24 bit, 64 times oversampling jack, this selects the modul a | [pe Dre Adjusis the master level for all patches. module for he RTM function (See Table| | 0 een here doubs Lu ell D/A converter 24 bit, 128 times oversampling

4) patches. pesto Signal processing 32 bit

Tanoa Tabes Frequency response 20 Hz — 40 kHz +1 dB -3 dB (with 10 kilohms load) Setting Modulation target Setting Function Display 2-digit 7-segment LED DE GE D EraMue Parameter LEDs, Pedal assign LEDs VL Ti FF Input Standard mono phone jack WU, Wd, WH, WL | WAH/EEX module () DU [Bank up Rated input level -20 dBm GU, Gd, GH, GL_ [DRIVE module (7) rH [Rhyihim function onoir Input impedance 1 megohm MU, Md, MH, ML [MODISFX module () an |Deny hot Output Standard stereo phone jack (doubles as line and headphone jack) AU, dd, dH, dL. — [DELAY module (9) AM Dehy mue Maximum output level Line: +5 dBm (output load impedance 10 kilohms or more) FU dr. [REVERB module (9) Phones: 20 mW + 20 mW (into 32 ohms load) Control input For FPO2/FSO1 USB interface : . PC interface: 16-bit (stereo configuration for recording/playback) me par of mous cnrs y C ) um vaue Sampling frequency: 44.1 kHz, 48 kHz o anges as follows, according to the letter a Power requirements gt AC adapter® V DC, 300 mA (center minus plug) (ZOOM AD-0006) 5 Batteries Four IEC R6 (size AA) batteries, Lui UP Approx. 7.5 hours continuous operation (alkaline batteries) The parameter is at minimum when the pedal is Minimum value one N u N N Dimensions 165 mm (D) x 255 mm (W) x 79mm (H) fully raised and at maximum when the pedal is fully : 3 ” “ Weight 1100 g (without batteries) pushed down. DOWN : N " ote , Maximum value Options Expression pedal FPO2/ Foot switch FSO1 ; + 0 dBm = 0.775 Vrms | 4 DOWN + Design and specifications subject to change without notice. The parameter is at maximum when the pedal is fully raised and at minimum when the pedal is fully Minimum value —+ . pushed down sion. d Troubleshooting Maximum value CH HicH © No power When the pedal is fully raised, the parameter is at Value st patch Refer to “Turn power on” on page 8. the value set in the patch. When the pedal is fully © Reverb effect does not operate pushed down, the parameter is at maximum While a rhythm pattern is playing, the reverb effect is not available. Stop the rhythm pattern first — p.12). | "LOW" © High level of noise Li) Low : Value set in patch Is ZOOM AC adapter being used? Be sure to use only adapter for 9 V DC, 300 mA with center When the pedal is fully raised, the parameter is at minus plug (ZOOM AD-0006) minimum. When the pedal is fully pushed down, © Battery life is short the parameter is at the value set in the patch. Are manganese batteries being used? The use of alkaline batteries is recommended. Minimum value

G2. lu Patch List Please use patches "for Live" when you use guitai when you connect your guitar directly to a recorder. p, and use patches "for Recording" Setting recommendatio n popular guitar amps Note 1 : The default patches stored in the pre-set area from the bank No. 0 to No. 3 are the same as those stored in the banks from À to d. Note 2 : We recommend you to adjust the parameter for the noise reduction according to your guitars and amps. maximum. Name of patches R : Torive ? forfecodine Descriptions Key effect | Pedal setting Marshall JCM-2000 RECTIFYING This patch is modeled after the powerful sound which uses the silicone rectifier section of that popular amplifier. You | h 80 co may want to play riffs and solos with his sound valued by heavy rock guitarists. BG DRIVE | VOLUME In case of patches for Live (AO—AS.bO-bS ) In case of patches for Recording (C0-C8.d0-d8 ) i Ü Referenced album: “Hybrid Theory* by Linkin Park (2001) EQuALSAnON CLASSIC GAIN ou EauaLsAnoN GLASSIC GAIN LUSH LIFE This sound features the high-qualty sound of our 62 signal processing technology win à clean and lush chorus plus Like dk dk 2 » e LL LL ch ch ki » l A! Î C! delay patch. Try to use it for accompaniments in pop musie, or solo music with your favorite guitar. CHORUS | VOLUME = (o: ÉD ES. 14) = à HAS © = {o) u 0 Ad Cd. { = |. The Pie We have already started to call the sound of this UK rock band “traditional”. This patch is modeled after the punchy | PRESEUGE TRERE DD ESS | | | cum we Ga MOT | macct me une eu | ou] ue sound of the overdriven JCM 800 amplifier and thus it is suitable also for the hard plucking of modem punk rock guitar MS DRIVE ee TONESHET ve TEST EE Re Ce style. This is the sound of Humble Pie in later years with Dave Clemson as its guitar player. CRUNCH GAIN Î Referenced album: *Smokin"® by Humble Pie (1972) SynthDaze We took advantage of a newly developed fast tracking pitch shift algorithm and created this simulated synthesizer ! sound. We hope you will come up with great solos using this sound reminiscent of Jan Hammers exciting trades with | METAL WAH Fender TWIN Reverb A3 C3 Jeff Beck. Referenced album: “Wired” by Jeff Beck (1976) ZONE FREQ In case of patches for Live (AO—A9.bO-b9 ) In case of patches for Recording (CO—C9,d0-d9 ) FENDER CLEAN This patch is a straightforward modeling of the sound of that black-face Fender Twin Reverb and provides a clean sound 1 2 + 1 2 + + ; that is indispensable for the ensemble. When you foot down the expression pedal and with the EFX module switched on, | FENDER | TREMOLO ES PQ D A4 Î c4 you can add a unique tremolo effect to get that retro-sound instantly. We have selected a room ambience as default to | CLEAN RATE : © © fl CO © © fl eC)) -O)° i make this patch suitable for current musical ste but, of course, you can replace it with the spring reverb simulation. NORMAL ‘ SL NORMAL ‘a a VOUME TRE MD 8ASS VOLUME TREMÉ DMiPDe BASS SANTANA Many people through the years have favored Carlos Santana's guitar sound. This patch is modeled specifically after his i wailing lead sound with sweet distortion. Any of his hits like “Black Magic Woman”, “Europe” or “Adouma” will BG WAH AS ! CS sound pleasant if you make use of this patch. CRUNCH FREQ Î Referenced album: "Amigos” (1976) and "Shaman” (2002) by Santana R FUNK PLANET Il This patch is suitable for funky chording, and using the pedal-wah effect. We have arranged a clean sound which can be oland JG 120 ! used for not only funk music but also any music style. You can create a funky groove by using brushing or single note | PHASER WAH In case of patches for Live (AO—A9.bO-b8 ) In case of patches for Recording (CO—C9,d0-d9 ) A6 i C6 cutting. FREQ CRANNE CHANNEL NUANCE DRIVE his patch is the simulation of the legendary tone of the BOSS OD.1 that is considered the de-facto standard for the DONNE LOMME | MODE | BSS ef NOUME LOTS | MODE | SSS i overdrive stomp box. The patch can provide high playablity and retains the nuances of the guitarists’ touches. The ST CHORUS - EN : = 1 i [Ru addition of the chorus effect using expression pedal will enable the guitar players to adapt to virtually any musical op1 MIX © >) @) ©) ! situation. ù \ C MAJOR HARMONY This patch provides a mild lead sound accompanied by the harmonies based on the C major scale and makes our G2 the HPs 88 ! cg world's first effective device in the class that features the HPS (harmonized pitch shifter) function. You can select the | PV DRIVE ve i key and the scale according to the phrase you play. When you use guitar amp for recording patches, not only intended modeling sound will not existing, ACOUSTIK With this patch selected, your electric guitar will start to sound like an acoustic electric guitar. You can use rich chorus but also you hear harsh-sounding sometimes. Please adjust guitar amp setting as above reference. ag 5 cg sound when you foot doun the expression pedal. We would recommend you to combine this patch with the single-coil ACQHETIC ST US ! type front pick-up. You can also use this patch actively to create the clean ensemble effect. POWERED BY Even if you are the type of guitar player who is proud of wailing solos, you may sometimes want to use thrash power 0 i 40 chords (with some muting-technique on the bridge). The distorted sound of this patch provides the best playabilty or | PV DRIVE | VOLUME i Ù that purpose. Referenced album: Dookie” by Green Day (1994) a DELAY oduction for newly developed effects ! n , ymixby | JC CLEAN bi ; di expression pedal._Referenced album: "Synchronicity" by the Police (1983) MIX Mr. Fri 2 i | [1 [| s io 7 ee Que | DE @ Early Reflection © Dynamic Delay/Dynamic Flanger be i de Dre peer tsng ur ton pue FACE GAIN Early Reflection is the component of the reverb sound that reaches to the listener first This is the s0-called ducking effect: the mix balance of the dry signal and the effect ; Referenced album: “In The Court Of The Crimson King” by King Crimson (1969) after the original sound has bounced off the wall. The reverb sound consists of this signal of a delay or a flanger is controlled by the envelope of the original signal of the ORANGE CRUSH This patch provides the jet sound from the good old days created by the combination of the edgy vintage distortion early reflection and the late reflection, and the former characterizes the size ofthe guitar. i Stomp box and he flanger. We have rearranged hat sound to give 2 hybrd tone that is retro sounding and refreshing | GuNoR | FLANGER room. The early reflection effect extracted from the whole reverb sound has been In the Dynamic Delay section, you can set the “SENSE” parameter to the minus value b3 ; d3 atthe same time by combining the dry distortion, flanging jet-effect and lush reverb. RATE quite popular among the rack-mounted signal processors but we have arranged this to get the ducking delay effect: the feedback component in the delayed signal is not ! Referenced album: “Barracuda” by Heart (1972) effect on the G series especially for the guitar. To get the most popular type of this put out while there is an input signal and the feedback component arises as soon as AC CLEAN This patch is modeled after the classical Brit dean sound of the VOX AC series guitar amps operated in the class À effect, you can set the “"SHAPE" parameter to the plus value (decaying effect) and the input signal is muted. This effect is very handy when, for example, you play fast 5 without te agae fedbak The sourd af those amp bacame ere pauar in te rih mul sy of | CLASS À | VOLUME adjust the “DECAY" parameter to decide the size of the simulated room. 1f you phrases on the guitar and the feedback component gets in the way. On the other b4 ! d4 the 19605, continued through many famous British groups in the 1970s and has remained popular to this day. | CLEAN would like a wild effect, set the “SHAPE" parameter to the extreme minus value and hand, you can set the “SENSE” parameter to the plus value and you will have the i Referenced album: "1962-1966. Red Album” by the Beatles you will get the special effect that sounds like the tape machine played in reverse. feedback component while you are playing the guitar and you can cut off the SGA Tr ee st EP ES @ EXTRA EQ ed as sa au ut he gi, hi Shoddbe ver Rand in th break a i presence of the power chords in lower register and the smooth responses t the tapping technique will be favored by | LS Haye [PEDAL PITCH In addition to the frequency ranges of 160Hz, 800Hz and 3.2kHz (LOW, MID and The same thing goes with the “Dynamic Flanger": you can set the “SENSE" ES i ds the connaisseurs of the high-gain sound. In addition, you can create a pedal pitch effect that bends dou 2 octaves. 20ct DOWN TREBLE respectively.) controlled by the normal EQ module, you can boost or cut the parameter to the minus value and you will get no flanging effect while the input ! ranges of 400Hz, 6.4kHz and 12kHz using the LOW MID, PRESENCE and HARMONICS signal is high and you will get flanging effect when you lower the signal level of the VibroCrunch This patch is modeled after the sound that utilizes the s0-called Leslie effect for ts vibrato-like character and it is popular VIBRATO controls respectively in the EXTRA EQ module. These frequency ranges are rarely input. You can get a unique effect like a long note that is completely dry at the EG ! d6 among the American blues-rock players like the late S.R.V. It is suitable for crisp rhythm playing or the dynamic | VIBRATO RATE controllable with other effect devices made for guitars. With “PRESENCE" you can beginning and then the flanging effect is gradually added as the signal level of the Î chording. Referenced album: “Texas Flood” by Stevie Ray Vaughan (1983) adjust the high frequency range that affects the projection of the sound and with note decreases. On the other hand, you can have the flanging effect only when you TEA Recent EX nom as he user ft S150 amps butin he peste used to arte tag unchy sound with “HARMONICS" you can tweak the overtone contained in the clipped sound. The play loud if you set the “SENSE” parameter to the plus value. This effect works great pci model Mental amp, TH path te cosummai mon of hat EM. sound tm He eyes. The DE AYOrE overdriven sound of tube amplifiers is rich in overtone and this EXTRA EQ module is when you want to embellish the accents in your arpeggios and riffs or to add a i name of this patch is, of course, borrowed from that greatest album of V. H. with David Lee Roth. When you foot doun | MS DRIVE (OFF) indispensable for the simulation of this aspect of the sound. hidden flavor to your lead guitar sound. CHI Î d9 the expression pedal and get the long delay effect on, it makes the best lead sound. MIX C2) Mul i Tap Delay î Referenced album: "1984" by Van Halen (1984) With this effect til t ht ind dent delay L h del The SPY who loved IE) or SpagettiWestem),| The sound will remind you of the soundtracks of the James Bond series or Spaghetti Western movies. FENDER SPRING times en Ve st eparatey o make “yihmical Patterns. We iso provided cight bB Î dB Referenced album: The soundtracks from “007, Dr. No” (1962) CLEAN MIX practical settings ranging from the constant rhythmic pattern to the random one. Try HEAD LONG This sound is ZOOM'S original that became a favorite of the guitarist Brian May. The patch has a very strong character pattern 2 for example: the played notes are fed back like rhythmical patterns that will ! but you can hear how it is effectively used in his actual recordings. If you are big-fan of Brian May, you may also want STEP inspire you to come up with various phrases one after another. You could apply this Such as product names and company names are all (registered) brand bg Î 49 to try the sound with the “step” tumed “off” and the “delay” turned “on”. You will be transported to the world of | STEP RATE effect to your solo performances as something different from the sound-on-sound names or trade marks of each respective holders, and Zoom Corporation : “Brighton Rock* with that incredible guitar orchestration. With the additional use of the HPS set t the minor 3rd in the effect. This effect is programmed as a stereo ping-pong delay and thus we strongly is not associated or affliated with them. All product names, explanation Î Key of, you wil be able to perfect the simulation!! Referenced album: “Innuendo” by Queen (1991) recommend you to try it using headphones. The delay time can be set to 3 sec. and images are used for only purpose of identifying the specific products that were referenced during product development. tt ——

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

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

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

EFFECT TYPE : BG DRIVE

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

EFFECT TYPE: FD CLEAN

© Fender Twin Reverb "65 (D rc

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

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

EFFECT TYPE : HOT BOX

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

EFFECT TVPE : JC CREAN

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

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

EFFECT TYPE : EXTREME DISTORTION

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

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

EFFECT TYPE : MS DRIVE

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

EFFECT TVPE : FUZZ FACE

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

EFFECT TVPE : DIGI FUZZ

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

SB/Cubase LE Startup Guide SB/Cubase LE Startup Guide This USB/Cubase LE Startup Guide explains how to install Cubase LE on a computer, how to make the G2.1u connection and settings, and how to record your guitar play. Cubase LE Installation » Connections and Preparations » To connect the G2.1u to a computer running Windows XP and to enable audio input/output, proceed as follows. O Install Cubase LE on the computer. When you insert the CD-ROM supplied with this product into the CD- ROM drive of the computer, the installer will start up automatically. Follow the on-screen instructions to install Cubase LE. Connect the G2.1u to the computer using a USB a cable. AC adapter 7 RP CS Guitar é ( Computer L NA Ÿ INPUT] jack C]

G2tu USB cable = Sg {OUTPUT] ER ._— Audio system or Batteries other hi-fi playback equipment When the [POWER] switch of the G2.lu is ON, the unit will be powered from the AC adapter or internal batteries. When the [POWER] switch of the G2.lu is OFF, the unit will be powered via the USB cable (bus power). This is convenient when no AC adapter or batteries are available or when the batteries are exhausted. NOTE +_lf you monitor the audio signal during recording via the audio output ofthe computer, there will be an audible latency. Be sure to use the IOUTPUT] jack of the G2.1u to monitor the signal. When the G2.1u is powered via the USB cable, insufficient power may result in unstable operation, causing an error indication to appear on the display. In such a case, power the G2.tu from an AC adapter or batteries. Use a high-quality USB cable and keep the connection as short as possible. If power is supplied to the G2.1u via a USB cable that is more than 3 meters in length, the low voltage warning indication may appear. When you connect the G2.Iu for the first time to a computer running Windows XP, a message saying "New Hardware Found” will appear. Before proceeding, wait a while until this message disappears. "Start" menu, select "Control Panel" and double-click "Sounds and Audio Devices". The sounds and audio devices properties screen appears. Click the “Audio” tab and check whether "USB Audio CODÉC" is selected as default device for audio playback and recording. AUssauocnEr, | ere mu pyhact Fa Dead device If another device is selected, use the "Default Device" pull-down menu to change the selection to "USB Audio CODEC". When the setting has been made, click the OK button to close the sounds and audio devices properties screen. Start Cubase LE. A window asking whether to check the audio input/output port appears. Click OK to perform the check. After Cubase LE has started up, access the "Devices" menu, select "Device Setup..." and click "VST Multitrack" in the Check whether "ASIO Multimedia Driver” is selected as ASIO driver in the right part of the device setup window. Click the "Control Panel" button in the device setup indow. In the window that appears, click the “Advanced Options" button. In the advanced options window, check whether "USB Audio CODEC" is selected as input port and output port. Device Name Æ CI Intel] Integrated Audio À 7 USB Audio CODEC If not selected, click the respective box to place a check mark in it. When the setting has been made, click the OK buttons to close the windows and return to the normal post-startup Cubase LE screen. HINT + By clicking the Move up/Move down button in the advanced options window, you can change the priority sequence setting of the currently selected port. If you move “USB Audio CODEC" to the top of the list, it will also be at the top in the following VST input window. When you edit any of the settings in the advanced settings window, a window asking whether to check the audio input/output port appears. Click OK to perform the check. Access the "Devices" menu and select "VST Inputs". The VST inputs window appears. Check whether the input port is active. CSI Inpute Active button Ifthe Active button is Off (grayed out), click the button to set it to On. HINT When multiple input ports are available for selection, you should scroll or enlarge the window and check the enable/disable settings for all ports. @ Continued overleaf [Cubase LE Installation >» [Connections and Preparations Ÿ [Recording with Cubase LE Cubase LE Installation » Connections and Preparai ns » To connect the G2.1u to a computer running MacOS X and enable audio input/output, proceed as follows. Insert the CD-ROM supplied with this product into the CD-ROM drive of the Macintosh computer. The "Cubase LE” icon appears on the desktop. Double-click the icon to open it, and use the "Cubase LE Installer" to install Cubase LE. 60e Gas

Read Me tr Læ a Demo Projects Library Documentation Lens Connect the G2.1u to the computer using a USB (3) cable. AC adapter T dm Him LA Ÿ HNPUT jack Macintosh G2-1u USB cable

Se [OUTPUTT jack L, Batteries Audio system or other hi-fi playback equipment When the [POWER] switch of the G2.lu is ON, the unit will be powered from the AC adapter or internal batteries. When the [POWER] switch of the G2.lu is OFF, the unit will be powered via the USB cable (bus power). This is convenient when no AC adapter or batteries are available or when the batteries are exhausted. NOTE +_lf you monitor the audio signal during recording via the audio output ofthe computer, there will be an audible latency. Be sure to use the IOUTPUT] jack of the G2.1u to monitor the signal. When the G2.1u is powered via the USB cable, insufficient power may result in unstable operation, causing an error indication to appear on the display. In such a case, power the G2.1u from an AC adapter or batteries. Use a high-quality USB cable and keep the connection as short as possible. If power is supplied to the G2.1u via a USB cable that is more than 3 meters in length, the low voltage warning indication may appear. 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. Audio MDI Satup sie Deer MDI Devices }

SEPEN & use sudo conec D Cut out | Uss au con D spa OCT | D Gurur _ Audio Output Contigure Speakers} Input is not supported | Format 44100.0uz Im 2ch-16bit EP} 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. [5] Start Cubase LE. HINT The Cubase LE program is installed in the ‘Applications* folder. When Cubase LE has started up, access the [6] "Devices" menu, select "Device Setup...", and click "VST Multitrack" in the list of devices. Check whether "USB Audio CODEC(2)" is selected as ASIO driver in the right part of the device setup window. k Device setup Sen sacremoue Deurr Fons ot CC CERTES ST Syst RE our sue Vie aie If another item is selected, use the pull-down menu to change the selection. When the setting has been made, click the OK button to close the window. Access the "Devices" menu and select "VST Inputs". The VST inputs window appears. Check whether the input port is active. VST Inputs Active button If the Active button is Off (grayed out), click the button to set it to On. @ Continued overleaf

Continued from front @ (8) Access the The new project window appears. Here you can select a project template. le" menu and select "New Project". CNow Project Ere Stteo Masteing Setup Make sure that the "Empty" template is selected, and O click the OK button. A window for selecting the project file save location appears. After specifying the project file save location (such as the desktop), click the OK button (Choose button in MacOS 10.4). A new project is created, and the project window for controlling most of the Cubase LE 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". A new audio track is added to the project window. CCubaseLEProject Untitled die 1 sl) Dares HINT You can add several tracks at once by accessing the “Project* menu, selecting “Add track" and then selecting “Multiple... in the submenu. [12] Make the following settings for the new audio track. Drag the audio track boundary to the right +0 display all buttons. \

2. Verify that the Monitoring On button is

Off (grayed out). Ifthe button is On, click the button to turn it Off. Qù CCS) ET CN (<) CU) El (OT

3. Click the Stereo/Mono button to set the audio track to

Stereo. When the button is not grayed out and has changed from [(@1] to (1. the track is active as a stereo track. ® Access the "Devices" menu and select "VST Inputs". The VST inputs window appears. This window shows the available input ports and their active/inactive Status. You can perform the following steps here.

2. Verify that the Active button for USB Audio CODEC

1/2 (USB Audio CODEC L/R on MacOS X) is enabled {not grayed out). I the button is grayed out, click the button to enable it ©VST Inputs VST input window À. When there are multiple input ports, drag here to enlarge the windo\ Connect the guitar to the [INPUT] jack of the G2.1u [14] and select the desired patch. The sound selected here will be recorded on the computer via the [USB] port. [15] Access the "Devices" menu and select "Mixer". The mixer window appears. This window shows the channels assigned to created tracks. You can perform the following steps here.

2. Click here to select the port for the USB Audio CODEC

1/2 (USB Audio CODEC L/R on MacOS X) assigned as audio input port to the channel (see step 13). Mixer window À. To adjust the playback level after recording, click this button to bring QMixer up the master channel of the mixer. To start recording, click the Record button in the transport panel. 0001.01.01.000 J - [reste Record button -“mmascs . Click here to set the audio output port of the master channel to "USB Audio CODEC". DDR CEDE Channel assigned to audio track Master channel

3. Verify that the Record Standby button is shown in red. (If

the button is grayed out, click the button to enable it. This will set the audio track to the recording standby condition.) HINT When the Record Standby button is enabled, the level meter next to the fader shows the input level for the audio track. When the button is disabled, the output level for the audio track is shown. While playing your guitar, adjust the output level of the G2.1u to achieve a suitable recording level for Cubase LE. As you play your guitar, the waveform appears in real time in the project window. To stop recording, click the Stop button in the transport panel. Recording stops. Check the recorded content. To play the recording, perform the following steps.

of the master channel (as displayed in step

INSEE Go to beginning of project Play button

2. Use the controls on the 3. Click the Play button in

transport panel to move to the transport panel to

the beginning of the project start playback. Level meter When the audio track is in recording standby mode, its recording level is shown by the level meter for the assigned channel. The level should be set in such a HINT If no sound is heard when you click the Play button after recording, check the settings in the VST input window (step 13) and the master channel output port setting (step 15) once more. way that the meter registers to a fairly high value but f remains below the maximum point. NOTE +_ The level meter shows the signal level after internal processing by Cubase LE. Therefore a slight time lag may occur between playing a guitar string and the meter registering the change in level. This is normal and not a defect. The audio tracks of Cubase LE wi be recorded with correct timing exactly matched to your guitar play. There will be no lag between already recorded tracks and newly added tracks. 17] Verify that the transport panel is shown. Transport panel If the transport panel is not shown, access the “Transport” menu and select "Transport Panel". L

For optimum enjoyment While using Cubase LE, other applications may slow down drastically or the message "Cannot synchronize with USB audio interface" may appear. If this happens frequently, consider taking the following steps 10 optimize the operation conditions for Cubase LE.

1) Shut down other applications besides Cubase LE. In

particular, check for resident software and utilties. (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 G2.1u from an AC adapter. When 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 the G2. lu from the computer and shut down Cubase LE. Then reconnect the USB cable and start Cubase LE again.

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.