G92TT - Guitar effects pedalboard ZOOM - Free user manual and instructions

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USER MANUAL G92TT ZOOM

T-d-0 0-0 (== 08,8 | L.4 © ZOOM Corporation Reproduction of this manual, in whole or in part, by any means, is prohibited.

SAFETY PRECAUTIONS Usage Precautions

SAFETY PRECAUTIONS In this manual, symbols are used 10 highlight wamnings and sautions for you 10 read so that accidents can be prevented. The meanings of these symbols are as follows: ‘This symbol indicates explanations about extremely dangerous matters. If users ignore this Warning symbol and handle the device the wrong way, serious injury or death could result. ‘This symbol indicates explanations about dangerous matters. Ifusers ignore this symbol and Étoy handie the device the wrong way, bodily injury and damage to the equipment could result Please observe the following safety tips and precautions 10 ensure hazard-frec use of the GO.2 + Be sure Lo use only an AC adapter which supplies 15 V DC, 1.5A (Zoom AD-0012). The use of an adapter other {han 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 pull at the cable. + During Lightning or when not using the unit for an extended period, disconneet the AC adapter from the AC outlet. + Do not pineh the power cord, bend it orcedly or place heavy objects on the power cord Power requirements

Environment To prevent the risk of fire, electric shock or malfunction, avoid using your GO. in environments where it will be exposed 10:

+ Extreme temperatures + Heat sources such as radiators or stoves gh humidity or moisture + Excessive dust or sand + Excessive vibration or shock Keep a minimum distance of 5 em around the unit for suflicient ventilation. Do not impede the ventilation openings with objects such as newspapers or curtains. Handling À + Never place objects filed with liquids, such as vases, on the C0 2 ie hi can cause lt hace 2 Do ee ma ame cours eh a led 2 The Ga pren sument D or tn A * and rca en te kye and ob conte ko ie cent dupe an ad de ee te + Take care that no foreign objects (coins or pins ete.) or Liquids ean enter the unit. Connecting cables and input and output jacks You should always turn of the power Lo the GO2u and al other equipment before connecting or disconnecting any cables. Also make sure 10 disconnect all connection cables and the power cord belore moving 1he G9.2U.

Alterations Never open he case of the G9.2u or attempt 10: modify the product in any way since this can result in damage 10 the unit. ing Volume Do not use the GO.2u at a loud volume for a long time Since this can cause hearing impairment. Een Usage Precautions Electrical interference For safety considerations, the G9.2u has been designed 10 provide maximum protection against the emission of lectromagnetic radiation from inside the device, and protection from external interference. However, equipment hat is very susceptible 10 interference or that emits powerful lectromagnetic waves should not be placed near the G9.21t, as the possibility of interference cannot be ruled out entrely. With any type of digital control device, the GO.2u included, electromagnetic interference can cause malfunctioning and can corrupt or destroy data. Care should be taken 10 minimize the risk of damage. Cleaning Use a sofl, dry eloih to clean the G9.21. I necessary, slighily moisten the cloih, Do not use abrasive cleanse solvents (such as paint thinner or cleaning alcohol), since Ahese may dull the finish or damage the surface: Please keep this manual in a convenient place for future reference. MIDI is a registered trademark of Association of Musical Electronics Industry(AME). ZOOM G9.2tt SAFETY PRECAUTIONS Usage Precautions … Terms Used in This Manual LVHOUBN Quick Guide 1 (Play Mode/Manual Mode Operation) 10 Quick Guide 2 (Edit Mode/Store Mode Operation) Selecting Patches for Playing (Play Mode) . Panel display . Selecting a patch Adjusting the sound .. Using the Accelerator . Using the Energizer … Switching Modules On and Off With Your Foot During Play (Manual Mode) 19 Using the Internal Tuner (Bypass/Mute Condition) Using the chromatic tuner Using other tuner types . Changing the Sound of a Patch (Edit Mode) … Patch configuration Basic edit mode steps Changing a patch name .. Storing Patches and Banks {Store Mode) . Storing/swapping patches Storing/swapping banks Returning patches to factory default condition Using the Expression Pedals About the expression pedals Assigning control targets to expression pedal 1 . 32 Assigning control targets to expression pedal 2 . 33 Adjusting the expression pedals Using the Function Foot Switches Specifying the tempo for a patch . Using the Effect Loop MIDI Usage Examples What you can do with MIDI Selecting the MIDI channel . Sending and receiving patch switching information via MIDI {program change) 44 Sending and receiving pedal/switch/key operation information via MIDI (control change) Sending and receiving G9.2tt internal data via MIDI Other Functions Using the ARRM function . .52 Using the G9.2tt as audio interface for a computer Muting the direct output when using a USB connection About the editor/librarian software . Adjusting the display contrast Linking Effects Switching between live performance sound and direct recording sound Using the Amp Select Function Changing the insert position of the pre-amp section and WAH/EFX1 module Effect Types and Parameters . How to read the parameter table . COMP module … WAH/EFX1 module EXT LOOP (extemal loop) module ZNR module … PRE AMP module EQ module CABINET module DELAY module REVERB module TOTAL module Troubleshooting Specifications . MIDI implementation chart … property of their respective owners. Microsoft and Windows XP are registered trademarks of Microsoft Corporation. Macintosh is a registered trademark of Apple Computer. All other trademarks, product names, and company names mentioned in this document are the Manufacturer names and product names mentioned in this document are trademarks or registered trademarks of their respective owners. The names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION. ZOOM Go.2tt

Thank you for selecting the ZOOM G9.2tt (simply called the "G9.2#t" in this manual). The G9.2tt is a sophisticated Multi Effect Processor with the following features. © Latest technology for top performance Excellent sound quality is assured by signal processing featuring 96 kHz/24 bit sampling and internal 32-bit processing. Frequency response remains flat to 40 kHz, and input converted noise is an amazing 120 dB or better. © Ready-to-use patches Effect module combinations and settings can be stored and recalled as "patches". The G9.2tt offers 100 patches in the read-only preset groups, plus 100 patches in the user groups which can be freely rewritten, resulting in a total of 200 choices. Send / return level and on/off settings of external effects connected via the SEND/RETURN jacks can also be stored as part of a patch. © Great for stage work or direct recording The pre-amp section features two channels, and each distortion type has two dedicated algorithms, one for live playing and one for direct recording. The CABINET effect simulates amp and mic recording characteristics, and the algorithm is automatically switched according to the CABINET on/off setting. An amp select feature matches the sound to the amp you are using. Connecting the G9.21t to the power amplifier input of the guitar amp is no problem: simply set the -10 dBm/+4 dBm switch to the +4 dBm position. © Built-in tuner supports special tuning requirements In addition to the standard auto-chromatic tuner, various other tuning methods are possible. The tuner also allows easy tuning on stage without producing sound. © Two expression pedals built in as standard Adjust effect tone or volume in real time with the two expression pedals that are built right into the unit. The right-side pedal in particular deserves attention: the Z-Pedal that senses not only vertical but even horizontal movement. Step into the next dimension of pedal play and discover a whole new world of possibilities. © Tube powered Accelerator and Energizer The analog input stage features an Accelerator that lets you freely mix the signals amplified by a vacuum tube circuit and a solid-state circrit. In this way, you can add characteristic tube compression and distortion to a clean sound. In addition, the G9.21 also features an Energizer that processes the analog output signal to produce that characteristic warm and dynamic sound that is the hallmark of a tube amplifier. © Programmable function foot switches Two user-programmable function foot switches further enhance flexibility and let you optimize the unit for any application. Use them to switch pre-amp channels, set the delay time, turn hold delay on and off, or for various other tasks. Please take the time to read this manual carefully, in order to get the most out of your G9.2tt and to ensure optimum performance and reliability. 4 ZOOM G9.2tt Terms Used in This Manual This section explains some important terms that are used throughout the G9.2tt documentation M Effect module As shown i thought of as a combination of several single effects. Each of these is referred to as an effect module. The G9.2ut offers a compressor effect module (COMP), amp simulator/distortion effect module (PRE-AMP), external effect loop control module (EXT LOOP), and more. Parameters such as effect intensity can be adjusted for each module individually, and modules can be switched on and off as desired. The five modules EXT LOOP, ZNR, PRE-AMP, EQ, and CABINET operate as a virtual preamplifier which is controlled with the knobs and keys on the pre-amp section of the panel. M Effect type Most effect modules comprise several different effects which are referred to as effect types. For example, the modulation effect module (MOD/ EFX2) comprises chorus, flanger, pitch shifter, delay, and other effect types. Only one of these can be selected at any time. the illustration below, the G9.21t can be M Effect parameter All effect modules have aspects that can be controlled. These are called effect parameters, adjusted with the parameter knobs 1 - 4 on the panel. When thinking of an effect module as a compact effect, the parameters change the tone and effect intensity similar 10 the knobs on the device. m Patch In the G9.2it, 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 Expression pedal settings and tempo settings are also stored for each patch individually M Bank and group Patches are organized in user groups (U, u) which can be modified, and in preset groups (A, b) which are read-only. Since each group comprises SEND RETURN Pre-amp section L'' ChianërE 50 patches, groups A, b, U, and u offer a total of 200 patches. In the G9.21, patches are called up five at a time and selected with the foot switches. These five patches are together referred to as a bank. There are ten banks in a group, numbered 0 through 9. User groups Preset groups + —— ——5 Group U = Modes The G9.21t has five different operation modes, as listed below © Play mode In this mode, patches can be selected and played. This is the default mode of the G9.2tt that is always active when power is turned on. © Manual mode In this mode, you play your instrument while using the foot switches 10 turn modules on and off. @ Edit mode In this mode, the effect parameters of a patch c: be edited (changed) © Store mode This mode serves for storing edited patches. It also allows changing the store positions of patches. © Bypass/mute mode When the G9.21t is in the bypass condition, effect processing is temporarily turned off and only the original sound is heard. In the mute mode, all sound is turned off. The built-in tuner can be used in either condition. ZOOM G9.2tt

Getting Connected Refer to the examples shown below when making connections. Connection example (1) OUTPUT ms Use mono cables for connection GAIN to guitar amplifiers. When using Switch À only one guitar amplifier, use the OUTPUT L/MONO jack Use a stereo Y adapter cable to connect a rhythm machine {ZOOM SB-246 or similar) or a CD/MD player. The signal supplied to the AUX IN jack is not processed by the internal effects, it is supplied to the OUTPUT L/MONO and OUTPUT R jacks as is. The signal is also sent to the USB port. AT--C-TT-TT: F a LE Ê: When connecting 10 Guitar amplifiers the guitar input on the Rhythm machine or Similar AC adapter —-i Use a monaural s Patch switching and cable to conne pedal operation guitar. F information can be By connecting the USB sent and received as Headphones | Port to a computer, the MIDI messages. G9.2it can be used as an audio interface. MTR Connection example (2) (Direct connection to power amplifier input on amp) When connecti panel of a guita OUTPUT GAIN switch G9.2tt incorporat to the power amplifier input on the rear nplifier, set the switch to "+4 dBm". The à feature for matching its characteristics to _— the amplifier (amp select function). For details, see page 58. Guitar Lee! Guitar amplifier (rear panel) — Power-On as part of a patch. For details, see page 41. Connection example (3) (External effect connection) When an external effect is connected to the SEND/RETURN jacks, settings such as effect on/off and send/return level can be stored When connecting to an effect that has a rated input level of +4 dBm {rack-mount effect or similar), use the "+4 dBr ans External effect effect or a compact effect, use the 0 dBm' setting Power-On The steps for tuming on the G9.2tt are described below.

1. Make sure that any connected guitar

amplifier is turned off. In addition, fully turn down the volume control at the guitar amplifier.

2. Plug the AC adapter into an AC outlet

and plug the cable from the adapter into the AC IN connector of the G9.2tt.

3. Use a monaural cable to connect the

guitar to the INPUT jack of the G9.2tt.

4. Use a monaural cable to connect the

OUTPUT L/MONO jack to the guitar amplifier (when using one amplifier) and the OUTPUT R jack to the second guitar amplifier (when using two amplifiers). HINT To monitor with headphones, plug the headphone cable into the PHONES jack of the G9.2tt.

5. Turn power on in the following order:

G9.2tt — guitar amplifier(s) NOTE Proceed with care when powering up the system. If you turn on power to the G9.2tt while the guitar amplifier is already on, there is a risk of hearing damage and damage to the speakers.

6. Play your guitar and adjust the

volume control on the guitar amplifier, on the guitar, and the LEVEL knob on the rear panel of the G9.2tt to obtain optimum listening volume. Rear panel —— LEVEL knob —— HINT The G9.2tt has a so-called "Amp Select" feature that lets you match the unit to various kinds of amplifiers. lf necessary, select the appropriate setting for your amplifier the first time you use the G9.2tt (> p. 58).

7. To shut down the system, turn power to

the respective components off in the reverse order than during power-up. HINT When the OUTPUT GAIN switch on the rear panel is set to “-10 dBm” and the LEVEL knob is tured fully up, the G9.2tt has unity gain (output level is the same as input level). ZOOM G9.2tt

Quick Guide 1 (Play Mode/Manual Mode Operation) This section explains various basic steps, allowing you to use the GO.2t right away. @ Selecting a patch (play mode) Immediately after power-on, the unit will be in play mode. 1 . To select a patch, use foot switches 1-5. You can switch patches within the same group/bank. The number of the currently selected patch can be checked by checking which foot switch LED (1-5) is lit. [indication in play mode] Group name/Bank number Patch name Patch level Cat PE AmeDrive BLULIGE GECh. A6 GEEFATr Function foot switch 2 assignment Function foot switch 1 assignment HINT + You can switch patches within the same group/bank by turning parameter knob 1. + You can adjust the patch level {output level of the individual patch) by turning parameter knob 2.

2. To select a patch from

another group/bank, use the BANK [V]/[A] foot switches to select the group/bank and then use foot switches 1-5. HINT You can switch the group/bank by tuning the ÎTYPE] knob. Quick Guide 1 (Play Mode/Manual Mode Operation) €] Pre-amp operation The pre-amp section allows you to adjust distortion type, intensity, and EQ for two channels (A/B) separately. Distortion type [AMP TYPE] knob O10 O0 O OO [Pre-amp section] Pre-amp module Mid range Ultra-high output level boost/cut range boost/cut ILEVELI knob [MIDDLE] knob_IPRESENCE] [GAIN] knob [BASSJknob [TREBLE] knob Distortion Low range High range intensity boost/cut boost/cut

1. Select the channel for which to make a

setting with the [PRE-AMP A/B] keys. The key light shows which channel is currently selected.

2. Turn the knobs of the pre-amp section

make adjustments. ‘When you operate a knob, the name of the F2 Turning a module on and off with your foot (manual mode) In manual mode, you can use foot switches 1 - 5 to switch a module on and off. À.in play mode, keep the BANK [V] foot switch depressed for more than one second. The G9.2tt switches to manual mode. NOTE In manual mode, the foot switches do not select patches. However, the [TYPE] knob (group/bank selection) and parameter knob 1 (patch selection) function the same as in play mode. Note that when you switch a patch, the unit returns to play mode. parameter and the current setting value appear the display. To return to play mode (or manual mode), press the [EXIT] key. 13). knob HINT You can switch between channel A and B with function foot switches 1 or 2 (> p. 38).

NOTE The changes that you have made to a patch will be lost when you select another patch. To keep the changes, store the patch first (—> p.

2. Press the foot switch for the module to be switched on and off.

[Foot switch and corresponding modules] PRE-AMP module WAH/EFX1 module

83. To return to play mode, press the BANK [V] foot switch.

Quick Guide 2 (Edit Mode/Store Mode Operation) This section explains how to edit a selected patch and how to store the changes you have made. O Eaiting a patch (edit mode)

2. The indication "PATCH" appears in the top

TT Far right of the display and the indication ST) OÙOO0] el "STORE?" in the bottom left. Make sure pu" > d that the operation is what you intend to do. Es = In this condition, you can store individual patches. If F= EATAr the display is different, use parameter knob 2 to bring up the "STORE?" indication and parameter knob 3 to bring up the "PATCH" indication. HINT In store mode, you can swap patches as well as store and swap entire banks (-> p. 28).

3. Use the BANK [Y]/[A] foot switches and

different. For details, see page 25.

2. Use the [TYPE] knob and parameter knobs 1 - 4 to make adjustments.

[TYPE] knob Changes the effect type. Parameter knobs 1 - 4 Change the respective parameter. For information on parameters assigned to the knobs, see page 60 - 75. HINT + The effect type (distortion type) of the PRE-AMP module can be changed with the [AMP TYPE] knob. + The major parameters of the PRE-AMP/EQ module can be edited with the knobs of the pre- amp section, in the same way as in play mode. NOTE The changes that you have made to a patch will be lost when you select another patch. To keep the changes, store the patch first. ZOOM G9.2tt = _— © aid | foot switches 1 — 5 to select the store target bank and patch number. NOTE + Only user group patches can be specified as store target. + When a patch from a user group is selected, this patch becomes the default store target. + When a patch from a preset group is selected, the first user group patch becomes the default store target.

4. Press the ISTORE/SWAP] key once more.

The store process is carried out, and the unit returns to play mode. HINT You can return the user group patches easily to the factory default settings (-> p. 29). ZOOM G9.2tt

Selecting Patches for Playing (P1ay Mode) Immediately after you turn on the G9.2t, it is always in the mode for selecting and using patches (play mode). The most recently used patch is automatically called up again. The various operation steps in play mode are described in this section. In play mode, the following information is shown on the panel. Panel display Group name (U, u, À, b) Groups À and b are read-only groups (preset groups). Groups U and u are read/vrite enabled groups (user groups). Shows the number of the parameter knob that adjusts the patch output level. Patch name | Patch level Shows the output level setting (2- 100) for the currently selected patch ta MONITOR — EMMTeH Amebrive BLULIGE GECH. AB GEErnTrE CHE "E" symbol Ifthe currently displayed setting value differs from the original patch setting, the indication "E" or "Edited”) appears. Bank number (0 - 9) Function foot switch 1/2 assignment Shows the function assigned to the function foot switch 1/2 (-> p. 38). [CHANNEL A/B] keys The key for the channel (A or B) that is currently selected for the pre-amp section is lt. mA Cut PRE-AMP OO OO OO0O LSLOLSSsoosese

Effect module Keys for modules that are active in the keys currently selected patch are lit in red. Foot switch The LED of the foot switch for the currently 1-5LEDS selected patch is lit.

Selecting a patch This section explains how to select a patch in play mode.

1. Press a foot switch 1 -5 whose LED The LED of the pressed switch lights up,

is not lit. indicating that a new patch has been called up. Selecting Patches for Playing (Play Mode) HINT +_In play mode, you can select a patch by tuning parameter knob 1 + When you press a foot switch whose LED is lit, the same patch is called up once more.

2. To switch to a patch in another bank,

use the BANK [V]/[A] foot switches to change the bank and then use foot switches 1-5 to select the patch. BANK [YY/IA] Foot switches foot switches 1-5 When you repeatedly press the BANK [A] foot switch, the G9.21t switches the group/bank as follows. User groups HINT In play mode, you can switch the group/bank by tuning the [TYPE] knob. NOTE When using the BANK [WJ/[A] foot switches to change banks, press and release the switch quickly. If you keep the BANK [] foot switch depressed for more than one second, the G9.2tt switches to manual mode (— p. 19) If you keep the BANK [A] foot switch depressed for more than one second, the G9.2tt switches to the bypass condition (effects of). If you keep the switch depressed further, the G9.2tt switches to the mute condition (original sound and effect sound both off) (-- p. 21). ZOOM G9.2tt Adjusting the sound In play mode, you can use the knobs on the panel to adjust the basic parameters of the pre-amp section (distortion type and intensity, EQ boost/ cut etc.).

1. in play mode, select the patch.

2. Press one of the [CHANNEL A/B] keys

to select the pre-amp channel À or B for which to make the adjustment. AR Du The pre-amp section of the G9.2tt has two separate channels which allow individual settings. Simply pressing one of the [CHANNEL A/B] Keys instantly switches the channel. HINT You can switch between channel À and B with the FUNCTION foot switch 1/2 (> p.38).

3. To change the distortion type, turn

the [AMP TYPE] knob. The [AMP TYPE] knob selects the distortion type (the amp or compact effect that is being simulated). When you turn the knob, the name of the new amp type appears on the display. PRE-ANP ill] FD Clean 171 knob Type name "E" symbol [AMP TYPE] HINT + When you have changed the distortion type, the *E* symbol appears on the display, and the ISTORE/SWAP] key lights up. + Ifthe currently displayed setting value differs from the original patch setting, the indication *E" (for “Edited') appears.

Selecting Patches for Playing (Play Mode) The lit [STORE/SWAP] key indicates that one or more items (including items not currently displayed) have been changed from the contents of the original patch. If all items are returned to their original settings, the key will go out. To change other major parameters in the pre-amp section, operate the respective knob (see illustration below). When you turn a knob, the name and the current setting of the respective parameter appear on the display. Operating the [BASS], [MIDDLE], ITREBLE], or [PRÉSENCE] knob will boost or cut the respective band, and the setting is reflected in the graph on the right side of the display. Name of currently adjusted parameter Fresence wlblll Parameter value Graphic representation of boost/cut setting in each band HINT When you perform step 3 or step 4, the G9.2tt switches to edit mode. To return to play mode, press the [EXIT] key. (For details on edit mode, see page 24.)

5. To adjust the overall level of the patch,

turn parameter knob 2 in play mode. The patch level is a parameter that controls the output level of the respective patch. The setting range is 2 — 100. A setting of 80 results in unity gain (no level increase or decrease). NOTE ‘The changes that you have made to a patch will be lost when you select another patch. To keep the changes, store the patch first (-> p. 28). Using the Accelerator The input stage of the G9.2tt incorporates an Accelerator function that amplifies the analog signal before effect processing using a tube or solid state circuit. This lets you mix characteristic tube compression and distortion with clean solid state sound and then send the signal to the effect circuitry. HINT The Accelerator is active in all modes. Accelerator settings are not stored as part of the patch. To adjust the Accelerator, use the controls of the Accelerator section on the panel. The control functions are explained below. [TUBE] control ISOLID STATE] control

ZOOM G9.2tt Selecting Patches for Playing (Play Mode) ‘© [TUBE] control This control adjusts the input signal gain of the tube circuit. Turning the control clockwise increases gain and also increases distortion. Settings higher than about three o'clock will drastically increase the volume and distortion. This can be used to strongly emphasize the typical tube compression and distortion character. © [SOLID STATE] control This control adjusts the input signal gain of the solid state circuit. Turning the control clockwise increases only the volume. At the maximum position, gain is about +6 dB. This can be used to increase the gain for the signal before effect processing. Depending on the settings made for the Accelerator, the effect intensity of the COMP module and the distortion depth of the PRE-AMP module also will change. When editing patches, we recommend using the following setting examples for the Accelerator. © Normal Clean This setting gives a clean tone with minimal distortion. © Tube Pre-amp This setting emphasizes the tube-like compression feeling. Raising the [TUBE] control further will drastically increase the volume and distortion.

ZOOM Go.2tt © Clean - Tube Mix This setting gives a mix of solid state clean sound and tube distortion sound. NOTE When both controls are set to minimum, no signal will be input to the G9.2tt. Using the Energizer The G9.2tt incorporates an Energizer function that processes the analog output signal using a tube circuit. This feature is suitable for making the guitar stand out in an ensemble setting, or for adding that characteristic tube distortion sound. HINT The Energizer is active in all modes. The Energizer settings are not stored as part of the patch. To adjust the Energizer, use the controls of the Energizer section on the panel. The control functions are explained below. [TUBE] control [BOOST] control © [TUBE] control This control adds characteristic tube distortion to the sound, making the guitar stand out more distinctly. When the knob is turned fully counterclockwise, the effect is off. Turning the knob clockwise gradually increases the tube circuit gain, resulting in warmer, more solid crunch or drive sound. Normally, you should set the control to a

Selecting Patches for Playing (Play Mode) position where distortion is not 100 audible, but you can set it higher when you purposely want to emphasize the tube distortion. © [BOOST] control This control boosts specific frequency bands to make the sound more pronounced. When the knob is turned fully counterclockwise, the effect is off. Turning the knob clockwise gradually boosts the low frequencies and the area around 2 KHz. Especially when using a small guitar amp or an audio system with flat response, this can be helpful to produce more dynamic sound. The [BOOST] control is useful in such situations, and for bringing the sound of the guitar more to the foreground when playing in a band. NOTE + _ The intensity of the distortion achieved with the [TUBE] control depends on the guitar and type of pickup. + When both controls are fuly tumed up, the volume level will be higher and excessive distortion may occur. Switching Modules On and Off With Your Foot During Play (Manual Mode) The condition where foot switches 1 — 5 are used to switch the major modules in a patch on and off individually is called "manual mode". In this mode, the single effects of the G9.21t can be controlled with your foot like independent compact effects.

1. in play mode, select a patch. appears on the panel (see illustration below).

2. Press and hold the BANK [] foot NOTE

switch for at least 1 second. In manual mode, you cannot use the foot switches to select patches. However, the [TYPE] knob (group/bank selection) and the parameter knob 1 our (patch selection) operate in the same way as in Bank play mode. Please note that the G9.2tt goes back Hold down for 1 second to play mode when you change patches. or more

3. To switch a module between on and

The LED of the BANK [W] foot switch lights up off, press the foot switch for that and the G9.2tt switches to manual mode. module. In manual mode, the following information Patch level Shows the output level of the currently [CHANNEL A/B] keys The key for the channel (A or B) that is Shows the number of the parameter knob that controls … selected patch: the patch level. currently selected for the pre-amp section is lit. Eros 5 = AS De AnmeDrive ELUL169 » _ Ru O1O OO OO © GACH.AE GEBrnTrE Function foot switch 1/2 "E" symbol D BO0O0O00O000oe assignment Ifthe currently T Shows the function assigned displayed setting Effect module keys & the function foot switch value differs from the Keys for modules that are active in the 12 (— p.38). original patch setting, e currently selected patch are lit in red. the indication "E" (for Edited”) appears BANK [Y] foot switch LED This is always lit when the G9.21 is in manual mode. Foot switch The LED of the foot switch for the currently 1-5LEDS selected patch is lit

Switching Modules On and Off With Your Foot During Play (Manual Mode) In manual mode, you can use foot switches 1 — 5 to switch the major effect modules on or off. The module/switch allocation is shown below. HINT + When a module is switched on/off, the [STORE/ SWAP] key lights up. In manual mode, you can use the knobs on the panel as in play mode to adjust pre-amp parameters, patch level, Accelerator, and Energizer. For details on operation steps, see “Adjusting the sound” in the section on play mode (> p. 15). From manual mode you can switch to edit mode for editing patches. For details on edit mode, see page 24.

4. To return to play mode, press the

BANK [Y] foot switch. NOTE The changes that you have made to a patch will be lost when you select another patch. To keep the changes, store the patch first (> p.28). Foot switch 1 WAH/EFX1 module Foot switch 2 PRE-AMP module Foot switch 3 MOD/EFX2 module Foot switch 4 DELAY module Foot switch 5 REVERE module Using the Internal Tuner (Bypass/Mute Condition) The G9.2it incorporates a tuner function that supports regular chromatic tuning as well as special tuning. This section explains the steps for using the tuner.

Using the chromatic tuner To use the chromatic tuner function, proceed as follows. 1.in play mode, manual mode, or edit mode, press and hold the BANK [A] foot switch. To use the tuner, the G9.2tt must be set to the bypass condition (effects off) or mute condition (original sound and effect sound both off) © To switch to the bypass condition Hold the BANK [A] foot switch for about 1 second, until the indication "BYPASS" appears on the display. Then release the foot switch. The G9.2tt is now in the bypass condition. Release switch when "BYPASS" is shown HINT You can switch to the bypass condition by pressing the [BYPASS/TUNER] key. © To switch to the mute condition Hold the BANK [A] foot switch until the indication "BYPASS" changes to "MUTE". Then release the foot switch. The G9.2tt is now in the mute condition. _ HUTE Release switch when "MUTE" is shown After "BYPASS" or "MUTE" was shown, the display automatically switches to the tuning display. Tuner type Reference pitch NOTE You can switch to the mute condition by pressing and holding the [BYPASS/TUNER] key. HINT The built-in expression pedals function as volume pedals in the bypass condition (in the mute condition, the pedals have no effect). By tuning the parameter knob 2, you can select other tuner types besides the chromatic tuner. For more information, see the next section. The number shown in reverse on the display indicates that the corresponding parameter Knob can be used for adjustment.

2. Play the open string to tune.

The [GROUP/BANK] indicator shows the note which is closest to the current pitch. ZOOM G9.2tt

After the G9.21t is turned on, the tuner reference pitch is always "440 Hz (center A = 440 Hz). The adjustment range using parameter knob 3 is center The > < symbols in the lower part of the display show by how much the pitch differs from the displayed note. BCHRONATE E4düHz Pitchis x low Li T Pitchis correct Pitchis high

3. Tune the string of your instrument

while checking the note and pitch indication. HINT First you should perform rough tuning to bring up the desired note indication, and then watch the lower part of the display and fine tune the pitch.

4. To change the reference pitch of the

tuner, turn parameter knob 3. Bb bb E E A =435 - 445 Hz, in 1-Hz steps. B ü F Ë c £ Œ 5e ECHROMATC E442Hz Db dE G En ue HINT When the G9.2tt is turned off and on again, the reference pitch will be reset to 440 Hz.

5. When tuning is completed, press one

of the BANK [YJ/[A] foot switches. The G9.2tt returns to the previous mode. If the G9.2tt was in edit mode, it will be switched to play mode. HINT The bypass/mute condition can be canceled by pressing the [BYPASS/TUNER] key, [EXIT] key, or one of the foot switches 1-5. Using other tuner types Besides chromatic tuning, the G9.2tt offers various other tuning types such as standard tuning for guitar and bass, open tuning, etc. To use these functions, proceed as follows.

1. Switch the G9.2tt to the bypass or

mute condition as described in step 1 Using the Internal Tuner (Bypass/Mute Condition) of "Using the chromatic tuner". The display shows the tuning indication.

2. Turn parameter knob 2 to select the

tuner type. The available tuner types and the corresponding note names for each string are listed below. If you select "OPEN A" as tuner type, the IGROUP/BANK] indicator and display indication will be as follows. Tuner type Reference pitch Correct note for selected string String number

3. If necessary, turn parameter knob 3

to change the reference pitch of the tuner. The setting range is center À = 435 - 445 Hz, in 1-Hz steps. When a setting other than chromatic has been selected as tuner type, turning parameter knob 3 further anticlockwise from the "435" setting selects the setting "b' (one semitone lower), "bb" {two semitones lower), and "bbb" (three semitones lower). Optional tuning to 1 - 3 semitones lower EGUITAR ELLL RSS EStri HINT When the G9.2tt is turned off and on again, the reference pitch will be reset to 440 Hz.

4. Play the open string of the indicated

number and adjust the pitch.

6. Tune other strings in the same way.

7. When tuning is completed, press one

of the BANK [VJ/[A] foot switches. The G9.21t returns to the previous mode. If the G9.2tt was in edit mode, it will be switched to play mode. HINT When the G9.2tt is turned off and on again, the tuner type setting will be reset to the default (chromatic tuner. Tuner type [GUITAR | BASS | OPEN A | OPEN G | OPEN E | OPEN D | DADGAD sr | € m E d E gd d STR2 | & d | cd 5 5 # F String [STRS | Z F A ü FE TE ü number | STR4 d E Ë d Ë d d STRS5 A b A D b Hi A STR6 | € E d E d d STR7 | à ZOOM G9.2tt

Changing the Sound of a Patch Œait Mode) The condition where you can change the effect types and settings that make up a patch is called "edit mode". This section describes how to use this mode. Patch configuration

As shown in the "Patch configuration" illustration below, the G9.2tt can be thought of as a series of several single effects (effect modules). A combination of these modules and the settings for each module are stored as a patch. Almost all modules comprise several different effects (called effect types), one of which is selected at any given time. For example, the MOD/EFX2 module allows selection of either CHORUS, PITCH SHIFTER, DELAY, etc. The elements that determine the sound of a patch are called effect parameters. Each effect type has its own parameters that can be controlled with knobs on the panel. Even within the same module, when the effect type is different, the effect parameters that can be controlled will also be different. In the module configuration shown below, the series of modules EXT LOOP, ZNR, PRE-AMP, EQ, and CABINET operates as a virtual pre-amp section. Depending on the application, this section can be inserted after the WAH/EFXI module or after the DELAY module (> p. 58). For the ZNR, PRE-AMP and EQ modules, different settings can be made in two channels (AB). [Patch configuration] SEND RETURN Pre-amp section Basic edit mode steps The basic steps that are normally taken in edit mode are explained here. For details on effect types and parameters for each module, see the section "Effect Types and Parameters" on page 60

1. Select the patch to edit.

The patch can be from a preset group (A/b) or user group (U/u). However, if you have edited a patch from a preset group, it can only be stored in a user group (— p. 28).

2. In play mode or manual mode, press

the effect module key (see illustration on next page) to select the module on which to operate. The G9.2t switches to edit mode, and the display [Module other than PRE-AMP/EQ] Module name … Effect type name OPUS EDerth =igé Parameter Currently selected number parameter and its setting value HINT ‘The effect module keys for modules that are ON in the currently selected patch are lit in red (keys for modules that are OFF are not lit. When you press Changing the Sound of a Patch (Edit Mode) Errecr Effect module keys CON MANN DT DR ME à IWAH/EFX1] key [ZNR] key [EQ] key

GNT MAN? © DEUY HV TOHMUKCION

[MOD/EFX2] key|_[REVERE] key ICOMP]key [EXT LOOP]key [PRE-AMP]key [CABINET] key [DELAY] key [TOTAL/FUNCTION] key a key to select a module, the key color changes to orange (or to green if the module is off). IPRE-AMP module ] EX FFE-EMP #lélll ER FD Clean Blriééé Effect type name Simplified graphical representation of EQ settings [EQ module ] MX fEsuaslizer 11111 off nn NOTE If edit mode was activated from play mode, foot switches 1 5 can be used to switch patches. However, note that editing changes will be lost when switching patches during editing. When edit mode was activated from manual mode, the foot switches 1 - 5 can be used to switch a specific module on or off.

3. To switch the selected module

between on and off, press the same module key once more. When the module is off, the indication "Module Off" is shown on the display. Pressing the same key once more in this condition switches the module on. HINT «If any module omoff status, effect type selection, or a parameter setting value has been changed at least once, the [STORE/SWAP] key lights up and the indication *E* appears next to the item. + The ‘E* indication disappears when the item is retumed to the original value. However, if any ZOOM G9.2tt other item has been changed, the [STORE/ SWAP] key remains lit NOTE The PRE-AMP, ZNR, and EQ modules can be set to on or off separately for each channel (A/B).

4. To edit the selected module, proceed

as follows. © When a module other than PRE-AMP/ EQ is selected Switch the effect type as needed with the [TYPE] knob (for modules having several effect types), and use the parameter knobs 1 4 10 adjust the parameters of the effect type. Which parameters are assigned to the parameter knobs 1 4 differs, depending on the module and effect type (— p. 60 — 75). OùQO Ô

Changing the Sound of a Patch (Edit Mode) © When PRE-AMP/EQ module is selected The PRE-AMP and EQ module parameters can always be adjusted with the knobs and keys of the pre-amp section, regardless of which module is currently selected. The functions of the knobs and keys are listed in Figure 1 below. When the effect module key [PRE-AMPJ/IEQ] is selected, parameter knobs 1 — 4 can be used to adjust other parameters of the PRE-AMP/EQ module. The functions of the knobs are listed in Figure 2 below. HINT + When the PRE-AMP parameter of the pre-amp section is adjusted, the PRE-AMP module is automatically selected. When an EQ parameter is adjusted, the EQ module is automatically selected. The PRE-AMP, ZNR, and EQ modules allow separate parameter settings for the two channels (A/E). Select the channel first, and then adjust the parameter.

5. Repeat steps 2 - 4 to edit other

modules in the same way.

6. When editing is finished, press the

The G9.2it returns to the previous mode. Figure 1 IPRE-AMP A/E] keys [Editing PRE-AMP/EQ module with pre-amp section] Select one of the two channels of the pre-amp section. mA um [GAIN] DO Adjusts the gain {distortion intensity) of the PRE-AMP module. [AMP TYPE] knob Selects the distortion type of the PRE-AMP module. ILEVEL] knob Adjusts the output level of the PRÈ-AMP module.

IBASS] knob Adjusts the low range boost/cut of | range boost/cut of. range boost/cut of the the EQ module. Q © [TREBLE] knob [PRESENCE] knob Adjusts the high Adjusts the ultra-high the EQ module. EQ module. [MIDDLE] knob Adjusts the mid range boost/cut of the EQ module. Figure 2 TONE parameter it nr Adjusts the tonal quality of the PRE: AMP module. PRE-AMP CHAIN parameter Selects the insert position of the pre-amp section. [Editing PRE-AMP/EQ module with parameter knobs 1-4] runs mue HARMONICS parameter Adjusts the harmonics component of the EQ module LO-MID parameter Adjusts the lower mid range boost/cut of the EQ module. Changing the Sound of a Patch (Edit Mode) NOTE The changes that you have made to a patch will be lost when you select another patch. To keep the changes, store the patch first (> p. 28). The patch level (output level of individual patch) cannot be changed in edit mode. Use play mode or manual mode to set the level. HINT If edit mode was entered from play mode, you can return to play mode by pressing the BANK [V [A] foot switches or foot switches 1 — 5. In this case, the bank/patch will be switched at the same time. Changing a patch name You can change the name of an edited patch. To do this, proceed as follows. 1.in play mode, manual mode, or edit mode, press the [TOTAL/FUNCTION] effect module key.

2. Turn the [TYPE] knob to bring up the

patch name on the lower part of the display. The first character of the patch name is shown alternating with a black square. PS) [6 mA Es De HAME: CheuDrive] The alternating black square (M) indicates that this character can be changed.

4. Repeat step 3 until the patch name is

as desired. Then press the [EXIT] key.

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

Storing/swapping patches

This section explains how to store and swap patches.

1. in play mode, manual mode, or edit

mode, press the [STORE/SWAP] key. rose The G9.2tt switches to the store standby condition, and the currently selected patch becomes the store/swap source. The [GROUP/BANK] indicator shows the store/ swap target group name and bank number. Indicates that the patch was edited. Store/swap source patch name Store/swap target … Store/swap'target group name/bank group name, bank number, number patch number HINT In the factory default condition, the user groups {U, u) contain the same patches as the preset groups (A, b). If a patch has been edited, it will be stored or swapped in the edited condition. If a patch from a preset group was selected when you pressed the [STORE/SWAP] key, the first user group patch will automatically be selected as store target.

2. To store/swap individual patches,

turn parameter knob 3 to bring up the indication "PATCH" in the top right of the display. (@) NEUDr ius ECPATCH)

ESTORE? +08 El NOTE When "BANK: is shown, the subsequent operation will be carried out for the entire bank. Make sure that the correct indication is shown.

3. Turn parameter knob 2 to bring up the

indication "STORE?" or "SWAP?" on the display. A = =

ÉTOREUB-1 6 frac —_— When "STORE s selected, the current patch can be stored as any user patch. When "SWAP?" is selected, the current user patch can be swapped with any other user patch. NOTE If the source patch is from a preset group, the indication "SWAP?* does not appear.

4. Use the [TYPE] knob or BANK [V]/

[A] foot switches to select the store/ swap target group name/bank number. Storing Patches and Banks (Store Mode) BANK [VIA] foot switches

5. Use parameter knob 1 or the foot

switches 1-5 to select the store/ swap target patch number.

6. Press the [STORE/SWAP] key once

more. The store/swap process is carried out, and the G9.2t then returns to the play mode with the store/swap target patch being selected. By pressing the [EXIT] key instead of the ISTORE/SWAP] key, you can cancel the process and return to the previous mode. NOTE The Energizer and Accelerator settings are not stored as part of the patch.

Storing/swapping banks This section explains how to store and swap entire banks. 1.in play mode, manual mode, or edit mode, press the [STORE/SWAP] key. The G9.2tt switches to the store standby condition, and the currently selected bank becomes the store/swap source.

2. To store/swap entire banks, turn

indication "STORE?" or "SWAP?" on the display. When "STORE?" is selected, the current bank can be stored as any user bank. When "SWAP?" is selected, the current user bank can be swapped with any other user bank. NOTE If the source bank is from a preset group, the indication *SWAP?* does not appear.

4. Use the [TYPE] knob or BANK [Y]/

[A] foot switches to select the store/ swap target bank.

5. Press the [STORE/SWAP] key once

more. The store/swap process is carried out, and the G9.2tt then returns to play mode with the store/ swap target bank being selected. By pressing the [EXIT] key instead of the ISTORE/SWAP] key, you can cancel the process and return to the previous mode. Returning patches to factory default condition Even if you have made changes to the user group patches, you can return all patches to the factory default condition at any time (All Initialize). NOTE When you perform the All Initialize function, all patches stored in the user area will be overwritten. Proceed with care.

Storing Patches and Banks (Store Mode)

1. Turn power to the G9.2tt on while

holding down the [STORE/SWAP] key. S+Ë The indication "AIl Initialize?" appears on the display.

2. Press the [STORE/SWAP] key once

more. All patches are returned to the factory default condition, and the G9.2tt switches to play mode. By pressing the [EXIT] key before performing step 2, you can cancel the process. Using the Expression Pedals This section explains how to use the two built-in expression pedals of the G9.21t. About the expression pedals The G9.21t comes standard with two expression pedals that can be used to control specific effect parameters in real time. Expression pedal 1 on the left side has four control targets (P1-1 to P1-4), and a parameter can be assigned for each control target. This makes it possible to adjust up to four parameters of different modules simultaneously. À setting example is shown below, to give you an idea of how the pedal can be used. Control target parameters

Expression pedal 2 on the right side the Z-Pedal that senses not only vertical but also horizontal movement. It has four control targets in the vertical direction (P2V1 to P2V4) and four control targets in the horizontal direction (P2H1 to P2H4). À parameter can be assigned for each control target. With a setting such as shown in the example at right, the pedal adjusts the Gain parameter of the PRE-AMP module when moved in the vertical direction and the Rate parameter of the MOD/ EFX2 module when moved in the horizontal direction. It is also possible to control both at the same time with one pedal. Expression pedal 2 Control target parameters e P2vi PRE-AMP module fr sai ] eP2H1 MOD/EFX2 module [teste | HINT + The parameter adjustment range covered by expression pedals 1 and 2 can be set for each control target separately. In bypass mode, both expression pedals function as a volume pedal when moved in the vertical direction. (Moving expression pedal 2 in the horizontal direction has no effect.) In mute mode, both expression pedals have no effect. NOTE Expression pedal 2 of the G9.2tt is designed for operation with one foot. When the pedal is fully turned to the right, pushing it strongly down, hitting it, or otherwise exerting strong force on it will damage the pedal. Be sure to operate the pedal only within its designated range. ZOOM G9.2tt

Using the Expression Pedals Assigning control targets to expression pedal 1 This section describes how to assign a control target to expression pedal 1.

1. in play mode, select the patch.

HINT The parameters to be controlled by expression pedals 1/2 and the setting range can be set separately for each patch.

2. Press the [PEDAL 1 SETTING] key.

The display changes as follows. Control target indication Control target (P1-1-P1-4) parameter name AFPi-i=-Pesonance El UAH: Autoblah Module name Effect type name HINT The expression pedal 1/2 setting is included in the TOTAL/FUNCTION module for the respective patch. The above display can also be called up by pressing the [TOTAL/FUNCTION] effect module key and tuming the [TYPE] knob.

3. Turn the [TYPE] knob to select one of

the four control targets (P1-1 to P1-4).

The operation steps for setting the control targets PI-1 to PI-4 are the same.

4. Tum parameter knob 1 to select the

parameter that is to be controlled.

AS you turn parameter knob 1, the effect parameter and effect module changes. HINT + For information on which parameters can be selected as control targets, see “Effect Types and Parameters* on pages 60 - 75. When “Volume* is selected as control target, expression pedal 1 functions as a volume pedal. When “NOT Assign" is displayed, no parameter is assigned to the current control target. By setting all four control targets to “NOT Assign", expression pedal 1 can be defeated. NOTE If you select “NOT Assign', steps 5 and 6 cannot be carried out.

5. To set the adjustment range for the

parameter to be controlled, use parameter knob 2 (minimum value) and parameter knob 3 (maximum value). The settings selected with parameter knobs 2 and 3 determine the value when the pedal is fully raised (minimum value) and fully depressed {maximum value). The display changes as follows. 1 When parameter knob 2 is operated sTargeti EG Emin= 55 Minimum value 1 When parameter knob 8 is operated POLI :Targeti EMBX= 195

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

6. To use expression pedal 1 for

switching the module on and off, turn parameter knob 4 and select "Enable". Expression pedal 1 has a switch that is triggered when the pedal is pushed a bit further, after the fully down position is reached. The module to which the selected parameter belongs will be switched on or off. When you turn parameter knob 4, the display changes as follows. ©) POLI :Tarseti & SA HSuitchiEnsble HINT If you select “Disable* at the above display, module on/off switching is not available.

7. Repeat steps 3 - 6 to set the other

control targets in the same way. NOTE It is also possible to specify the same parameter for more than one control target, but in some cases, extreme parameter value changes may lead to noise. This is not a defect.

8. Whenall settings for expression pedal

1 have been made, press the [EXIT] key.

9. if required, store the patch.

NOTE Any changes in pedal settings will be lost when you select a new patch. Be sure to store the patch if you want to keep the changes (— p. 28).

Assigning control targets to expression pedal 2 This section describes how to assign a control target to expression pedal 2. For the vertical direction and the horizontal direction, four control targets each can be assigned. Module on/off switching is available for the vertical direction only.

1. in play mode, select the patch.

2. Press the [PEDAL 2 SETTING] key.

The display changes as follows. Control target parameter name Control target indication {P2V1 - P2V4, P2H1 - P2H4) AP2U1=Resonance WAH: Autollah Module name Effect type name HINT The expression pedal 1/2 setting is included in the TOTAL/FUNCTION module for the respective patch. The above display can also be called up by pressing the [TOTAL/FUNCTION] effect module key and turning the [TYPE] knob.

3. To assign a control target for the

vertical direction, turn the [TYPE] knob to select one of the four vertical direction control targets (P2V1 to P2V4). ZOOM G9.2tt

Using the Expression Pedals

The operation steps for setting the vertical direction control targets P2VI1 to P2V4 are the same.

4. Tum parameter knob 1 to select the

parameter that is to be controlled. As you turn parameter knob 1, the effect parameter and effect module settings change. HINT + For information on which parameters can be selected as control targets, see “Effect Types and Parameters' on pages 60 - 75. When “Volume* is selected as control target, expression pedal 2 functions as a volume pedal. When *NOT Assign" is displayed, no parameter is assigned to the current control target. By setting all four control targets to “NOT Assign", the vertical direction action of expression pedal 2 can be defeated. NOTE If you select “NOT Assign', steps 5 and 6 cannot be carried out.

5. To set the adjustment range for the

switching the module on and off, turn parameter knob 4 and select "Enable". Expression pedal 2 has a switch that is triggered when the pedal is pushed a bit further in the vertical direction, after the fully down position is reached. The module to which the selected parameter belongs will be switched on or off. When you turn parameter knob 4, the display changes as follows. ©) POL2-U5 Tarseti E OSuitch: Enable

HINT If you select “Disable* at the above display, module on/off switching is not available.

7. Repeat steps 3- 6 to set the other

control targets for the vertical direction in the same way. Using the Expression Pedals

8. To assign control targets for the

horizontal direction, turn the [TYPE] knob to select one of the four horizontal direction control targets {P2H1 to P2H4). The display changes as follows. Control target Control target indication parameter name LEE BP2Hi=Resonance © WAH: Autollah Module name Effect type name The operation steps for setting the horizontal direction control targets P2H1 to P2H4 are the same.

10. Repeat steps 8 - 9 to set the other

control targets for the horizontal direction in the same way. NOTE It is also possible to specify the same parameter for more than one control target, but in some cases, extreme parameter value changes may lead to noise. This is not a defect.

11. When all settings for expression pedal

2 have been made, press the [EXIT] key.

12. 1f required, store the patch.

NOTE Any changes in pedal settings will be lost when you select a new patch. Be sure to store the patch if you want to keep the changes (— p. 28). HINT Expression pedal 2 incorporates a stopper for movement in the horizontal direction. If horizontal action is not required, using the stopper may be preferable

Adjusting the expression pedals Expression pedals 1/2 of the G9.2tt are adjusted for optimum operation at the factory, but sometimes, readjustment may be necessary. If the action of a pedal seems to be insufficient, or if a large change occurs even if the pedal is only lightly moved, adjust the pedal as follows. = Adjusting expression pedal 1

1. Hold down the [PEDAL 1 SETTING]

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

2. With expression pedal 1 fully raised,

press the [STORE/SWAP] key. Pedal fully raised ZOOM G9.2tt

Using the Expression Pedals The display indication changes as follows. same (EGL PEDAL

3. Push expression pedal 1 fully down

and then lift your foot off the pedal. ECTS Push strongly, <— so that pedal

touches here When foot is lifted, | pedal returns slightiy

soeswar The adjustment is completed, and the unit returns to the play mode. HINT +_ The module on/off switching point of expression pedal 1 is not affected by the pedal position in step 8. This position is always the same. For_ information about the module off switching function, see page 33. If the indication *ERROR" appears, retum to step 2 and repeat the procedure. = Adjusting expression pedal 2

1. Hold down the [PEDAL 2 SETTING]

key while tuning on power to the unit. The display indication changes as follows. &"à FOL Calibration PEDALE-U, min

2. With expression pedal 2 fully raised,

press the [STORE/SWAP] key. \ Pedal fully raised The display indication changes as follows. Sronerswae libration PEDALE-U. .. MAX

3. Push expression pedal 2 fully down in

the vertical direction and then lift your foot off the pedal and press the ISTORE/SWAP] key. CA, Push strongly, EE 4 s0 that pedal touches here — When foot is lifted, = pedal returns slightiy eco | The display indication changes as follows. ZOOM G9.2tt Using the Expression Pedals rose PCL Calibration PEDALZ-H,,.min

Lift the stopper of expression pedal 2 to secure the pedal. Then turn the pedal fully to the right and press the ISTORE/SWAP] key. (2) Tum pedal fully to the right (1) Enable stopper Expression pedal 2 When you press the [STORE/SWAP] key, the display indication changes as follows. susw (EDL C. Calibration PEDALZ-H. .. MAX Push the stopper of expression pedal 2 down, turn the pedal fully to the right, and press the [STORE/SWAP] key.

«) oise /!| (2) Turn pedal fully stopper||£ to the right Expression pedal 2 When you press the [STORE/SWAP] key, the adjustment is completed, and the unit returns to the play mode. HINT Ifthe indication *ERROR" appears, return to step 2 and repeat the procedure. ZOOM G9.2tt

Using the Function Foot Switches The G9.2tt provides two programmable function foot switches on the top panel. For each switch, you can select a function from a range of options, assign it to the switch, and store the setting for each patch individually. This section describes how to assign functions to function foot switches 1/2.

1. in play mode, select the patch.

HINT The function foot switch 1/2 assignment can be set separately for each patch.

2. Press the [TOTAL/FUNCTIONI effect

module key. The function foot switch assignment is part of the ITOTAL/FUNCTION] module. The display changes as follows.

The function foot switch toggles between pre- amp channels À and B © BPMTAP The function foot switch can be used to specify the individual tempo for a patch (— p. 39). When the switch is pressed repeatedly, the interval between the last two presses is detected automatically and taken as the new tempo setting. TOTAL: Tempo BEPH =125

Function assigned to function foot switch 1 Æ When parameter knob 3 is turned TOTAL: Function EEPN TAF El Function assigned to function foot switch 2 The following functions can be assigned to function foot switches 1/2. HINT Using the tempo set here, specific parameters (Time and Rate) can be synchronized in note units (> p. 40) © Delay TAP The function foot switch can be used to specify the Time parameter for the DELAY module. HINT While BPM TAP specifies the tempo for an individual patch, Delay TAP uses the foot switch operation interval to directly set the Time parameter value (delay time). To use Delay TAP, the DELAY module must be active for that patch. © Hold Delay The function foot switch toggles hold delay between on and off. When you press the function foot switch in a patch for which hold delay is active, the hold function is turned on and the current delay sound is repeated. Pressing the function foot switch once more cancels hold, and the delay sound will decay naturally (see illustration on next page). Using the Function Foot Switches Original sound TE" Lili Function foot switch pressed HINT To use Hold Delay, the DELAY module must be active for that patch. © Delay Mute The function foot switch toggles DELAY module input muting between on and off. © Bypass OnOff, Mute OnOff The function foot switch toggles the bypass mode or mute mode between on and off. When either mode is activated, the tuner display comes up. © Manual Mode The function foot switch toggles between play mode and manual mode. © COMP OnOff, WAH/EFX1 OnOff, EXT LOOP OnOff, ZNR OnOff, PRE-AMP OnOff, EQ OnOff, MOD/EFX2 OnOff, DELAY OnOff, REVERE OnOff The function foot switch toggles the respective module between on and off. HINT When you select “PRE-AMP CH A/B, the LED of the respective function foot switch lights up in red (A) or green (B). When you select "BPM TAP* or “Delay TAP”, the LED flashes orange in sync with the BPM setting. Itis also possible to assign the same function to both function foot switches.

4. After selecting a function to assign to

the function foot switch, press the IEXIT] key. eur NOTE Any changes in assignment settings will be lost when you select a new patch. Be sure to store the patch if you want to keep the changes (-> p. 28). When you next call up the stored patch, the function foot switch will control the selected function.

Specifying the tempo for a patch The G9.2tt lets you specify a tempo for each individual patch and synchronize specific parameters to this tempo in note units. This section explains how to specify and use the tempo setting for a patch.

1. in play mode, select the patch.

2. Press the [TOTAL/FUNCTIONI] effect

module key. The tempo setting for each patch is part of the [TOTAL/FUNCTION] module. When you press the [TOTAL/FUNCTION] effect module key, the current tempo setting appears on the display. EI (TOTAL: Tempo Œ (né =124 ZOOM G9.2tt

specified tempo, select the effect type and effect parameter to synchronize, and select the note symbol as the setting value for the parameter. The setting value for effect parameters which support tempo synchronization can be selected in note units, using the patch specific tempo as a reference For example, the Time parameter of the effect type TAPE ECHO in the MOD/EFX2 module supports patch specific tempo synchronization. To use this capability, turn the respective parameter knob from the maximum setting (2000) further clockwise until a note symbol appears on the display HINT In the section “Effect Types and Parameters" (> pages 60 - 75), parameters which support tempo synchronization are indicated by a note symbol.

5. Select a parameter value by selecting

a note symbol. The following note settings for parameters which support tempo synchronization are available. Ë Thirty-second note # Sixteenth note Quarter triplet note à. Dotted sixteenth note # Eighth note 4 5 Half triplet note he Dotted eighth note ol Quarter note du Dotted quarter note LES Quarter note x 2 EE Quarter note x 20 NOTE The actual available setting range depends on the parameter. When you have selected the eighth note setting, the Time parameter will be set to a value that corresponds to an eighth note in the patch specific tempo. When the tempo is changed, the delay time also changes accordingly. NOTE Depending on the combination of tempo setting and selected note symbol, the maximum value of the parameter setting range (such as 2000 ms) may be exceeded. In such a case, the value is automatically halved (or set to 1/4 if the range is still exceeded).

6. When the tempo and parameter

setting is complete, press the [EXIT] key. The unit returns to play mode. necessary. ore the patch as The above procedure uses the tempo set in step 3 as reference for the note setting made in step 5. If the "BPM TAP" function is assigned to function foot switch 1/2, you can specify the tempo with your foot during a performance and have the parameter change accordingly. Using the Effect Loop The EXT LOOP SEND/RETURN jacks on the rear panel of the G9.2t allow connection of a compact effect, rack-mount effect or similar. Settings for external effect on/off and send/return level can be stored as part of a patch. This section explains how to use the effect loop.

1. Connect the external effect to the

EXT LOOP SEND/RETURN jacks. External effect HINT When connecting to an effect that has a rated input level of +4 dBm (rack-mount effect or similar), set the EXT LOOP GAIN switch to the "+4 dBm* setting. When connecting to an instrument effect or a compact effect, use the *-10 dBm" setting. NOTE The external effect should always be set to ON, to allow effect on/off switching at the G9.2tt. Ifthe external effect allows adjustment of mixing ratio between original sound and effect sound {such as a reverb or delay), set the original sound to 0% and the effect sound to 100%.

2. Select the patch in play mode.

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

3. Press the [EXT LOOPI] effect module

key to activate edit mode. Effect loop settings are made in the EXT LOOP module. The display changes as follows. ZOOM G9.2tt

R endLevel= 5% NOTE When “EXT LOOP Module OFF* is shown, the EXT LOOP module is currently turned off. Press the [EXT LOOP] key to turn the module on.

4. Use parameter knob 1 to adjust the

level of the signal sent from the G9.2tt to the external effect (send level). EXT LOOP @) ESendlevels 86 ΠHINT If the input level at the external effect is not sufficient even with the send level turned up, or if distortion occurs at the external effect input even with the send level turned down, check whether the EXT LOOP GAIN switch setting is appropriate.

5. Use parameter knob 2 to adjust the

level of the signal sent from the external effect to the G9.2tt (return level). { EXT LOOP ERet. Leuel= 56 G

6. Use parameter knob 3 to adjust the

level balance between the signal returned from the external effect and the internal signal of the G9.2tt (dry level).

Using the Effect Loop () EXT LOOP Ebrs els 55 HINT If the external effect is the type that mixes effect sound to the original sound (such as a reverb, delay, or chorus), adjust the level balance between original sound and effect sound by adjusting the return level and dry level. If the external effect is the type that processes the input signal for output (such as a compressor or EQ unit), the dry level should normally be set to 0 and the signal level should be adjusted with the return level parameter.

7- When the effect loop settings have

been made, press the [EXIT] key.

The unit returns to play mode.

8. Store the patch as necessary.

When you next call up the stored patch, the external effect settings will also become effective again. HINT Ifthe extemal effect supports MIDI based program switching, the G9.2tt can control the effect by sending program change messages. In this way, patch switching at the G9.2tt and program switching at the G9.2tt can be synchronized (- p.

MIDI Usage Examples This section describes the various MIDI functions of the G9.2tt.

What you can do with MIDI The G9.21t lets you use MIDI in various ways, as described below. © Send and receive patch switching information via MIDI When you switch patches at the G9.2tt, the MIDI OUT connector carries the corresponding MIDI messages (program change, or bank select + program change). Similarly, when a valid MIDI message is received at the MIDI IN connector, the G9.2tt will perform the corresponding patch switch action. This makes it possible to have patches at the G9.2it switched automatically under control of a MIDI sequencer, or link operation of the G9.2tt to patch switching at other MIDI enabled effects. © Send and receive pedal/switch/key operation information via MIDI When you operate specific keys and foot switches of the G9.2tt, or operate the expression pedals 1/2, the MIDI OUT connector carries the corresponding MIDI messages (control change). Similarly, when a valid MIDI message is received at the MIDI IN connector, the G9.2tt will vary the corresponding parameter. This makes it possible to use the G9.2tt as a real- time controller for other MIDI enabled devices, or alter effect parameters and module on/off status under control of a MIDI sequencer, synthesizer, or other MIDI enabled device © Exchange patch data between two G9.2tt units via MIDI The patch data of the G9.2tt can be output as MIDI messages (system exclusive), for copying to another G9.2tt.

Selecting the MIDI channel To enable correct sending and receiving of program change, control change and other MIDI messages, the MIDI channel (1 — 16) setting of the G9.21t and the other MIDI device must be matched. To set the MIDI channel of the G9.2tt, proceed as follows.

1. in play mode, press the [AMP

SELECT/SYSTEM] key. The AMP SELECT/SYSTEM menu for parameters that apply to all patches appears. ane sui RAA AMP Select 1-28 CR (HFRONT

2. Turn the [TYPE] knob to select the

MIDI channel (1 - 16) on which the G9.2tt will receive MIDI messages.

4. Turn the [TYPE] knob to select the

MIDI channel (1 - 16) on which the G9.2tt will send MIDI messages.

6. When the setting is complete, press

the [EXIT] key to exit the AMP SELECT/SYSTEM menu. The indication “Stor appears on the display, to allow you to store the changes.

the changes. sroswar The MIDI channel setting is accepted, and the unit returns to play mode. In the above condition, only the [STORE/SWAP] and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving. Sending and receiving patch switching information via MIDI (program change) You can send and receive patch changing information of the G9.21t via MIDI as program change or bank select + program change messages. There are two ways (program change modes) for doing this, as described below. © Direct mode With this method, you use a combination of MIDI bank select and program change messages to specify the patch. In the factory default condition, all patches of the G9.2tt are assigned a MIDI bank number and MIDI program change number. These can be used to directly specify each patch. HINT Bank select is a MIDI message type for specifying the sound category of a synthesizer or similar. It is used in combination with program change messages. Normally, bank select is specified in two parts, using the MSB (most significant bit) and LSB (least significant bit) value. © Mapping mode With this method, you use only the MIDI program change messages to specify the patch. A program change map is used to assign program change numbers 0 — 127 to patches and patches are then selected using the mapping information. With this method, a maximum of 128 patches can be specified. M Enable program change send/ receive The procedure for enabling send/receive of program change (+ bank select) messages is described below. ZOOM G9. 2tt MIDI Usage Examples

1. in play mode, press the [AMP

2. To enable the G9.2tt to receive

4. When the setting is complete, press

the [EXIT] key to exit the AMP SELECT/SYSTEM menu. The indication “Stor appears on the display, to allow you to store the changes. and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving. EH Using direct mode By using a combination of MIDI bank select and program change messages, you can specify a patch directly. NOTE Before carrying out the following steps, verify that the send/receive MIDI channel setting of the G9.2tt is as required (> p. 43), and that send/receive of program change messages is enabled (-> p. 44).

1. in play mode, press the [AMP

SELECT/SYSTEM] key. M [AMP Select 1-28 CR (HFRONT

2. Turn the [TYPE] knob to bring up the

3. Verify that “DIRECT” is selected as

the changes. The setting is accepted, and the unit returns to play mode. In the above condition, only the [STORE/SWAP] HINT For information on which bank number/program change number is assigned to each patch, see the list at the end of this manual (-> p. 79).

4. When the setting is complete, press

the [EXIT] key to exit the AMP SELECT/SYSTEM menu. If any setting on the AMP SELECT/SYSTEM ZOOM G9.2tt

MIDI Usage Examples menu has been changed, the indication “Store... ?” appears on the display, to allow you to store the changes.

5. Press the [STORE/SWAP] key to save

the changes. The setting is accepted, and the unit returns to play mode. In the above condition, only the [STORE/SWAP] and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving.

6. To send and receive program change

{+ bank select) messages, connect the G9.2tt and the other MIDI device as follows. M Example for sending program change {+ bank select) messages {1) When a patch at the G9.2tt is switched... (2) Program change (+ bank select) message is sent

connector connector El Ë M Example for receiving program change {+ bank select) messages {1) When a program change (+ bank select) message is received...

connector connector (2) Patch at the G9.2tt is switched. [sc] HINT +_ When the program change mode of the G9.2tt is set to “DIRECT”, and the external MIDI device sends only the MSB or LSB of the bank select message, the most recently received complete bank select instruction (initial values: MSB = 0, LSB = 0) will be used. When the extemal MIDI device sends only the program change message without bank select MSB and LSB, the same as above applies, namely the most recently received complete bank select instruction (initial values: MSB = 0, LSB = 0) will be used. NOTE When the external MIDI device sends only a bank select message to the G9.21t, no change occurs. The next time the G9.2tt receives a program change, the most recent bank select instruction will be used. E Using mapping mode In this mode, a program change map is used to assign patches, allowing patches to be specified by using program change messages only. NOTE Before canying out the following steps, verify that the send/receive MIDI channel setting of the G9.2tt is as required (> p. 43), and that send/receive of program change messages is enabled (-> p. 44). 1.in play mode, press the [AMP SELECT/SYSTEM] key. Sa [AMP Select 1-28 CR (BFRONT

2. Turn the [TYPE] knob to bring up the

4. Turn the [TYPE] knob to bring up the

“PC MAP” (program change map) parameter. Using this display, you can assign any patch of the G9.2tt to a program change number from 0 —

5. To assign a patch to a program

change number, proceed as follows. (1) Tum parameter knob 1 until the program change number to use is shown on the top line of the display. Program change number Group name/bank number Patch number (2) Use parameter knobs 2 and 3 to select the group name/bank number and patch number to assign to the program change number. PC MAP APra: 15 BEnk: ASBEPat: 3 GB ZOOM G9.2tt (8) Repeat these steps to for other program change numbers.

6. When the setting is complete, press

the [EXIT] key to exit the AMP SELECT/SYSTEM menu. The indication “Store... ?” appears on the display, to allow you to store the changes.

7. Press the [STORE/SWAP] key to save

the changes. The setting is accepted, and the unit returns to play mode. In the above condition, only the [STORE/SWAP] key and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving.

8. To send and receive program change

messages, proceed as described in step 6 of “Using direct mode” (> p. 45). Sending and receiving pedal/switch/key operation information via MIDI (control change) The G9.2tt allows sending and receiving control change messages via MIDI. These messages govern actions such as operating the expression pedals 1/2, and switching modules or bypass/mute on and off with keys and foot switches. Each action can be assigned its own control change number (CC#). EH Enable control change send/ receive The procedure for enabling send/receive of control change messages is described below.

1. in play mode, press the [AMP

2- To enable the G9.2tt to receive

4. When the setting is complete, press

the [EXIT] key to exit the AMP SELECT/SYSTEM menu. The indication “Store... ?” appears on the display, to allow you to store the changes. eur torse... 7 YCSTORE] NCEXIT]

5. Press the [STORE/SWAP] key to save

the changes. The setting is accepted, and the unit returns to play mode. In the above condition, only the [STORE/SWAP] key and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving. H Assigning control change numbers You can assign control change numbers to the expression pedal and keys of the G9.2tt as follows. NOTE Before canying out the following steps, verify that the send/receive MIDI channel setting of the G9.2tt is as required (> p. 43), and that send/receive of control change messages is enabled (-> p. 47). 1.in play mode, press the [AMP SELECT/SYSTEM] key. ane saur

2. Turn the [TYPE] knob to bring up the

display for assigning a control change number. Operations to which a control change number can be assigned are listed in the table on the next page. For example, to assign a control change number to expression pedal 1, the following display is used. APECALI=F Gontrol change number lo be assigned e MIDI cc#_ 12 HINT The control change number assignment always applies both for sending and receiving.

4. Assign control change numbers to

other operations in the same way.

5. When the setting is complete, press

the [EXIT] key to exit the AMP SELECT/SYSTEM menu. The indication “Store... ?” appears on the display, to allow you to store the changes.

6. Press the [STORE/SWAP] key to save

the changes. The setting is accepted, and the unit returns to play mode. In the above condition, only the [STORE/SWAP] key and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving.

7- To send and receive control change

messages, connect the G9.2tt and the other MIDI device as follows. ZOOM G9.2tt M Example for sending control change messages

1) When the expression pedal or

switches and keys at the G9.2tt are operated... (2) Control change message is sent

connector connector Control change values sent from the G9.21t change as follows. © When the expression pedal 1/2 is operated The value of the assigned control change number is varied continuously over the range of 0 -127. For expression pedal 2, two control change messages can be sent simultaneously, for vertical direction and horizontal direction movement.

MIDI Usage Examples © When module on/off switching is performed When the module is set to on, the value 127 of the control change number is sent. When the module is set to off, the value 0 of the control change number is sent. © When bypass/mute on/off switching is performed When bypass/mute is set to on, the value 127 of the control change number is sent. When bypass/mute is set to off, the value 0 of the control change number is sent. © When pre-amp section channel A/B switching is performed When switching to channel A, the value 0 of the control change number is sent. When switching to channel B, the value 127 of the control change number is sent. m Example for receiving control change messages

2) The same operation as when the respective

expression pedal or switch or key at the G9.2tt is operated occurs. According to the control change value received, the G9.2tt status and parameter values change as follows. © When control change for expression pedal 1/2 is received The value of the parameter assigned to the pedal changes according to the control change value (0 - 127). © When control change for module on/off is received If control change value is between 0 and 63, the module is switched off. If control change value is between 64 and 127, the module is switched on. © When control change for bypass/mute on/off is received If control change value is between 0 and 63, bypass/mute is switched off. If control change value is between 64 and 127, bypass/mute is switched on. © When control change for pre-amp section channel A/B switching is received If control change value is between 0 and 63, the pre-amp section switches to channel À. If control change value is between 64 and 127, the pre-amp section switches to channel B. Sending and receiving G9.2tt internal data via MIDI The patch data stored in a G9.2tt can be sent and received as MIDI messages (system exclusive). When two G9.2it units are connected via a MIDI cable, this allows copying of patch data from the sending unit to the receiving unit. NOTE When patch data are received, all existing patch data in the G9.2tt will be overwritten. Perform the following steps with care, to avoid accidentally overwriting important data.

1. Connect the MIDI OUT connector on

Fscos The steps at the target G9.2tt and source GO.2tt are explained separately below. = Target G9.2tt

2. Set the G9.2tt to play mode and press

the [AMP SELECT/SYSTEM] key. Then use the [TYPE] knob to bring up the “BulkDumpRX” (bulk dump receive) parameter on the display. EulkDumeRk 28-28 ExctePress [PAGE]

3. Press the [PAGE] key.

The G9.2tt is switched to bulk dump target operation, and a MIDI message requesting data is sent repeatedly to the source G9.2tt. = Source G9.2tt

4. Set the G9.2tt to play mode and press

the [AMP SELECT/SYSTEM] key. ae sue Hi) ro AMP Select 1-28 CR (BFRONT

5. Use the [TYPE] knob to bring up the

“BulkDumpTx" (bulk dump transmit) parameter on the display. EulkDumeTx 27-28 ExctePress [PAGE] ZOOM G9.2tt

6. Press the [PAGE] key.

The G9.21t is switched to the bulk dump source standby condition. In this condition, the G9.2tt will automatically send patch data when it receives a MIDI message requesting data. While the target G9.2tt is receiving data, the display changes as follows. Patchbatsbumr FR Feceivina HINT If you press the [EXIT] key before the indication “Receiving..." appears, the patch data send/ receive operation is aborted and the previous display retums. When the patch data send/receive process is completed, both G9.2tt units return to the AMP SELECT/SYSTEM menu. HINT The web site of ZOOM Corporation (http:// www.zoom.c0.jp) has editor/librarian software available for download. Using this software, you can store patch data of the G9.2tt on a computer.

Using the ARRM function The G9.2tt incorporates an innovative feature called ARRM (Auto-Repeat Real-time Modulation) which uses various internally generated control waveforms to cyclically modify effect parameters. You can select for example a triangular waveform and apply it to the wah frequency as a control target. The resulting effect is shown below. Wah} Frequency || Wah Wah We

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

1. in play mode, select the patch.

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

2. Press the [TOTAL/FUNCTIONI effect

control target parameter. As you turn parameter knob 1, the effect parameter, effect type, and effect module change. HINT The parameters that can be selected as control targets are the same as can be selected for operation by the expression pedal. See the section “Effect Types and Parameters” on page 60-75. When “NOT Assign” is displayed, no parameter is assigned as control target and the ARRM function is disabled.

4. To set the adjustment range for the

R\VAVAVI HINT The available range setting depends on the parameter. It is also possible to set “min” to a higher value than “MAX”. In that case, the control change direction wil| be reversed.

control waveform. The display changes as follows.

control waveform cycle. The display changes as follows. Liu

ESanc=i x The control waveform cycle uses the patch specific tempo (— p. 39) as reference and is displayed as eighth note, quarter note, or quarter note x numeral (see table on page 40). The numeral after x (2 — 20) indicates the duration of a cycle in multiple quarter notes. When “2” is selected, the control waveform changes in a cycle interval that corresponds to half a note of the patch specific tempo. When “4” is selected, the cycle is 4 beats (1 measure of a 4/4 beat).

8. When the ARRM setting is complete,

The unit returns to play mode. Store the patch as necessary. ZOOM G9.2tt

Other Functions When you play your guitar in this condition, the selected effect parameter will be modified cyclically by the internally generated control waveform. NOTE Any changes in ARRM settings will be lost when you select a new patch. Be sure to store the patch if you want to keep the changes (-> p. 28).

Using the G9.2tt as audio interface for a computer By connecting the USB port of the G9.2tt to a USB port on a computer, the G9.21t can be used as an audio interface with integrated AD/DA converter and effects. The operating environment conditions for this type of use are as follows. ME Compatible operating system + Windows XP + Mac OS X (10.2 and later) M Quantization 16-bit M Sampling frequencies 32 kHz / 44.1 kHz / 48 kHz HINT With each of the operating systems listed above, the G9.2tt will function as an audio interface simply by connecting the USB cable. There is no need to install any special driver software. NOTE The USB port of the G9.2tt only serves for sending and receiving audio data. For MIDI messages, use the MIDI IN/OUT connectors. To use the G9.2tt as an audio interface for the computer, connect the USB port of the G9.2tt to a USB port on the computer. The G9.2tt will be recognized as an audio interface. In this condition, the sound of a guitar connected to the INPUT jack of the G9.2tt can be processed with the effects of the G9.21t and then be recorded on the audio tracks of a DAW (Digital Audio Workstation) software application on the computer (see Figure 1 below). When performing playback with the DAW application, the playback sound from the audio jgnal flow during recording DAW || software Got UNPUT | usB Effects UE) ï IOUTPUT] ignal flow during playback (1) DAW GI2t software F [INPUT] pletecs use EL | IOUTPUT] TUSE] ignal flow during playback (2) INPUT Go2tt DAW software USB [OUTPUT] IUSE] ZOOM G9.2tt Other Functions tracks is mixed with the guitar sound processed by the effects of the G9.2tt and appears at the OUTPUT jack of the G9.2tt (see Figure 2 on the previous page). If required, the guitar signal after effect processing can be muted during playback (see Figure 3 on the previous page). For details, see next section. For details on recording and playback, refer to the documentation of the DAW application. NOTE If 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 G9.2tt with the direct output enabled. If recording is carried out with the echo back function on, the output signal may sound as if processed by a flanger effect, or the direct output signal may sound delayed. Use a high-quality USB cable and keep the connection as short as possible. Muting the direct output when using a USB connection When the G9.2tt is connected to a computer and used as an audio interface, the signal appearing at the OUTPUT jack after effect processing may be muted if required. To do this, proceed as follows.

1. in play mode, press the [AMP

Sn [AMP Select 1-28 CR (BFRONT

2. Turn the [TYPE] knob to bring up the

indication "USB Monitor" (output mode when USB connection is used) on the display.

PNY IUSE Monitor 3-28 AUSE+DIRECT

ofthe following settings. © USB+DIRECT The signal after effect processing appears at the OUTPUT jack also when USB connection is used. e USB Only The signal after effect processing at the OUTPUT jack is muted when USB connection is used.

4. When the setting is complete, press

the [EXIT] key. HINT The USB Monitor setting is reset to the default condition (USB+DIRECT) when power is turned off and on again. ZOOM G9.2tt

About the editor/librarian software ZOOM CORPORATION makes an editor/ librarian software application available for download on its web site. To use the software, the computer must have a MIDI interface, and a connection must be established between the MIDI IN/MIDI OUT connectors of the computer and the MIDI OUT/ MIDI IN connectors of the G9.21t. The software then makes it possible to save patch data of the G9.2tt on the computer, edit the data, and copy edited patch data back to the G9.21t. © Web site of ZOOM CORPORATION http:/www.zoom.co.jp Adjusting the display contrast If required, you can adjust the display contrast as follows.

1. in play mode, press the [AMP

SELECT/SYSTEM] key. The AMP SELECT/SYSTEM menu for parameters that apply to all patches appears. [AMP Select 1/28 BFRONT

2. Tum the [TYPE] knob to bring up the

contrast in the range from 1-3.

4. When the setting is complete, press

the [EXIT] key to exit the AMP SELECT/SYSTEM menu. The indication “Stoi * appears on the display, to allow you to store the changes. (Store... 7

the changes. sos The contrast setting is accepted, and the unit returns to play mode. In the above condition, only the [STORE/SWAP] key and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving. The patches of the G9.21t can be thought of as ten serially linked effect modules, as shown in the illustration below. You can use all effect modules together or selectively set certain modules to off to use just specific effect modules. Pre-amp section - For some effect modules, you can select an effect type from several possible choices. For example, the MOD/EFX2 module comprises CHORUS, FLANGER, and other effect types from which you can choose one. The five-module series EXT LOOP, ZNR, PRE- AMP, EQ, and CABINET functions as a virtual preamplifier with two channels. The ZNR, PRE- AMP, and EQ modules can have different settings for channels A and B, allowing channel switching also within the same patch. Switching between live performance sound and direct recording sound The PRE-AMP module of the G9.21t comprises a total of 44 effect types. In addition, each of these effect types has two algorithms, one for live playing and one for direct recording. This amounts to having access to 88 effect types. The respective algorithm is selected automatically, depending on the status of the CABINET module, as described below. © When CABINET module is off The live performance algorithm is selected for (Compressor| | AutoWah |! FD Clean El Il Chons Delay Hal IRackComp] |a-Resonance |! Noise VX Clean !l srcchons | | PingPongDy H Gate ! Limiter Booster || 1C Clean 11 Ensemble Echo à Dis | emo || Bu | [_ FWGtean Ï[ mosDoiay | |Prarongce Phaser À À Game : D ranger | [Aragon the PRE-AMP module. This algorithm optimizes the sound for playing through a guitar amp. When the G9.2tt is connected to a guitar amp, this setting is recommended. © When CABINET module is on The direct recording algorithm is selected for the PRE-AMP module. This algorithm optimizes the sound for reproduction via a system with flat response. When the G9.2tt is connected to a recorder or hi-fi audio system, this setting is recommended. BEEN

Algorithm for direct recording

Algorithm for live performance NOTE When the CABINET module is off, the Amp Select function for matching the G9.2tt to the amplifier in use is also available. For details, see the next section. ZOOM G9.2tt

Linking Effects Using the Amp Select Function The G9.2tt incorporates an Amp Select function that optimizes the frequency response to match the type of amplifier in use. When starting to use the G9.2tt or when changing the guitar amp, you should choose a suitable Amp Select setting as described below. NOTE The Amp Select feature is disabled for patches where the CABINET module is set to on. This is because the PRE-AMP module algorithm for direct recording will be automatically selected when the CABINET module is on.

1. in play mode, press the [AMP

of the following settings. © FRONT This is the standard setting for using the GUITAR INPUT on the front of the guitar amp. © COMBO R1 This setting is suitable when using the POWER INPUT on the rear panel of a Roland JC-120 guitar amp. © COMBO R2 This setting is suitable when using the POWER INPUT on the rear panel of a Fender combo amp. @STACKR This setting is suitable when using the POWER INPUT on the rear panel of a Marshall stack amp.

3. When the setting is complete, press

the [EXIT] key. The indication "Store... ?" appears on the display, to allow you to store the changes.

4. Press the [STORE/SWAP] key to save

the changes. In the above condition, only the [STORE/SWAP] Key and [EXIT] keys are active. By pressing the LEXIT] key, you can abort the changes and return to play mode without saving. Changing the insert position of the pre-amp section and WAH/EFX1 module The G9.2tt allows you to change the insert position of the five modules making up the pre- amp section (EXT LOOP, ZNR, PRE-AMP, EQ, CABINET) and the WAH/EFX1 module. This will result in changes to the effect action and tone. # Changing the insert position of the WAH/EFX1 module To change the insert position of the WAH/EFX 1 module, call up the Position parameter and set it to "Befr” (before pre-amp section) or "Aftr' (after pre-amp section). The Position parameter can be used when the Booster, Tremolo, or Octave effect type is not selected.

1. in play mode, manual mode, or edit

mode, press the [WAH/EFX1] key.

2. Turn the [TYPE] knob and select an

effect type other than Booster, Tremolo, or Octave.

3. Turn parameter knob 1 to select

“Befr” (before pre-amp section) or “Aftr” (after pre-amp section). Linking Effects

4. When the setting is complete, press

3. When the setting is complete, press

the [EXIT] key. The unit returns to the previous mode. To enable the changed setting, be sure to store the patch (= p.28). NOTE When the “Pre” setting is selected as pre-amp section insert position, the signal after the MOD/ EFX2 module is processed entirely in stereo. When you select “Post”, the signal is processed in the pre-amp section in mono. The pre-amp section insert position applies to both the À and B channel. Choosing a different setting for the two channels is not possible. The module lineup with different settings for the WAH/EFXI module and pre-amp section insertion position is shown below. (cour }-(wanrxtr)-(Exr LooP)-(znr }-(PRE-amP) (Ea)-(caginer )-(monrenxe }{ DELA }-{REVERS + Fig. 2 Pre-amp section = PRE, WAH/EFX1 = Aftr Pre-amp section —{(comP}--{exr LooP}-(znr }-(PRE-avP)-(Ea)-(caBiner WAHEFX1 }-{MOD/EFX2 }{ DELAY }-( REVERS + Fig. 3 Pre-amp section = POST, WAH/EFX1 = Befr Pre-amp section (comp }-{wWaHErX: }-{moD/Erx2 }X DELAY }-{ExT LOOP)-{2NR }-{PRE-AMP CABINET }-_{ REVERS > Fig. 4 Pre-amp section = POST, WAH/EFX1 = Aftr Pre-amp section —{(cour)-(monerke } DeLav }-(Exr LooP}-(2nr }-(PRE-AMP)-(Ea)-{caBiner }-(wanrerx: )-(REVERS }=+ ZOOM G9.2tt

Effect Types and Parameters Effect Types and Parameters COMP module Attenuates high-level signal components and boosts low-level signal components, to keep he overall signal level within a certain range

Adjusis the delay between the Adjusts the reference signal || Adjusts the compression ratio || point where the signal level || Adjusts the level for the limiter action. ||of ihe limiter. falls below the threshold level || passing the module. and the limiter release. (y 0100 WAH/EFX1 module This module comprises wah and filter effects as well as special effects such as ring modulator and octave. Tempo sync The note symbol ( Pin the table indicates that the parameter can be synchronized to the patch specific tempo. I you select the note symbol as value for the parameter when making the setting at the G9.2tt, the parameter value will be synchronized to the patch specific tempo in A-Resonance note units (- p.59) CRETE This effect vanies the resonance filter frequency in accordance with picking intensity. Expression pedal PART PARM2 PARMS PARME The pedal symbol (sf) in the table indicates that the parameter can be controlled with the Position Be, Aftr ||, Sense 0 ni æ% Resonance | 0-10 ||.& Level 2-100 expression pedal 1/2. you select the parameter as control target when making the setting at _ = the G9.2tt (-- p. 32 - 35), the expression pedal 1/2 will adjust the parameter in real time when Paso Of REX the patch is selected. Parameters with the pedal symbol can also be selected as control targets module, Available setings ae | à us he effect sens Ads he intensity of the for the ARRM function "Befr (before pre-amp ï 3 [resonance sound. passing the module section) or "Afir' (after pre Delay tap/hold delay/delay mute amp section). respective function foot switch 1/2 can be used to specify the delay time (TAP), toggle hold This is a booster for increasing signal gain. delay on and off (HOLD), or toggle mute between on and off (MUTE). These functions apply only PARMI PARME PARMS to the DELAY module. Range [1-5 |fTone Lo-10 |[2g Gain Lo-10 |[2 Lever To use these functions, the respective function must be assigned to the function foot switch 1/2 re ETS {+ p. 38) and the respective effect type must be enabled. boost. sound iusts the amount Of boost || using the module

Control the modulation ti n waveform. Available waveform Position L set, Afr ||, Frequency] 1-50 |[2g Drymix | 0-10 Je Level [ 2-10 op Selects he connection position || Adjusts the frequency that is awtooth), "DW? . ne after the WAH/EXI module. ||emphasized. When the Adjusts the modulation depth, || Adjusts the modulation rate. ||sawtooth). and "TRI Adjusts the signal level after Available setings are "Befr' || expression original sound mixed to the passing the module. passing the module. the effect is similar to a | effect sound. Kiangular). Higher numerical values result in stronger ping, which emphasizes the

[This effect produces a swooshing sound. pre-amp section) or after pre-amp section). PARMI PARMZ PARMS PARMA Position L'Berr, air || Frequency | 1-50 ||Curve Li-10 fegtever | 2-10 " Scies the conneeion position || Adjusts the frequency hat is Position Lee at | rate [0-50 |[Goior [ira Jagieve | 2-10 ie NAHEEXI me, |emphais, When the Adjusts the eune with which || su ne —— Aalhbleretines ue ”Beie D) iusts the signal k Tec he connection poson Ale stingeare ef passing lie module. of MAHIEXT module Ajust the signal level after “AIR (fer pre ump section) settings are "Befr' Adjusts the modulation rate. | |Adjusts the sound color. mine k (before pre-amp section) or passing the module. Pedal wah with a strong character. FixedPhaser PARMT PARMZ PARMS PARMA [This effect provides a fixed phaser that can be used like an equalizer. Position ser, atr || 26, Frequency | -% Resonance] 0-10 |[æg Level | 2-10 PARMI PARME PARMS PARME : Position L Befr, Aftr || Frequency] 1-50 ||Gotor [i-a Jlagievel [ 2-100 Sciecis he connection position of the WAH/EFXI module. . . ave afte Gate pe x Available setines are "Befr"… | Adiusts the f lAdjusts the sound color. Adjusts he signal level after Afu” (after pre-amp section). fs lemphasize. passing the module. before pre-amp section) or SA er prompt) [LE This effect adds a one-octave lower component to the original sound. RingModulate PARMT PARMZ PARMS Adjusts the modulation Adjusts the resonance frequency. intensity. passing the module Available settings are "Bel: {before pre-amp section) or equency range 10 FThis effect produces a metallc ringing sound. Adjusting the "Freq” parameter results in a drastic change of sound u u u This effect Lx, OctLevel L 0-100 ||2 Drylever | 0-100 ||Tone Lo-10 |[2 Lever PARMI PARM2 PARMS PARM4 APORAREN the one |lAdjusts the level of the Adjusts the tonal quality of the | | Adjusts the Position L met, a ec Frequency] 1-50 [ec Balance | 0-10 egiewt | 2-10 EN original sound lower octave component. passing the module Selects the connection position of the WAH/EFXI module. Available settings are "Befr before pre-amp section) or “Alu” (after pre-amp section) [This effect slows down the attack rate of the sound, resulting in a violin playing style sou

PARMI PARM2 PARMS PARMA

Position [Bet ar | Time [ 1-50 écuve | 0-10 |egieve | 2-100 Sciecis he connection position of the WAH/EFX1 module. Available settings are "Befr Adjusts the rise time. before pre-amp section) ar “fu” (añer pre-amp section). lAdjusts the balance original sound and effect sound Adjusts the modulation frequenc Adjusts the signal level after passing the module. lAdjusts the rising volume || Adjusts the signal level after change curve. passing the module. 62 ZOOM G9.2tt ZOOM G9.2tt 63

Effect Types and Parameters EXT LOOP (external loop) module This module controls an external effect connected to the EXT LOOP SEND/RETURN jacks. The external effect send level and return level and the G9.2tt internal signal level can be set separately for each patch (- p. 41). By setting this module to OFF, the external effect can be defeated . PARM2 PARMS 0-100 [la RetLevel | 0-100 ||ex DryLevel | 0-100 FAdjusts the volume of the Adjusts the external effect || Adjusts the external effect |loriginal sound in the GO 2üt send level. return level. the signal level that is input 10 he EXT LOOP module). ZNR module module serves for reducing noi noise reduction and noise gate (muting during pauses). ZNR (ZOOM NOISE REDUCTION) [ZOOM original noise reduction which reduces noise in playing pauses without affecting the overall tone. NoiseGate [This is a noise gate which cuts off the sound during playing pauses. [This is a vintage type gate with special closing characteristics. “The above three effect 1ypes have the same parameter. PARMI Threshold I 1-16 Adjusts the ZNR sensitvity, For maximum noise reduction, set the value as high as possible without causing the sound 10 decay unnaturally. 64 ZOOM G9.2tt Effect Types and Parameters PRE AMP module This module comprises 43 types of distortion and an acoustic simulator. In edit mode, the module is adjusted using the [GAIN] and [LEVEL] knobs of the pre-amp section and the parameter knobs 1 and 2. For each effect type in this module, there are 2 algorithms (for live playing and direct recording). The algorithms are automatically selected according to the on/off status of the CABINET module (-- p. 67). Effect parameters are described below, after effect types. by guitarists of many music styles. class À. Clean sound of the Roland JC series with built-in chorus || Clean sound of the legendary all-tube Hiwatt Custom fwhich gives a wide, clear tone. 100 from Britain. gruncn sound of the 80-watt combo amp Marshall 1862 || Gunch sound of a Fender Tweed Deluxe ‘53. TweedBass BG Crunch Crunch sound of the Fender Bassman, a bass amp with Ja strong presence. Crunch sound of the Mesa Boogie Mklll combo amp. VX Crunch Z Combo Crunch sound of class À combo amp Vox AC30TBX, Zoom original combo amp crunch sound. Crunch sound of the Marshall 1969 that has become || Crunch sound of the Marshall Stack amp JCM800 that legendary. ranges from clean to crunch. High gain sound of the Marshall stack amp JCM2000. || Clean sound of îhe Mesa Boogie Dual Rectfier orange High gain sound of the Mesa Boogie Dual Rectifier red || High gain sound of the Mesa Boogie Dual Rectifier red fchannel (Vintage mode). channel (Modern mode). Clean sound of the Hughes & Kettner flagship model || Crunch sound of the Hughes & Kettner flagship model iamp MKII (Amp 1). [Triamp MKII (Amp 2). Channel 1 clean sound of the hand-made German guitar amp Diezel Herbert with three separately controllable channels. High gain sound of the Hughes & Kettner flagship model iamp MKII (Amp 8). DZ Crunch DZ Drive Channel 2 crunch sound of the Diezel Herbert ami Channel 3 high gain sound of the Diezel Herbert am Drive sound of the ENGL Ritchie Blackmore Signature || High gain sound of a Peavey 5150 developed in

100. cooperation with a world-famous hard rock guitarist.

OverDrive Simulation of the Boss OD-1 that first created the “overdrive" concept. Simulation of the often copied Ibanez TS808 used by || Simulation of the Klon Centaur favored by many pros, many guitarists as a booster. also as a booster. ZOOM G9.2tt 65

Effect Types and Parameters Simulation of the PROCO Rat famous for its edgy distortion sound. Simulation of the Guv'nor distortion effect from Marshall. Simulation of the Boss distortion DS-1, a long-time Simulation of MXR distortion+ that made distortion favorite. popular woridwide. Simulation of the compact Matchless HotBox preamp || Simulation of the Fuzz Face that made rock history with with buit-in tubes. its zany look and smashing sound. MetalZone Simulation of the Électro-Harmonix BigMuff preferred by || Simulation of the Boss METALZONE with long sustain famous artists for its fat, sweet fuzz sound. land dynamic lower midrange. Combination of Fender combo amp and Ibanez TS-9 | |Combination of Marshall stack amp and Boss SD-1 sound. sound. Combination of Fuzz Face and Marshall stack amp sound] |Zoom original overdrive with natural distortion. ETS High gain sound with the most powerful gain of any distortion effect in the world. [Zoom original straight clean sound. The above 43 effect 1ypes have he same paramelers. High gain fuzz sound with strong character. GAIN LEVEL LR Gain Lo-100 [lag Lever ] 1-100 Adjusts the preumpgun —|[Adjusts he signal vel alter Cdistortion depui) passing the module PARMI PARMZ [Tone [0-30 [pre Post connection position of the pre-amp Adjusts the tomal quality ofthe | [section. Available settings are sound. Pre” (before MOD/EFX2 module) or "Post" (after DELAY module). This effect makes an electric guitar sound like an acoustic guitar. GAIN LEVEL Le Top [o-10 [leglever | 1-100 Ajust te charter Strings sound of an acoustic guitar. Adjusts the signal level after passing the module. PARMI PARME Body L_o-10 L Pre. Post Ÿ connection position of the pre-amp Adjusts the characteristic body | section. Available settings are sound of an acoustic guitar. … ||"Pre” (before MOD/EFX2 module) or “Post” (after DELAY module) 66 ZOOM G9.2tt Effect Types and Parameters En EQ module This is a 6-band equalizer. In edit mode, the module is adjusted using the [BASS], [MIDDLE], CD [TREBLE], and [PRÉSENCE] knobs of the pre-amp section and the parameter knobs 3 and 4.

BASS MIDDLE TREBLE PRÉSENCE

Bass #12 || Middle #12 ||Treble 412 ||Presence #12 160Hz 800Hz 32kHz GAkHz Adjusts Doosteur in 1he low frequency range. Ajust boosteutin the middle frequency range. Adjusis Posteur in the high frequency range Adjusts Posteur in the very high frequency range CABINET module M Ms effect smurates tre sound obtained when recording an amp cabinet win a [e=) microphone. The simulated mic type and position can be selected. The on/off status of this module controls the automatic algorithm selection in the PRE-AMP module (-- p. 65). PARMS PARM4 Low-Mid #12 400Hz

12kHz Harmonics. Adjusis boosteut in the lower. middle frequency range. Adjusis oosteut in the harmonies frequency range. PARMT PARMZ PARMS MicT; Dyna, np Cond MicPosi 0-2 Depth 0-2 ects the microphone type. Dyna’ simulates the frequency response of a dynamic mic and Cond” that of a condenser mic. ILets you select different characteristics according 10 the mic position. The following settings are available. 0: Mic pointed at sp center 1: Mic pointed halfway between speaker edge and center

2: Mie pointed at speaker e Adjusts the effect depth Effect Depih 0 also includes some Cabinet sound. MOD/EFX2 module Chorus This effect mixes a variable pitch-shifted component to the original signal, resulting in full-bodied resonating sound. PARMI PARM2 PARMS PARM4 Depth [o-100 2% Rate [1-50 Tone I 0-10 LR Mix [o-100 Adjusts the effect depth. Adjusts the modulation rate. Adjusts the tomal quality of the sound Adjusts the level of the effect sound mixed 10 the original sound. ST-Chorus This is a clear sounding stereo chorus.

PARMI PARMZ PARMS PARMS

<£ Depth I 0-100 || 2% Rate I 1-50 ||Tone I 0-10 || Mix Ï 0-100 Adjusts the effect depth. Adjusts the modulation rate. Adjusts the tomal quality of the sound Adjusts the level of the effect sound mixed 10 the original sound. ZOOM G9.2tt

Effect Types and Parameters Effect Types and Parameters This is a chorus ensemble with three-dimensional movement. This is an effect with automatic vibrato. PARMI PARM2 PARMS PARMS PARMI PARMZ PARMS PARMS Depth Lo-100 |[Rate [1 Tone [o-10 ||2s mx ep [o-100 ag mate [o-5op |[rone [o-10 [ag Balance | 0100 u u |A diusts he eve : usts the balance bete ModDelay Step [This is a delay that allows use of modulation. Special effect that changes the sound in a staircase patte. PARMI PARM2 PARMS PARM4 PARMT PARM2 PARMS PARM4 - Lo | - Lo rime 200 plu FecdBack | 0-10 ||, Rate vx 0-100 Lai, Depth 0-100 ||æx Rate 0-50) || Resonance] 0-10 ||es Shape | 0-10 ms Adjusts the modulation depih. | Adjusts the modulation rate. || AGuStS the resonan Adjusts the effect sound intensity. envelope. Adjusts the amount OT Adusts the level of the @ Sets he delay time. fedpuek her setine values | Au the modulation te. | sound mine 1 he ongnat delay sound repetitions. sound This is a delay with a maximum setting of 2000 ms.

TapeEcho_(next effect) for effect paramete TapeEcho EEE This effect simulates a tape echo. PARMI IPARME FARM] PARMS PARMI PARMZ PARMS PARMS LS, Depth 0-100 ||æ& Rate 0-50 p ||2$ Resonance|” 2% Manual | 0-100 1- _ [Time 2000 D||2$ FeedBack | 0-100 ||HiDamp 0-10 || Mix 0-100 ue = citect de : [AGusts the resonance Adjusis the frequency range S justs the effect depth Adjust he modulation rate. | D eh the cle opera mi Adjusts the amount ol feedback. || Adjusts the treble atenuation ina ofthe che, Suis ie delay me Higher ete Value result ina of the delay sound, Lower |f Just te level of the effect Sets the delay time h of delay sound ||seuting values resuit in sofier || *°URd mixed 10 he original This effect shifts the pitch up or down. delay sound. sound.

PARMI PARMZ PARMS PARMS

x: to : DynamicDelay Shift 12 12,24 [Tone 0-10 ||Fine -25-25 || 2%, Balance 0-100 This is a dynamic delay where the effect volume varies according to the input signal level. = of = NUITS PARMI PARM2 PARMS. PARMS Sasie : orine [owS fine adjustment of || Adjusts the balance between Set he pitch shift amount in | Adjusts the tona quality of the | ic sf amount in Cent (1/ | original sound and effect 1- 100 semitone) steps. sound Time 2000 Des Amount | 0-10 ||2g FeedBack | 0-100 || 25 Sense me PedalPitch rs Adjusts 1e effect sensilVity. With positive seting values, the effect sound level increases at [This effect allows using a pedal to shift the pitch in real time. PARMI PARM2 PARMS PARMA Adjusts the level of th Adjusts the amount of Color Ci Mode Lu Doun [Tone To-1o [axPaPosi | 0100 s the delay time. sound mixed te rat | as Bahrain Sen the phieh sf «sound level decreases at s : Depending on the "Color" higher input signal levels. Select ie Dpe pie || Set 1e direton of the pt |] Adjuss he tonal quai ofte ste. the banc EE a qaned y Éhange 10 Up or Down. Kound. original sound and effect sound also change accordingly able 1] Color _Mode_æPedl minimum value =, Pedal maximum value Color Mode _æ#% Pedal minimum value 2 Pedal maximum value Up “100 cent Original sound only. Up [-toctae+DAY | +1octave + DAY 1_| Down| Original sound oniy -100 cent 5 | Down | +1 octave + DRY | _-1 octave + DRY Up | DOUBLING Detune + DAY Up [-700cent+ DAY | +500 cent+ DAY 2_|Down|_Detune + DRY DOUBLING S_| Down | +500 cent + DRY | _-700 cent + DRY Up Ocent 1 octave Up | OH + DAY +1 octave 3 | Down +1 octave O cent 7 |Doun +1 octave -x (0 Hz) + DRY Up Gcent 7 octaves Up [ = OH+DAY | +ioctave+ DAY 4 ]Down| _-2 octaves 0 cent 8 | Down | +1 octave + DRY -æ (0 Hz) + DRY 68 ZOOM G9.2tt ZOOM G9.2tt 69

Effect Types and Parameters Effect Types and Parameters This is a dynamic flanger where the effect volume varies according to the input signal level. This effect varies the sound like a talking modulator. PARMI PARM2 PARM3 PARM4 PARMI PARM2 PARM3 PARM4 < Depth 0-100 ||et Rate 0-50) ||2& Resonance| 197110 || sense dd uS Range 10 ||2& Resonance| 0-10 ||eg Sense 0-0 [leg Balance | 0-100 Ajust the effect sens With positive setting values, the 2 sound level increases at Adjusts the balance between original sound and effect sound. ReverseDelay [This is a special delay where the effect sounds as if playing in reverse.

Adjusts the frequency range || Adjus processed by the effect. inter Adjusts the effect ser Adjusts the modulation depih. || Adjusts the modulation rate.

PARMT PARMZ PARME PARMA

[This is a pitch shifter specifically for monophonic sound (single-note playing), with little sound fluctuation. Time 1000 p||æ& FeedBack | 0-100 | HiDamp 0-10 ||% Balance 0-100 PARMI PARME] PARRES PARMS Adjusts the Balance between Shift [-24-+24 [Tone [0-10 |[Fine [25-25 |[2é Balance | 0-100 Sets the delay time. Adjusts he amount of Adiusts the treble atenuation | Dial sound and eftect _ feedback. of the delay sound FAlows fine adjustment of || Adjusts the balance between sound. Adjusts the pitch shift amount || Adjusts the tomal quality of he | DC a amount in Cent (1/ [orme sound and effect in semitones. sound 100 semitone) steps. sound EXT [This effect provides pitch bending that uses the input signal as trigger and processes each note separatel H.P.S (Harmonized Pitch SI P p 1g put sign gg P' parately.

PARMI PARM2 PARMS PARM4

[This is an intelligent pitch shifter that automatically generates harmonies according to a preset key and scale. PARET PARVE ARMES DAME Lei Depth [50-50 ||<g Attack 10 ||æg Release | 1-10 [eg Balance | 0-100 Adjusts he releuse time For AAdiusts the attack time for he [| dust he release me For | Adjusts the balance betwes PE Adjusts the effect depuh.… || bending efiect. Higher seuing [|îne bending ctect: Higher | lorginal sound and effect Scale -3,-m,m, | [Key FH Q ga, [Iron 0-10 ||2% Mix 0-100 values result in slower attack. ||, “45 FESIE IR S'OWEE sound. 348,6 AA B Decrmines de Hnrerval for the en true Tadscihe ton quatty orme [AGE te everrof the ettect CombFilter pitch shifted sound (see Table || used for pitch shifting. Pre] quan sound mixed 10 the original [This effect uses the comb filter characteristics generated by using fixed modulation on the flanger as an equalizer. 2 ë sound PARMI PAR PARMS PARMA Trablez] _ & Frequency | 1-50 || Resonance] -10-10 ||HiDamp Lo-10 |[2s mx [0-10 Sting [pe ofscule | _Intenval | Seting] pe ofscaie | Interval er : ET EE DS Adjusts the frequency to be the resonance Ads the ieble attenuation | Ada ever ofhe eee À srggrsce EPP LE pagracae CPE émbhesized fe ect sound sou mixed 0 the origin a ; Four dou |__5 d Fa up EI Third down m_] Mnorscae Mau [This effect reproduces the ambience of a room, to create spatial depth.

PARMT PARM2 PARMS PARM

PdiMonoPitch size Li-100 [xx reîex | 0-10 ||Tone Lo-10 || Mix [o-100 This is a pitch shifter specifcally for monophonic sound (single-note playing), which allows the pitch to be shifted in real time with an expression pedal. Adjust the size of the Adjust he amount of Adjust the tom quality of ae [Just ie Level fe effect PARMI PARMZ PARMS Simulated space: reflections from the wall. sound. sound mixed 1 the original Color Li: Mode [Up, Doun |[Tone [Lo-10 Sélects the type of pitch Sets the direction of he pitch || Adjusts the tomal quality of the Pythepedal | lange 10 Up or Down Kound Arial sound and elec sound also change accordingly. (ee Table 1). 70 ZOOM G9.2tt ZOOM G9.2tt 71

Effect Types and Parameters DELAY module This is a delay module that allows use of the hold function. Effect parameters are described below, after effect types.

[This is a long delay with a maximum setting of 5000 ms. PingPongDiy TAP HOLD MUTE [This is a ping-pong type delay where the delay sound altemates between left and right

[This effect simulates a tape echo with a long delay time of up to 5000 ms. PingPongEcho TAP HOLD MUTE This is a ping-pong type delay where the delay sound altemates between left and right. Long delay settings up to 5000 ms are possible. AnalogDelay TAP HOLD MUTE [This effect simulates an analog delay with a long delay time of up to 5000 ms. “The above 5 effect 1ypes have the same parameters.

PARMI PARM2 PARM3 PARM4

Time so plat FeedBack | 0-100 ||HiDamp 0-10 ||% Mix 0-100 ucble attenuation [A Gus the lever of the effect Sets the delay time Adjusts the feedback amoun. [[Atts the rcble atemation | mixed 10 1he original sound ReverseDelay TAP HOLD MUTE This is a reverse delay with a long delay time of up to 2500 ms.

PARMI PARM2 PARM3 PARM4

Time 20 pla FeedBack | 0-100 ||HiDamp 0-10 || Balance | 0-100 bee Ajust the balance between Sets he delay im Adiuss he feedback amoune, | Ads Le ble attention | at Sound and eiet sound [This effect reproduces the ambience of a room, to create spatial depth.

PARMT PARM2 PARM3 PARM4

Lx Reflex | 0-10 |Tone Lo-10 |[2s mx [o-100 s AAdjusts the amount of Adiusts he roma quality of ne | Austste evel fe lfect Simulated spac reflections from the wall. ||sound sound mixed to the original 72 ZOOM G9.2tt Effect Types and Parameters REVERB module CD hs moduie comprises various kinds of reverb ea rflctions, and mult-tap dela. Efect parameters are described below after effect types. [This reverb effect simulates the acoustics of a room. [This effect simulates a spring-type reverb. [This reverb effect simulates the acoustics of a large venue such as a sports arena, TiledRoom [This reverb effect simulates the acoustics of a tiled room. ModernSpring [This effect simulates a bright, transparent spring-type reverb. TThe above six effect 1ypes have the same parameters.

PAR PARME PARMS PARME

Les Decay | 1-30 |[PreDely | 1-100 ||Tone Lo-10 |[2s Mix [_o-100 Adjusts the delay between = ne | FA dust the fever of te effect Sets the duration ft rever | mput tte nina sound ang | At te ona qualit ft | mine 1 he oral Star of the reverb sound. ||" sound E/Reflection [This effect isolates only the eariy reflection components of the reverb.

PARMI PARM2 PARM3 PARM4

Decay %Shape | 10 |[Tone Lo-10 |[2s mix [0-10 Adjusts the envelope of the effect sound. In the negative range, the envelope is . pe | Adiusts the level of he effect Sets the duration of the reverh ||reversed. At, the effect is a |] Adusts the tomal quality ofthe Lou mixed o the original gate reverb, In the positive || SU sound. range, the envelope is an attenuating envelope MuitiTapDIy [This effect produces several components with different delay times.

PARMI PARM2 PARMS PARM

5000 D|[Pattern | 1-8 ||Tone | 0-10 || Mix | 0-100 Time cts the combination pattern for the taps. The Adjusts the tomal quality of the selection ranges from sound rhythmical 10 random patterns. Adjusts the level of the effect sound mixed 10 the original sound. Sets the basic delay time. ZOOM G9.2tt 73

Effect Types and Parameters PanDelay [This is a stereo delay with a delay time of up to 3000 ms.

PARMI PARM2 PARMS PARM4

Time g000 P||=<6 FeedBack | 0-100 ||HiDamp 0-10 ||<& Pan R2-R50 Sets the delay time Ajust te Feedback amount. | en aenuaon | A Pa Cd PingPongDiy [This is a ping-pong delay with a delay time of up to 3000 ms. See PingPongEcho (next effect) for effect parameters. PingPongEcho This is a ping-pong type delay where the delay sound altemates between left and right. Long delay settings up to 3000 ms are possible.

L50-L2, LS, Width 0, || Rate 0-50 p||2$ Depth 0-10 || Wave 0-10 R2- R50 Selects a wavelorm for modulation. Higher setting Adjusts the modulation rate. || Adjusts the modulation depth. || values result in stronger clipping, which emphasizes the auto-panning effect. Adjusts the range of sound position movement 74 ZOOM G9.2tt Effect Types and Parameters TOTAL module

do mini MAX ARRM control target min (minimum | See page || {maximum See page value) me | Se Selects the ARRN control he parameter value | Species the parameter value target. When "NOT Assign' is et when the control that is set when the control selected, the ARRM function || waveform reaches its lowest || waveform reaches its highest is disabled. point point. PAGEZ PARMI PARMZ See page See page Wave page ||syne pas pecifies control waveform Selects the control target synchronization using the waveform patch specific tempo as reference. P1-1 to P1-4 (Expression pedal 1 setting) Specify control targets 1 - 4 for expression pedal 1. Effect parameters are described below, after effect types.

Expression pedal control target min (minimum value) MAX (maximum value) || Module on/off function Specifies the parameter value | [Enables or disables the that is set when the pedal is || module on/off function. This fully pushed down, or when || parameter is not available for pedal 2 is fully turned 10 the || P2H1 to P2H4 (pedal 2 right horizontal direction setting). Specifes the parameter value o at is set when the pedl is control target. fully raised, or when pedal 2 is fully turned 10 the el ZOOM G9.2tt 75

Troubleshooting Specifications M No sound or very low volume Make sure that the POWER switch is on. Try adjusting the LEVEL knob. + Make sure that the INPUT jack and the guitar, and the OUTPUT L/MONO (or OUTPUT R) jack and the guitar amp are connected properly. + Make sure that the shielded cable is not defective. Try adjusting the patch level (—> p. 16) Make sure that the G9.2tt is not in mute condition (> p. 21) For some patches, the volume can be adjusted with an expression pedal. Make sure that a suitable volume setting has been selected with the pedal. When both controls in the Accelerator section are fully turned down, there will be no sound. You must turn at least one control partially up. M Sound is distorted + Try lowering the Gain and Level parameters of the PRE-AMP module. Try lowering the setting of the [TUBE] control and [BOOST] control in the Try lowering the setting of the [TUBE] control in the Accelerator section. izer section M Foot switches do not operate properly Check the setting of function foot switches 12 (= p.38) Check the current operation mode. The foot switch action is different in play mode and manual mode. M Sound in bypass condition is strange + Try lowering the setting of the [TUBE] control and [BOOST] control in the izer section: The Energizer operates also in the bypass condition Set the [TUBE] control in the Accelerator section to a setting lower than 3 o'clock. The Accelerator operates also in the bypas condition. = Noise is noticeable Make sure that only a ZOOM AC adapter is used. Adjust the ZNR setting. Move around the room to check for RF noi in relation to the pick ups, etc. Try lowering the Gain and Level parameters of the PRE-AMP module. Check the settings of expression pedals 1/2 (= p. 33-35). Depending on the parameter assigned to expression pedals 1/2, a pedal action causing drastic parameter change may result in noise. E Cannot send or receive MIDI messages Make sure that the MIDI IN connector of the G9.2tt and the MIDI OUT connector of the other MIDI device, and the MIDI OUT connector of the G9.2tt and the MIDI IN connector of the other MIDI device are connected properly. Check the MIDI channel setting (—> p.43). Check whether send/receive of the respective type of MIDI message is enabled ( p.44,47). M On/off switching with expression pedal does not work properly Verify that parameter 4 (module on/off) for expression pedal 1 (P1-1 to P1-4) or the vertical direction of expression pedal 2 (P2V1 to P2V4) in the TOTAL module is set able" (— p. 33, 34). The module on/off function is not available for pedal 2, horizontal direction setting (P2HI to P2H4).(— p. 34). Number of effect types Number of effect modules Patch memory Sampling frequency AID conversion D/A conversion Signal processing Frequency response Display Inputs Guitar input AUX input External Return Outputs Line output Headphone output External Send Tube circuitry Control connectors USB interface PC interface Sampling frequencies Power requirements Dimensions Weight

16-bit (record/play, stereo) 32 kHz, 44.1 KHz, 48 KHz 15 V AC, 1.5 A (from supplied AC adapter AD-0012) 235 (D) x 595 (W) x 85 (H) mm 5.5ke

• Design and specifications subject to change without notice. ZOOM G9.2tt

Notes 1. Control # 1-5,7-31,64-95 is assignable. 2: Transmit Control # and Recognized Control # that used in some function are same.

Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO 78 ZOOM G9.2tt Specifications = G9.2tt patch/bank number + program number assignment table PATCH No. GROUP | BANK 1 2 3 4 5 Bank No. [Program Bank No.] Program] Bank No.] Program] Bank No.| Program] Bank No. | Program MSB]LSB| No. |MSB|LSB| No. |[MSB|LSB] No. |[MSB]LSB| No. |MSB] LSB| No.

The FCC regulation warning (for U.S.A.) This equipment has been tested and found 10 comply with the limits for a Class B digital device, pursuant 10

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

interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference 10 radio communications. However, there is no guarantee that interference will not oceur in a particular installation. If this equipment does cause harmful interference 10 radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged 1 try to correct the interference by one or more of the following measures: + Reorient or relocate the receiving antenna. + Increase the separation between the equipment and receiver. + Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. + Consut the dealer or an experienced radio/TV technician for help. A A A 4® CE = EE M ms mme E mm

Operating Dedicated Effects With the Z-Pedal Besides the effects described in the manual, the WAH/EFX1, MOD/EFX2, and REVERB modules of the G9.2tt contain a number of special effect types that are designed to make best use of the capabilities offered by expression pedal 2 (Z-pedal). These effect types are described below. Another additional function is the "ARRM BPM" parameter that can be assigned to an expression pedal. When this is done, the reference tempo for the ARRM function (0 - 250) can be controlled with the pedal. (The patch specific tempo setting is not affected.) LENERE module This effect allows cross-fading of original sound and effect sound (VOX type wah), using the pedal. Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Frequency" parameter and the horizontal direction (P2H1 - P2H4) to the "X-Fade" parameter.

PARMI PARM2 PARMS PARM4

Position Lee, at || Frequency] tns50 | XFade | on100 [Lever ['2n100 Selects the connection position of the WAH/EFX1 module. Available settings are "Befr" (before pre-amp section) or “Afir" (afier pre-amp section). This effect allows cross-fading of original sound and effect sound (Phaser), using the pedal. Try assigning the vertical direction of the Z-pedal (P2VT - P2VA) to the "Rate" parameter and the horizontal direction (P2H1 - P2H4) to the "X- Fade' parameter.

PARMT PARM2 PARMS PARM4

Befiñ4, At ñ4 Selects the connection position and the sound type. With settings "Befl” to "Bef4”, the Adjusts the level balance position is before the PRE-AMP | | Adjusts the modulation rate. ||between original sound and module, and with settings effect sound "'AfLL" to "Aft4” after the PRE- AMP module. This effect allows cross-fading of phaser and tremolo action, using the pedal. Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Rate" parameter and the horizontal direction to (P2H1 - P2H4) the "X-Fade” parameter.

PARMI PARM2 PARMS PARM4

Adjust the level balance between original sound and effect sound Adjusts the frequency that is lemphasized. Adjusts the signal level after passing the module. Color <S, Rate [oason <&, X-Fade [on Level [en Adjusts the signal level after passing the module. 2% PHA Rate | 0550) || TRM Rate | 050) ||#û X-Fade 0ñ100 ||Level | 2ñ100 Adjusts the phaser modulation | | Adjusts the tremolo Adjusts the Level balance Adjusts the signal level after rate modulation rate. between phaser and tremolo.… | |passing the module Z-Oscillator This oscillator allows changing its frequency by tracking the pitch of the guitar signal or with the pedal. À portamento and vibrato effect can also be added to the oscillator signal. To have the oscilator frequency track the guitar pitch, set the "Frequency" parameter to “A-Bf° (before PRE-AMP module) or "’A-Af" (after PRE-AMP module). In this case, try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the Balance” parameter and the horizontal direction (P2H1 - P2H4) to the "Portament” or "Vibrato” parameter. To control the oscillator frequency with the pedal, set the "Frequency" parameter to O - 60 (this becomes the reference frequency) and assign the vertical direction of the Z-pedal to the "Frequency" parameter and the horizontal direction to the “Balance” parameter.

Time [10ñ1000||2$ FeedBack | on100 |JHiDamp | oû10 || mx L'on 100 Adjusts the amount of feedback. | | Adjusts the amount of treble Higher setting values result in a || damping in the delay sound. higher number of delay sound || Lower setting values result in repetitions. sofier delay sound. X-Flanger This effect allows cross-fading of original sound and effect sound (Flanger), using the pedal. Try assigning the vertical direction of the Z-pedal (P2VT - P2VA) to the "Rate" parameter and the horizontal direction (P2H1 - P2H4) to the "X: Fade' parameter.

PARMT PARM2 PARMS PARM4

Depth Ï 0100 || Rate Lonsop A, X-Fade Ï 0100 ||Manual Ï Of 100 Adjust the level balance Adjusts the modulation depih. || Adjusts the modulation rate. || between original sound and | Ait the Heduency range in effect sound which the effect operates This effect allows cross-fading of original sound and effect sound (Step), using the pedal. Try assigning the vertical direction of the Z-pedal (P2VT - P2VA) to the "Rate" parameter and the horizontal direction (P2H1 - P2H4) to the "X: Fade' parameter.

PARMT PARM2 PARMS PARM4

Depth Ï 0ñ100 || Rate Ï on50p || X-Fade Ï oñ100 ||Shape Ï oñ10 Adjustihe level balance Adjusts the modulation depth. || Adjusts the modulation rate. ||between original sound and [effect sound. This is a step effect which allows shifting the emphasized frequency up or down, using the pedal. f you assign the “Frequency” parameter to the pedal, the emphasized frequency will change in discrete steps, until the target frequency is reached. Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Frequency" parameter and the horizontal direction (P2H1 - P2H4) to the "Mix" parameter.

PARMI PARM2 PARMS PARM4

= Frequency | 150 ||Depth [0% 100 |[Shape Lonto | Mix [0% 100 Adjusts the level of the effect sound mixed to the original sound. This is a pitch shifter that allows setting a different pitch shift amount in the vertical and the horizontal direction of the Z-pedal. Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "PdiPosi V” parameter and the horizontal direction (P2H1 - P2H4) to the "PdlPosi H° parameter. The parameters are the same as for Z-MonoPitch. This is a monophonic pitch shifter (for single-note playing) that allows setting a different pitch shift amount in the vertical and the horizontal direction of the Z-pedal. Tiy assigning the vertical direction of the Z-pedal (PV1 - P2V4) to the “PdlPosi V° parameter and the horizontal direction (P2H1 - P2H4) to the "PdlPosi H° parameter.

PARMT PARM2 PARMS PARM4

Color 1ñ8 |ÎTone oñ10 ||æ& PdlPosiV | 0ñ100 || PdlPosiH | 0ñ100 Selects the pitch change type ; à ch shift a eaused by the pedal (ee Robe || Adjusts the tone Adjusts the pitch shift amount || Adjusts the pitch shift amount 5 (vertical direction of pedal). || (horizontal direction of pedal) Adjusts the level of the effect sound mixed to the original sound Adjusts the delay time. Adjusts the envelope of the effect sound. Adjusts the emphasized frequency. Adjusts the envelope of the Adjusts the modulation depth. | [ASUS Me

4 fe min d'cent Ü cent 8 [a min 2700 cent +1 octave alking This effect changes the guitar Sound into a talking Sound. When using the Z-pedal, vowels can be changed in various ways by moving the pedal in the vertical or the horizontal direction. Ty assigning the vertical direction of the Z-pedal (P2V1 - P2VA) to the "Formant V' parameter and the horizontal direction (P2H1 - P2H4) to the "Formant H” parameter.

PARMI PARM2 PARMS PARM4

Variation 1ñ5 ||Tone 0610 || Formant V | 0ñ100 || eg FormantH] 0ñ100 Adjusts the formant [peaks in || Adjusts the formant [peaks in the acoustic frequency the acoustic frequency Selects the sound variation type caused by the pedal (see || Adjusts the tone. spectrum that characterize || spectrum that characterize Table 3). vowels] (vertical direction of ||vowels] (horizontal direction pedal). of pedal). [Table 3] The table below shows an example for Z-pedal operation when vertical direction is assigned to “Formant V* and horizontal direction to “Formant H”. Dareon 75 Foro 17 Vertical lirection fariation| Vertical irection |! Vera! Jetta [min | érection {na variation] JE Jan | son ra mm u PRET à ESC ë Sn [TE ï 2 in î ë Sin ë ü s [em É REVERB module elay This is a delay effect which allows adjustment of panning and mix level using the pedal. Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the “Mix” parameter and the horizontal direction {P2H1 - P2H4) to the "Pan" parameter.

PARMT PARM2 PARMS PARM4

Time 00 » ||FeedBack 0ñ100 || Pan L50 ñ 50! | 2 Mix oû100 Adjusts the level of the effect sound mixed to the original sound This is a spatial effect which allows adjustment of depth, panning, and reverberation using the pedal. Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Depth" parameter and the horizontal direction {P2H1 - P2H4) to the "Pan" parameter.

PARMI PARM2 PARMS PARM4

Pan [uso R50|!<$ Depth | 0100 ||Decay [iñso [mix on 100 Adjusts the lefuright panning | lAdjusts the sound position Adjusts the mixing levelofthe of the sound depth. Adjusts the reverb duration. | eh sound. This is a delay effect which causes the effect sound to swiri like a tomado. Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Rate" parameter and the horizontal direction {P2H1 - P2H4) to the "Width" parameter.

PARMI PARM2 PARMS PARM4

Adjusts the delay sound left/ Adjusts the delay time. right panning. Adjusts the amount of feedback. Time 00 pla Rate 16503 || Wiath L50 ñ R50| | 26, Mix 0100 Adjusts the sound movement | [Adjusts the mixing level ofthe Adjusts the delay time. range delay sound. Adjusts the modulation rate. Adjusting the Expression Pedal Torque Adjusting horizontal torque for expression pedal 2 | Fully raise the expression pedal 2 atthe right side of the unit. Pedal adjustment fitting is visible on rear of expression pedal 2. 2 Insert a 3mm size hex wrench into the fitting on the outside of the panel. To increase pedal firmness, turn the wrench clockwise. To decrease pedal firmness, turn the wrench counterclockwise. Adjusting vertical torque for expression pedal 1/2 À Turn power to the G9.2tt off, En disconnect the AC adapter 3 mm size hex wrench 40 mm or longer from the unit, and turn the 4 unit upside down. 2 Insert a 3 mm size hex wrench into the hole on the underside of the left or right expression pedal. To increase pedal firmness, turn the wrench clockwise. To decrease pedal firmness, turn the wrench counterclockwise. Expression pedal 2 of the G9.2tt is designed for operation with one foot. When the pedal is fully turned to the right, pushing it strongly down, hitting it, or otherwise exerting strong force Wzrmmg on it will damage the pedal. Be sure to operate the pedal only within its designated range. If you loosen the pedal too much, the internal screw may come off, and you will no longer be able to tighten the pedal. Perform this operation with care. I the screw should have come off inside the unit, contact your dealer or an authorized Zoom service station. Never try to open the cabinet of the G9.2tt yourself, and never turn power to the G9.2tt on if the screw is unsecured inside the unit. Otherwise the electronic circuitry may be seriously damaged. © ZOOM Corporation Reproduction of this document, in whole or in part, by any means, is prohibited. G9.2tt-Pedal Adjust-E-1 (a)

= * When connected to a guitar amplifier, select the "For LIVE use" patches. When connected to a recorder or similar equipment, select the "For REC use" patches. G 9 2tt P atc h Li st #Banks A and b of the preset area contain the same patches as banks U and u. CL] * The noise reduction setting may have to be adjusted according to the guitar and amplifier you are using. xThe amp channel indicated by shading will be selected when the patch is called up. x The Z-pedal setting indicates the effect type name and the parameter name. Expression pedal 1 is always assigned to the Volume parameter. D E M 0 #The EF} symbol indicates the vertical direction setting and the MX symbol the horizontal direction setting. M 0 D E LI N G

• An effect listed in brackets () in the Z-pedal setting can be turned on by depressing the pedal fully. Patch name PRE-AMP PRE-AMP Patch name PRE-AMP PRE-AMP ; FUNCTIONT | FUNCTION2 Z-Pedal (Expression pedal 2 FUNCTIONT | FUNCTION2 Z-Pedal (Expression pedal 2 For LIVE use: ForRECuse | CHANNEL CE) {pression pedel2} ForLVEuSe À ForRECuse | CHANNEL Ge [D] {Expression pedal 2) G9 Drive DZ Clean PV Drive AB Phaseron | E2Z-MonoPitch : PdlPosi V (+1 Oct) M Z-MonoPitch : PdlPosi H (+2 Oct) HiWatt HW Clean HW Clean AB DelayTAP | Eg Delay: Mix 2 Chorus : Mix ! 0 1 f 0 1 ‘This patch simuletes the new-generation warming sound of Rage Against The Machine guitarist Tom Morello. Moving the Z-pedal in the vertical direction gives a 1-octave higher pitch change, and the 13 2 ! 3 2 This patch is modeled on the clean tone of the Hiwatt Custom 100 with its lively midrange. The typical saturation characteristics of a tube amp are Ul | ÿ VU horizontal direction adds one more octave, for extreme pitch changes. Channel À is modeled on the Diezel Herbert high-gain setting, end channel B on channel 1 clean sound of the Peavey 5150. Ü 7 UT 7 faithfully preserved, resulting in confident, responsive sound. Immerse yourself in the sultry clean tone of a British amp. Channel B is a tonal variation. CleanCMB FD Clean VX Clean AB Hold Delay | BB ModernSpring : Mix 2 AnalogDelay : Mix AC30TBX VX Clean VX Crunch AB Tremolo on | B Tremolo: Rate 2 remolo : Depth Simulation of the Vox AC30TBX crunch sound with the smooth high range typical of a class À amplifier, end its delicately detailed distortion. \Vhen you pley a chord, the sound virtually jumps from the speaker in a way that i just not possible with other amps. Channel À gives the beautiful clean tone that is another halmark of a class À amp. UD -2 ! 0-2 Ultimate clean tone recreating the saturation of a tube amp. Select either American Fender sound (channel A) or British Vox sound (channel B). By ju making use of the Energizer tube circuitry, the sound can be given additional sheen. CrosOver Z Clean OverDrive AB BPMTAP | En AMP-8: Gain 2 Delay : Mix HK Clean HK Drive AB DelayTAP | ED AnalogDelay : Mix 2 AnalogDelay : FeedBack UD -3 À QD -3 | vesstie orrive sound very popular Fusion and Grossour one nineteen-eigntes, When plyng 8 guitar Sd, Increase he gain by pushing Cou This patch simulates the smooth drive sound of the Hughes & Ketner Triamp MKIL Let the powerful low end and ample distortion propel your lead play. i U ‘he Z-pedal. Add delay by moving the Z-Pedal sideways. Channel À offers Z Clean sound for cutting, Channel À recretes the sound of the class À amp in the clean channel of the Triamp MKI. X-Phase FD Clean VX Clean AB Stepon | En X-Phaser : Rate 2 Phaser : X-Fade US Blues US Blues AB BPMTAP | Wa E/Reflection: Mix 2 lapeEcho : Mix UD -4 Ÿ Lg -4 [Essen + mhaser sound grest for funky cute. Crossface ine regular phase tn ie ongnal sound Dj mouing the Zpedal sidensys. AG Sound madeled on the Fender Tweed Deluxe beloved by many Blues greats. Dry crunch sound with just the right amount of sustain brings out delicate UD -4 _} UD -4 | brushing and singe-note rs to real buid that gronve. Channel À 1 a clean sound variation based on the Fender Twin Reverb Shifts in dynamics that meke all the difference Lay your heart into those picking nuances. Channel B contains a Tiveed Deluxe sound variation Wah&Pit! MS #1959 MS Drive AB | PdlMonoPitchon | B'3 PecalVox: Frequency M2 PélMonoPitoh : PdlPosi UK Blues UK Blues AB MultiWah on | B (Multiah : Frequency ) M2 filedRoom : Mix 0-5: u9-5 [Ts pan i ideal fo some viky gutar ay. Use te Zpedal it one foot and tum into State Va. Control eh with verical pedal movement and The Marshal Bluesbreaker smulted by this patch Is not an amp that provides heawy distortion Ike the Marshall JCM series. its crunch sound faithfuly follons UD -5 } uU -5 | operate a mono pitch shfter in ral time with horizontal pedal wok. Channel À contains the Marshall 1989 crunch sound with moderate gain. each picking nuance and has the classic ring of British Blues in the vein of Eric Clapton. Channel B contains a variation with stronger drive feeling Z-Talker OFF FuzzFace AB DelayTaP | E3Z-Talking : Formant V 2 Z-Talking : Formant FD Clean TueedBass AB ST-Chorus on | W3 ST-Chorus : Mix M ModemSpring : L'E-1 LU 1-1 ]mée te guter tai with the Zpedal Moving he pecal in & Vrshaped patte during chord stoking creates & backup chorus. Or suit 10 channel B Channel À of this patch contains the clean sound of a Fender Tuin Reverb, while channel B recreates the crunch sound of the Fender Bassman. With LU 1-1 } u 1-1] win ne ruzz Face sound torstronger impact. Channel À of the REG patch (u1-1) contains Z Clean sound these to great cholces, you can make optimum use of the stereo chorus while playing a wide variety of styles. ‘70s Dry TS+F_Cmb SD+M_Stk AB DelayTAP | E 3 P-Resonance : Frequency 2 AnalogDelay : Mix LI 1-2 À y 1-2 |py souréremniscent ofine seventies Gradualy moving the Zpedal vertical brings up from the men tone af Er Gigpton to brihter tone Channel U 1-2 } u 1-2 Ji a combination of Fender combo amp and Ibanez T5-9 crunch sound Morphing Z Clean MS Drive AB P-Resonance on | & 3 ReverseDelay : Balance D P-Resonance : Frequency LI 1-8 À à 1-8 | Psréneseic maine sound usne reverse des. Let ie pad ae you famine real rl [rene to ne on fantasy (Reverse Del and DK MS Grunch DZ Drive AB DelayTAP | B°ÿ PélMonoPitch : PdlPosi mA Echo: Mix :U aain. Channel B gives a heavil distorted Marshall sound, This patch simulates the Deep setting of the Diezel amp known for its hard, high-gain tone. used extensively by bands such as Metallica. K is best suited HarmonyC VX Clean VX Crunch AB TO ES HPS MX &o playing guitar with drop tuning. Combination with Gate produces a dramatic and starting sound. Channel À is à Marshall crunch sound. U 1-4 À 5 1-4. [rspstcn nat acés hamonyin C major end Gay 1 la œunch souns, The Z-pedal ets ou ess on te mg ai f ea nd harmonie DEON BlackMor MS #1959 ENGL Dre AB Booster on | Wa Ensemble : Mix mA Echo: Mix ! U shifter. Why not try your hand at guitar orchestration using delay tap and the Z-pedal. Channel A is a clean sound based on the same Vox AC30TBX. 14 -4 : 4 Simulation of the famous Ritchie Blackmore sound. Channel À emulates the Marshall 1959 and channel B the ENGL Dry setting for Deep Purple and AcoJazz PE FD Clean 8 Ensemble on | BJ Hal: x n De: x U4 -4 ? u4 -4 L'Réimbou sound. respective. Press function foot switch 2 to um the booster an and get that great tone for esd play = ik be : D: . 1-5 Lg 1-5 [NS petch uses the acousti effect t mod tre sound of an electi guiter in elctoscoustie she. Te besutful ambience crestes à Jezy fl SurfRock FD Clean dist+ AB BendChorus on | fa X-Vibe : TRM Rate mA Xe: X-Fade U 1-5 } u 1-5 | Recommenden for use with sge-col font pickups. Channel B provides the Fender Tuin Reverb clean sound : The ideal sound for playing surf rock in the style of The Shadows or The Ventures. Get those phrases flowing and catch the wave. Move the Z-pedal sideways to use both phaser and tremolo. Channel B is a dry sound using modeling of dist +. Rect Mün DZ Drive AB Delayon | En (Delay: Mix) M Room : Mix Simulates the punk rock sound pumped out by Offspring. The drive feeling will make you want to hit those power chords, but the sound still retains enough crispness for speedy playing. Channel B notches up the aggressiveness with DZ Drive. MODELING MS#1959 MS #1959 MS #1959 AB Boosteron | Ka (Vibe: Rate) 2 Sing : Mix HW Clean BigMuff AB BPMTAP | Ba ST-Chorus : Mix M Echo : Mix L f A patch modeled on the legendary Marshall 1959 SuperLead 100 used extensively by numerous rock guitarists. Enjoy distortion that is slightly different from Simulates the sound of the famous U2 guitarist Edge who jumped onto the worid scene in the 1980s. Moving the Z-pedal sideways produces clear echo e-1iuc-t U _ ÿ UC modem high-gain stack amps. Pushing the Z-pedal all the way doun tums vibrato on. Channel A is a variation of the same amp with lower gain setting. sound. Make optimum use of the pedal for those impressive solos. Channel B offers BigMuff type fuzz sound. ENGL ENGL Drv ENGL Drv AB Delayon | En X-Wah: Frequency 2 Wah : X-Fade Z Clean DZ Drive AB | RingModulate on | 9 RingModulate: Frequency 2 AnalogDelay : Mix ! Al 2 f è 2 This patch simulates the sound of the ENGL E650 Ritchie Blackmore Signature 100. Ample distortion but never muddy, that is what Ritchie Blackmore's Simulates the loud and super-distorted sound of Slipknot, a major band on the modern heavy music scene. Moving the Z-pedal vertically gives the sound U = ÿ UC sound is all about. Moving the Z-pedal horizontally brings X-WAH into play. Channel A is a variation of the same amp with lower gain setting. a more metallic ring, while the horizontal direction adds ambience for solos. Channel A provides Z Clean sound. Rectify Rect Cln Rect Vnt AB Halon | Ka Hall:Mx 2 Chorus : Mix SalasWah Z Clean Guvnor AB AutoWah on | B3 AutoWah : Resonance M2 Room : Mix ! Al 3 f è 3 Simulates the high-gain sound of the Mesa Boogie Rectifier, a worid-wide standard for heavy music. Warm sound with a strong presence provides a 16 4 ! 6 4 This patch simulates the heavy auto wah sound of Stevie Salas. It uses the compressor + auto wah combination indispensable for true funk. Make free U U i UC mighty buildup whether playing riffs or lead. Channel A provides the clean channel sound (Rect Cin). Ü = UJ use of brushing and single-note cutting to play those groovy phrases. Channel A contains a clean sound. J-Chorus JG Clean JG Clean AB ST-Chorus on | WE 3 ST-Chorus : Mix mg Hall: Mix BeckOct FD Clean RAT AB DelayTAP | f°9 Octaue : OctLevel M Echo: Mix Ue -4 : 2-4 À Simulation of the Roland JazzChorus sound uith its beautiful chorus-based clean tone. Every guitarst needs a transparent clean sound with a vide range of uses, for cutting, arpeggios 4 UC and many other situations. Stereo chorus can be tumed on and off with the function foot switch. Channel À offers a tone variation of the same JazzChorus, Simulates the octaver sound cherished by Jeff Beck. Its the ideal patch for playing passages in the fluid driving style of his famous song Led Boots” Adjust the octaver level with the pedal. Channel À provides a Fender Twin Reverb clean sound. 800/2000 MS Crunch MS Drive AB MuttiWah on | #9 (MuïiWah : Frequency ) mg Hall: Mix FD Clean UK Blues AB DelayTAP | BA Echo: Mix M2 ModemSpring : L 2 5 f a 5 This patch recreates both the Marshall JCM800 and JCM2000. Channel A is modeled on the characteristically solid crunch sound of the JCM800, while channel B brings Clean tone like the choking guitar of the king of Blues, Mr. BB King. Recreate the moody solo from ‘The Thrill Is Gone’, and use the pedal to control the U U ; UC — you the higher gain sound of the JCM2000. Toggle between channels À and B with the function foot switch, for quick access to two types of Marshall sound. ambience. Channel B has a drive sound modeled on the Marshall Bluesbreaker. Diezel DZ Clean DZ Drive AB AutoWah on | Wa Z-MonoPitch : PdlPosi V (+1 Oct) MD Z-MonoPitch : PdlPosiH { +1500 Cent) 1 ; À simulation of the Diezel Herbert high gain sound popular among guitarists who want that extra heavy impact. Dry and penetrating distortion not available ith other amps # Manufacturer names and produet names mentioned in this document are trademarks or registered trademarks of their respective (l 3-1} 1-1 | Sami etes the outine also o a heavy doun-tuneé œutar Channel Auses "DZ Clean uhich smash Dial Herbert chamal Titre clean, rensprent one owners, The names are used only to ilustrate sonic characteristics and do not indicate any affation with ZOOM CORPORATION. Continued overleaf >» G9.2tt-Patchlist-E-1

G9.2tt Patch List *The amp channel indicated by shading will be selected when the patch is called up. *The Z-pedal setting indicates the effect type name and the parameter name. Expression pedal 1 is always assigned to the Volume parameter. ARTIST #The FE symbol indicates the vertical direction setting and the M3 symbol the horizontal direction setting. *An effect listed in brackets () in the Z-pedal setting can be turned on by depressing the pedal fully. SPECIAL FX Patch name PRE-AMP PRE-AMP Patch name PRE-AMP PRE-AMP : FUNCTIONT | FUNCTION2 Z-Pedal (Expression pedal 2 5 FUNCTIONT | FUNCTION2 Z-Pedal (Expression pedal 2 ForLVEuse © ForRECuse | CHANNEL GEL [] {pression pedel2) ForLVEuse © ForRECuse | CHANNEL Ge. (B] (Expression pedal 2) Hendrix MS Crunch FuzzFace AB Phaseron | BE 3 Vibe : Rate > L'TEU SFX G9 FD Clean BigMuff AB BPMTAP | Ba Z-Step: Frequency 2 Step: Mix L 6 2 ! 6 2 The wild and mighty fuzz sound of guitar god Jimi Hendrix. Push the pedal down and be transported to Woodstock in 1969. Shake the earth with your 19 3 ! 9 3 This patch produces a sound Ike bubbles fomming under water. By moving the Z-pedal, you can make the bubbles burst. When listening with headphones, vou feel immersed in a liquid universe. Ul _ : UD 7 thundering riffs. Channel A of the REC patch(u6-2) simulates the Marshall 1959 sound. Ü L : UT As the name "SFX G9' indicates, this kind of sound is possible with the G9 only. Every guitarist is sure to find new inspiration here. Channel B contains dramatic BigMuff type fuzz sound. Cream Z Clean UK Blues AB DelayTAP | E3 AutoPan: Rate M Echo: Mix Pdl-Osc Rect Unt Rect Unt AB DelayTAP | 9 Z-Oscillator : Frequency Mg Z-Oscilator : Balance L 6 3 ! 6 3 The Cream hit "Badge’ which they also played at their reunion concert is driven by its beautiful melody and an enchanting combination of crunch and rotary speaker sound. That is the 19 4 ! 9 4 This Theremin style sound using the Z-Oscillator is generated when you move the Z-pedal. Expect to be amazed by a sound that goes far beyond what Ul _ : UD 7 sound contained in this patch. By assigning muitiple effects to the pedal, even the speed control of the rotary speaker is convincingly reproduced. Channel A is a clean sound variation. Ü = : UT guitar effects normally offer. Added reverb and delay help to create a fantastic world. ZZ Drive FZ4M_Stk FZ+M_Stk AB BPMTAP | En Delay: Mix M2 Chorus : Me RingMod FD Clean DZ Crunch AB ZEchoon | 9 RingModulate: Balance 2 RingModulate : Frequency UE -4 ub-4 Simulates the special drive sound of Billy Gibbons who gained fame as the guitarist of ZZ Top. When you push the Z-pedal hard, delay is added, and horizontal movement adds chorus. Hold your guitar way doun low and start the hard boogie. Channel B is high-gain variation. Drive sound using the ring modulator. Moving the Z-pedal alters the Z-Echo Time parameter and the RingModulate Frequency parameter assigned to the pedal, resulting in a spacy sound. Channel A contains a Fender Twin Reverb clean sound. SRV FD Clean TS+F_Cmb AB Wah on En Vibe : Balance 2 Vibe : Rate U6-5 | u6-5 This patch is modeled on the definitive clean tone of Stevie Ray Vaughan. Great for fast chord cutting and dynamic stroking. Use heavy-gauge strings to play some Texas Blues. Channel B contains TS+F_Cmb drive sound. SatchDST DS-1 MS Drive AB Delay on En CombFiter : Frequency 2 Delay : Mix TERRE Simulates the lead tone of super guitrist Joe Satriani. The sound of the orange Boss DS-1, the quintessential distortion pedal, is a good match for phrases that require real mastery of technique. Channel B features high-gain Marshall sound. Clean-Tube Mix LukeCLN Z Clean Rect Vnt AB DelayTAP | 9 Delay: Mix M2 ST-Chorus : Mix un 2 f î 2 Steve Lukather is largely responsible for the sophisticated sound of Toto that swept the word. In the eighties, he was using the clean tone that is _ {UT Simulated by this patch. Channel B will let you produce the flashy lead sound of the Mesa Boogie Rectifier. Classic rock'n roll has never sounded better. Santana BG Crunch BG Crunch AB Arena on | & 3 (PedalVox : Frequency) M AMP : Gain un 3 f î 3 The Santana sound is perennially popular among rock fans the world over, but the band also often collaborated with major Jazz artists. That sweet and drawn out Santana _ ; Vi lead tone is simulated by this patch. Choke your guitar at the upper end and immerse yourself in “Europe”. Channel À contains a variation with reduced drive. :. .. n or " i ES Pé Jour gl pp } E Settings for clean tone with low Settings for mixing solid state clean B.Setzer TueedBass TueedBass AB PRE-AMP on | B°g ModernSpring : Mix mg EcHO : Mix distortion levels sound and tube distortion L q 4 f î 4 This patch simulates the Rockabilly sound of Brian Setzer who became instantly famous for his Dirty Boogie” album. The quality feel of the sound will Ü _ {UT have you swinging in a heartbeat. The TweedBass setting in channel À has reduced gain and a less pronounced tone. BrianDIly VX Grunch ENGL Drv AB Hold Delay | Ka PingPongDIy: Mix a EPS: Mix L q 5 f î 5 Simulates the sound of guitar magician Brian Mey who created the dramatic allure of Queen. Use the Z-pedal to blend the alternating right/left delay with the harmonized Ü U {UIT pitch shifter to weave some guitar magic. Channel À is a Vox crunch sound suitable for backing. Channel B of the REC patch (u7-5) provides PV Drive sound. Marshall JCM-2000 KurtDRV ZClean BigMuff AB Ensemble on | &' AMP-B : Gain 2 Ensemble : Mix Live performance patches (UO—US, AO—AS) Recording patches (10—u9, bO—b8) UB-1 uB-t In the nineties, Kurt Cobain of Nirvana changed the music scene forever, with his grunge sound making dramatic use of distortion and modulation. This patch will make you want to play those riffs from "Smells Like Teen Spirit”. Ch annel À recreates the clean sound for the intro. SPECIAL

X-Flange Z Clean HotBox AB X-Flanger on | Eg X-Flanger : Rate M X-Fanger : X-Fade UB 2 ! 8 2 This flanger based jet sound is the signature sound of hard rock. Move the Z-pedel in the horizontal direction to adjust the flanger amount. The REC patch (u8-2) E ! VO gives you two fighter planes that cross the stage from right and left when you move the Z-pedal horizontally. Channel À is a clean sound suitable for apeggios. PedalPan FD Clean DZ Drive AB ZÆchoon | Wa X-Dimension : Depth M2 X-Dimension : Pan UB 3 ! 8 3 This patch lets you move the effect sound with the Z-pedal, to create an intriguing space effect. In addition, Z-Echo gives you a time stretch that U ! VO resembles analog delay. Channel A is a high-gain sound modeled on the Diezel Herbert channel 3. Rotary Z Clean UK Blues AB DelayTAP | 9 AutoPan: Rate 2 AnalogDelay : Mix UB 4 ! 8 4 Spectacular rotary speaker simulation using three types of modulation. Use function foot switch 1 to change from the drive sound of channel B modeled on the Marshall _ ! UO Bluesbreaker amp to the Z Clean sound. The vertical direction of the Z-pedal controls the rotation speed, and movement in the horizontal direction adds delay. PdiPhase HU Clean TS808 AB BPMTAP | E a FixedPhaser : Frequency M Echo: Mix UB-5 | up-5 This patch produces utteriy clean, transparent sound. The Z-pedal allows versatile control of the phaser sound and echo sound. Channel B contains drive

sound modeled on the TS804 Gt-Osc TweedBass HotBox AB Delay on En Z-Oscillator : Balance 2 Z-Oscillator : Portament 9-1 u9-t This patch produces an enigmatic sound that uses the oscillator effect. The Z-pedal lets you choose between guitar sound and synthesizer sound. Channel À is a crunch sound modeled on the Fender Bassman. Bend4T Z Clean JC Clean AB BPM TAP En BendChorus : Balance

U9 -2 u9 -2 Clean sound featuring ZOOM's traditional bend chorus. Play a solo with a Pop style bend, a great match for bands with alluring female vocals. Channel B is a clean sound variation using JazzChorus. In the REC patch (u9-2), Z-Delay is assigned to the pedal allowing you to change the position of the delay sound oniy. EQUALISATION EQUALISATION PESONE TRE HOME Bass cume voue | PRÉSENCE THERE OMOME Bus Live performance patches (UO—US9, AO —A9) Recording patches (10—u9, bD—b9) @@ù NORMAL * Roland 10-120 Live performance patches (UO—U9, AO—A9) Recording patches (uO—u9, bD—b9) # The recommended settings shown above are for the FRONT setting of the amp select feature. # If a recording patch is selected while using a guitar amp, the desired effect may not be obtained and the sound may be unpleasant. Adjust the amp settings using the above examples as reference. # The recommended settings shown above may need fine-tuning according to usage condition of the amplifier. G9.2tt-Patchlist-E-1

G9.2tt Modeling Description Reference for drive effect types andits orig FD Clean © Fender Twin Reverb '65 In the later half of 1963/à reverb unit Was &dded'toithe,"Tuin”" amp, which was the birth of the “Twin Reverb" #model.In.1965, Fender companÿewas#sold#toncBS because of Leo Fenders health problem. Mhe program on this Zoom G series is modeled after the pre-CBS “Twin Reverb” from,1965 aka “BlackPanel”. This amp has four 7025 (12AX7), a 12AX7 and two 12AT7 pretubes, four 6L66C power-tubes and silicon diodes far the rectifier circuit. The diode rectifier is believed to give a tighter sound to the amplifier tan the tube rectifier does, which should be the key tolthe characteristic glittering sound of this "Twin Reverb”. This guitar amplifier has two 12”sloudspeakers by Jensen and pus out 80w power. On the program in this Zoom G series, Jou can have the sound with the “Bfight” switch on by tweaking the "Harmonics” paraîeter in the 6 band EQ” section. Vhen you tum the reverb effect on, youwill getthat win Reverb” sound you have been Iôhging for. US Blues © Fender Tweed Deluxe 53 The very first Fender amplifier was devélopédiby.Leo Fender and his trusty partner, the engineer Doc Kaufman in 1945-46. Actually, the earliéstiiodels-were not made under the “Fender” brand but the K&F Manufacturing Corporation” named after the Initials of the two. The first amplifier using-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 feeds all over were developed during the 1950 and the 1960. In these years, the company put out various tweed models like the “Bassman” or the “Bandmaster”.. The program of this Zoom G séries is modeled after, among others, the most representative “Ted Deluxe” aka the “Wide Panel” from 1953. This amplifier has a 12AY7 and a 12AX7 pre-tubes, two 6V6GT power-tubes, à 5Y3GT rectifier tube and a 12" Jensen loudspeaker and its 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, i is advisable to use this program on the Zoom G series with à 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. TweedBass © Fender BASSMAN Among the many famous Fender amps, the’Bä$sman has eamed a special place. When Jim Marshall developed his original amplifier, he-is-said to have used the Bassman circuit as à reference. When it first cameoutin1951zthe Bassmanhad'anoutput of 26 watts and used à single Jensen 15-inch speaker. After various modifications, it reémerged in 1959 with a S0-watt output and four Jensen 10-inch drivers. The simulation of the Zoom G series is modeled on the "bright” channel of the ‘59 Bassman. Introduced at the 1951 NAMM show along with the Precision Bass, this amp was original intended for use with bass guitars. But its reedy distortion made it a favorite with some of the early blues giants, and later with many rock guitarists. Of course, the amp continues to used by musicians to this day. VX Clean VX Crunch

Tracing back this long'history-of Vox: one finds that it all began in 1958 undèr the moniker “Jennings Musical Instruments” (JM). Originally, this company built amps in the ten to fifteen watt range, but as time-went on, the demand for higher power ämps became stronger, leading to the birth of the famous AC30. The original AC30 had two Alnico Celestion 12" speakers,an EF86 tube preamp and EL84 tube power section, along with à G234 rectifier. Aroundlthis'timenthe Shadows aswellas the Beatles startediusing the AC30 which quickly bécame: very popular among guitarists. In. the following Years, musicians wanted even higher gains and Vox responded with the Top Boost unit, an add-on that was later integratedlinithe AC3OTBX-This is the model whose sound is simulated by the Zoom G series. After Vox left the JMI stable, sales unfortunately dropped drasticallysIn recent years, Korg has acquired the trademark rights toithe Vox name and has started to produce a re- issue that is faithful\to the original sound The AC30TBX simulation in the Zoom G9.2tt duplicates the Hilgain inputs of the normal! channel and brillant channels delivers a clean unsulied sound typical ofa class À amplifier as well as smooth overdrive sound. MS #1959 © Marshall 1959 SuperLead100 This 1959 stack amp that réceived the nickname “Plexi” from the material of ts front panel is one of the most famous amplifiers in Rock history. lt iconie status is right up there with the Fender Stratocaster andéthelGibsomLesiPaulMimiHendrix/Uimmy Page, Edward Van Halen, Eric Clapton and many other top guitarists all over the world have immortalized its sound in countless recordings. is no exaggeration to say that virtually everybody has heard the sound of this amp at least once. By way of circuitry, it uses three ECC83 preamp tubes and four EL34 power tubes. Two cabinets with four Celestion 12 speakers complete the package that is the epitome of British Rock. With the volume full up, the agressive transients and distortion sound complemented by smooth harmonies are the dream of every guitarist. The only drawbäck could be seen in the fact that a Very high volume level is needed to get that sound. But the Zoom G9.2tt overcomes this problem, letting you duplicate the sound by simply raising the gain parameter. After ll, even Rock guitarists should be kind to their ears UK Blues © Marshall 1962 Bluesbreaker Since it was used by Eric Clapton when recording the album “John Mayall and the Blues Breakers with Eric Clapton”_(commonlÿ known as the_"Beano"_album), this amp has acquired the monikerABluesbreaker" Up to then, guitar amps aimed for à clean sound with minimal distortion, buttthe fat and'sweet tone of this-amp driven by Eric Clapton's Les Paul fascinated guitarists the world over. They liked it so much that it has bécome the defining sound of the rock guitar. While different from the distortion produced by modern high-gain amps, the long sustain and distortion following each picking nuance is ideal for playing the blues. The creamy sound of this amplifier with its four ECC83 pre-stage tubes, two 5881 power tubes, and a GZ34 tube in the rectifier circuit is perfectiy captured by the Simulation. MS Crunch © Marshall JCM800 Marshall has continued 16 produce great -amplifiers-forvüpéto-date musical trends in cooperation with the musiciens hisbrand started WitiitsMJM- 45 (stands for JimäTerry Marshall} in 1962 and nowits products arétindispensable items:in the modern Rock scene. Marshall seems to have been.éxperimenting.withdifferent.circuit.designs of amplifiers but 1981 was the most prolifie earforthebrandbecauseitreleasedimany new models like the "1959" and "1987" withfouninputs. M2203%and#2204Mwithmester volumes. In 1983, Marshall added the "2210 MendW2205%with to (NormelndiBaost) channels as well as effect send/retun connectots tonitsmlineupmnhesemmodels also carried the collective designation "JCM (stands fonim& Charles Marshall) B00"MThe had three ECCB3 pre-tubes and four EL34 powrer-tubesmMihéttone Control circuitvas placed after the pre-amp section and this design seems to havebécomelthe standardifonthie modern Marshall ampliiers. For the modeling on this ZdomG series.we selectedithe 22034 With a master volume and it is quite easy to get the distortion.Bystodayis standards, the amplifier's distortion is rather moderate, but the sound is Verpfat, the low-endlis quite tight end/above all, the sound cuts through very well. For thelmodeling/Memusedthethead initie 19604" cabinet that has four 12” loudspeakers and\WorKSWenpwellNuiti the" 22032» MS Drive © Marshall JCM2000 “1CM2000" is based on thè reputed "Plexilampi(aka Old Marshall) whose rich overtones and powerful sound were legéndaryÿ:_It-has very flexble-sound and can produce the traditional Marshall sound, ModémhéaW metal sound ersOUn ds, suitable for any musical genre. It has the modemMarshallissstandardicireuitwith-foutsECC83 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 cuts through very well. "JCM2000* series has two different models: the TSL and the DSL} The program on the Zoom G series is modeled after the simply designed "DSL-100". As with the modeling-of the."JCM800°, we combined the head with à "1960A" cabinet and usédthe Lead channel that has more distortion. JC Clean © Roland JAZZ CHORUS Simply put, HÉMROSMAMIC120 Pis themost fsMIAr QUI amplifier among both professionals añdiemateurs. Released in 1975 from Roland, this amp became known as “portable”, “lold' and “'almôstitrouble-free” {which are the Very characteristics Japanese products are knôln for). You-are:prettyssure-to find'one in anÿ live houses or studios all over the worid.lhe Key to that sound of “JC-120" is its unique chorüs effect: the slightly delayed vibratohsound comes from one of two 12” loudspeakers andithe dry sound from another and botfiésounds are combined in the air, which creates thêt distinctive spacey mood. This efféebbecame very popular which is why Roland decided forrelease the chorus circuit independéntly as the "CE-1” pedel. Incidentally, the chorus effect on the Zoom G series is modeledlfter it follower "CE-2". Another unique feature of JC: 120 is its “Bright” switch. This funetion is not included in this modeling program but you Can approximate the effect of this switch by tweaking the “Harmonics" parameter in the 6 band EQ” section. HW Clean O HIWATT Gustom100 The Custom 100 was the flagship amp from Hiwatt, a Britishimanufacturer that ranks with Marshall among the British legends. Vintage Hiwatt amplifiers/made before the mid-1980s use high-grade military-spec parts» andhhand-solderedhpoint-to-point wiring. This is the reason why production wiés"limitedhto about 40/units per month. Because of their solid construction, these amplifiers have been likened to tanks. Thelsound, in a word, is the epitome of clean. The presstage tubes are ECC83, while the power tubes are the same EL34 as used by Marshall. Unlike the glittering clean sound of a Fenderèmp, the clean sound of a Hiwatt is darker, having that characteritic British tone. Espedallÿin the "normal" channel, tuming up the volume fo maximum will simply increase theksound pressure, without breakup or loss of detail. În the high-gaint“briliant" channel, slight distortion is possible by connecting à guitar with à high-output pickup such as a Les Paul. But the sound always remains detailed and trahsparent, allowing the listener to cleafly pick out the individual notes that make up a chord.The "normal" and "brillant" channel inputs can be linked with à short shielded cable, for êven higher sound pressure output. This effect type simulateSthe linked sound as described aboie, much favored by Pete Townshend of The Who and/PinkFloyd's DavidiGilmours BG Crunch © MESA/BOOGIE Mark IN The origin of the MESA/BOOGIE amplifier was ‘the modified Fender Princeton. Randall Smith, an amp tech in San Francisco, souped'up those small guitan\amps to put out 100w power and sold them. Mfhe-firsemodelwas called" MarkluCarlos Santana tried one and said, "Shit man, that little thing really Boogiesl "which gave the amplifier the brand name "BOOGIE.” The secoñd model “Mark {l" had lead and rhythm channels and à 4-band equalizer to give widerVariety to the guitar tone: The speciallfeature of this model was an accomplished simul- palier circuitry (the*operation could be switched between class À and class AB). The power amplifier section had six power tubes. When the class À operation is selected, two EL34 power tubes are activated and the amp puts outa really smooth sound. When the class AB operation is selectedhthese two EL34s and other four 6L6GC power tubes are all activated and thé/emplifier puts out its full potentialpower. Until the model Mark IlMMESA/BOOGIE amps were quite expensive hand-made amplifiers, but the next model “Marklll®was more affordablealthas one 10% loudspeaker and 60w output power but retalhs all of the classic BOOGIE features; simul-power circuitry, the graphic EQ, and three (Rhythmt, Rhythm2 and Lead) separate channels. With this Zoom G series, you can select the modeling of the combo type of this “Mark IL." © MESA/BOOGIE Dual Rectifier The Rectifier was born by improving-en the simulpowéritcuit of the Mesa/Boogie Mark 1 to 3 as well as increasing the preampigain and applying other dweaks. From it five 12AX7 preamp tubes and four 6L6GC powertubes,-therampproduces an output of 100 watts. Unlike the Mark series, this model gives priority to tone, featuring a tone control circuit after the volume. With this model, theMesa/Boogie brandhimage progressed from Fusion to Metal. The distinguishing feature ofsthis amplifier andits namesake, is of course the rectifier. The sound providedibyithis patchs basedion the Dual Rectfier model which has two rectifier circuits, one ofwhichis tube based and one configured with silicone diodes. The diodes create a tight high powered soundawihile the tube sound is more soft and warm, The Zoom G9.2tt simulatessthe orange channel Withits characteristic warmth, and the high-gain red channel havingiVintage and modemmodes» Both use the silicone diode rectifier, and the cabinet is the sameas the Boogie With four Celéstion 12" speakers. ENGL Drv © ENGLEG50 ritchie Btacmore Signature 100 The German-bom ENGL/Started-out-as-a-tube combo amp built in the mid-eighties by Edmund Engl. Towards thé end of that decade, Heavy Metal ruledthe music scene and high- gain amps were in great demanda ENGL rose -to.the.challengewith à ful-blown stack amp that caught the attentioñ of professional musicians in Europe and cemented the reputation of the brand. The head amp E650 uses three ECC83 tubes: in the pre section and four 5881 (6LGC) tubes in the power Séction. It has two channels (Cleañ/Lead), but since it allows overall Lo/Hi gain switching, the amp can also be regarded às à four-channel unit. The Clean channel provides a tight/bright Fender style clean sound that is Unüsual in a stack amp. The Lead channel is more in the Marshall vein, but at higher gain settings, it becomes a unique ENGL sound. But anotherivital aspect -of-the-ENGL sound is the/solid and heavy E412VS cabinet with its 4 x 12" Celestion Vintage 30 speakers. The Zoom./G9.2tt simulates the Lead channel of the E650 combined with the E412VS. PV Drive © PEAVEY 5150 STACK The "5150" and the 5150 Mkll” were very famous guitar amplifiers originally developed as the signature models for.Eddié Vän'Halen. + Unfortunatelÿ, he (doesn't use it anymore because of the expiration of the endorsement contract: The program on this Zoom G series is modeled after the first Version of the "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 creuit employs silicon diodes. The uniqueness of the sound of this amplifier is characterizediby its sharp attack, deep and smooth tone, fine distortion and fat and dinging low registers The program is modeled after the combination of the Lead channel of the 5150 head and a "5150$L"#a four-12 cabinet” Just crank up the gain and play one of Van Halen's hit "Top Of The World”! HK Clean HK Crunch HK Drive © Hughes & Ketiner-TriAmp MK2 Using a total of 13 tubes in {he pre and power amp stages, with A and B settings for each, this is a monster of an amplifier affering the equivalent of.six channels to play with. AMP is a Fender type clean channel"withebright.anduncluttered sound. AMP? is à classic British drive channel which covers the overdrive range from crunch to distortion. AMP2 has already fairly high gain, but it is surpassed by AMP3. While allowing deep distortion, the sound has a solid core and remains wonderfully detailed. The reason why the TriAmp is so popular among guitar pros is the fact that all three channels offer high-quality sound. The full range from clean to high-gain distortion can be covered with à single amp. The Zoom G9.2tt simulates all three channels, letting you enjoy the same versatility as the monster amp itself. DZ Clean DZ Crunch DZ Drive © Biezel Herhert This modem three-channellamp features great tonal versatility, ranging from clean tone to distortion. In particular, the extremely.dry and gritty distortion produced by channel 3 gives a piercing effect that is harditoproduce with-anyrotherampaitis à favorite of Heavy Rock bands such as Metallica andiLimpyBizkitThe-uncluttered,soundssharply etches the outlines also of a heavily down-tuned guitar A DEEP control allows further boosting of the bass frequencies, for sound so low thatiit seems.to hug the ground. The Zoom G9.2tt lets you achieve the same effect bylboostingithe.BASS.control-ofithe.EQ/module. While the amp is justly famous for its distortion sound, the other channels also provide attractive choices. Channel 1 is ultra-clean, aïd:channel2.has/a/dnyscrunch.soundhwith à character that clearly distinguishes it from Californian amps. The Zoom G9.2tt provides patches modeled on all three channels. 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.

G9.2tt Modeling Description [2] Reference for drive effect types andits original models. © BOSS 0D-1 OverDrive The “OD-1" released by BOSS ifM927 was originally developed for the simulation of the natural overdrive sound oftube amplifiers, but this stomp box turned out to be popular as the booster unit to connectitôithe input of the realtübesamplifier to get tighter and more punchy sound with the increësed.gain. The "OD"Æemploys, the asymmetrical “cipper” section in its circuit design that uses three diodes to createithe overdrive sound that is mild and rich in nuances. The pedal had beenfimproductionsfrom 1977 to 1985, but now it is unexpectedly difficult to even finda used oneMAndhif you could locate one, it would be astonishingly expensive. There have been many stomp boxes known as overdrive units. The most famous one is probably the “Tube Screamer” but we chose this very original overdrive pedal "OD-1”. If you are lucky enough to use the real "OD-1”, we invite you to try blind test to tum off all of the effect module except the "OD-1” on the Zoom G series and compare the sound of the modeling and that of the real one. We think that you will not hear any difference. TS808 © lhanez TS808 This is modeled on the early Tube Screamer introëldeèd by Ibanez in 1979 for the non-US market, In Japan, it was sold under the Maxonnaméas the,OD808. As the moniker implies, when using the pedal on its own, it produces naturallistortionssuch as when driving a tube amp hard. But it often was used simply as a boostérithigain at 0 and volume at 10, to drive a full-up amp even further, Normall, this would not change the amplifier's sound, but 2 slight peak in the midrange results in a softer tone. This pedal is also famous for being used by blues guitar legend Stevie Ray Vaughan who tragically perished in a helicopter crash. Centaur © KLON CENTAUR This pedal is well know for to things: its capäbilitylof producing pure distortion without impairing the original sound, and its highprice. Being four-and-a-half years in the making, the Centaur distinguishes itself fromcother famous pedals such as the Ibanez TS808 or the Boss OD-1. It is also often usedias a booster, but wihereas these vintage pedals add their characteristics to the ampéound/ the Centaur creates a tone as if it were driven by the amp. Guv'nor © Marshall Guv'nor The initial sales talk for this serious distortiom pedal Guv'nor” bearing the Marshall brand was that you could get the distortion.soundlofthe MafshalLamps with this small stomp box Depending on which guitar amps.You,combine,.yolicansactually get the Marshall amps distortion. There are two different vérsions ofthe GUVhor: the Britain-made ones from 1988 and the Korean-made ones from998-Mhélprogram on this Zoom G series is modeled after the original version from 1988. The Guvnors characteristi feature is the frequency point you can tweak using the TREBLE'. controls Even you lower this parameter value, he sound will get fat insteadlof getting duIlshe"AS You raise the value, the sound will get sueeter and clearer. RAT © PROCO RAT This is one of the most widely used_pedäls.Mlthashonly three knobs (Distortion, Filter, Volume), but each knob has a wide adjustment range, allowing various types of sound. With distortion fully turned up, thesfat,mup-front.sound'is close to, a Fuzz pedal. At the twelve o‘clock position, the crunH sound brings out those fine picking huances, allowing the player to tweak the sound by varying thé playing style. As opposed to a regular tone control, the filter knob cuts the treble when.turned'clockwise: Thistis the secret behind the typical "RAT" sound. In the Zoom G series, this effect is simulated by the TONE parameter, but operation is reversed (treble is cut when turned counterclockwise). Ds-1

This orange-colored pedal carfbe £alled the standard of distortion sound. Among the many distortion pedals from Boss,Mfis*a réaPlong-seller, along with the SD-1. In Japan, sales of the pedal ceased at one point (although production for thel.S. market continued), but as of 2005, the product is available again. This is‘the onlÿ.Boss pedal to be reintroduced to the market in this fashion. The sound is trebly and Verpdistortion-ike”, but it can very well hold its own in a band. Favored bj Joe Satrianhand Nirvana's Kurt Cobain. © MXR Distortion+ ds MXR, a company founded in the sevenfiés by two high school students, is famous for stomp boxes such as the Dynacomp ahdlPhase S0Min the early days, their products were actually built and painted in a garage andisetout to dry in the garden. As the story goes, sometimes small insects would get stuckonMthe surface, and the lot would be shipped out as is. The pedals soon gained worldwide fame in theseventies, but eventually lost their market share to "Made in Japan” products from Boss and'others that provided high performance at lower cost. MXR disappeared from the scene, but in the late eighties, Jim Dunlop bought the rights and is now producing a number of re-issue models. This pedal much beloved by Randy Rhoads who made the “distortion" moniker and sound famous the world over. The hard-edged tone stays detailed also when playing fast solos or riffs with the lower strings muted. The worid of heavy metal and hard rock wouldn't be the same without it. © MATCHLESS HOT BOX Feet The "HOT BOX" was released as. a pedal preamp bearing the MATCHLESS brand. It uses two 12AX7A tubes for the truthfulsreproduction-of.the.sound of the "MATCHLESS" guitar amplifiers. It has the compresSed/soundsandhthe quick response, which are distinctive characteristics of tube amps. lÉs*soundiis fat and cuts through very well, too. Even if you rank 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. Its 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 literally a magic box: you can get the signature sound of the “MATCHLESS" amps regardless of the guitar amplifier you connect it to. FuzzFace © Dallas-Arbiter FUZZ FACE “’FUZZ FACE" was originally released fromathe Dällas-Arbiter company in 1966 encased in a uniquely designed housing that literallyilooked like ahfäce. it is also famous as legendary guitarist Jimi Hendrix's favorite gear. He combined/this “FUZZ FACE” with his Marshall amps because it was hard to get distorted sound/from them at that time, and created avant- garde tones. The heavy and fat low end andhthe fuzz sound with long sustain are the characteristics of this effective device. The*earliest model used two PNP germanium transistors and was very different in sound fromithe later models using silicon transistors. The theory of creating distorted sound is simplésHave you tried to connect the guitar to a microphone input on your radio cassette recorder to-emulate that sound? You cannot go t00 wrong if you think that the crcuitry ofthis'deviceis similar to that. The program on this Zoom G series is modeled after this eariest Version most Satisfactorily © Electro-Harmonix BIG MUFF Dent There are several versions of this pedal: The Zoom,G series#simulation is based on the so- called "Ram's Head" from the earlÿ sévénties, éharacterized by very long sustain and rich distortion tapestry. Major names from the 70's associated with this sound are Carlos Santana and Robert Fripp of King Crimson. From the late eighties into the nineties, the grunge movement took over, with Nirvana's Cobain and J. Mascis of Dinosaur Jr. using the pedal to do their thing. Compared to an ordinary fuzz pedal, the BIG MUFF offers rich midrange and detailed distortion that maintain presence also when playing chords. The result is a wholly unique sound somewhere between distortion and fuzz.

The “MT-2" ("METAL ZONE") hasstfi@strongestdistortion. Its unique distortion sound has very fat mid to low range dfidlithas aiparametrieEQ in addition to the Hi and Low EQs, which is the key to the sédopédimetal sound. This stomp box is reputed for its flexibility in sound because you can not onlÿ get that scooped metal sound by cutting the mid range and boosting the high and low range but also the overdrive sound.by reducing the gain and boosting the mid range. This is one of thé best-selling stomp boxes among many of the popular line-ups of BOSS products. Once connected the Strat orthe Les Paul will have the “MT-2" sound regardess of the types ofquitar pickups. IEWasfist introduced in 1991 and is stll in the BOSS's catalog; a truly à long-sellerl TS+F Cmb © Fender Combo + TS9 Opinion may be divided, but it can be argued that the most powerful and fat guitar sound ever wasvereated.by Stevie Ray Vaughan. He did this by putting extremely heavy-gauge strings thatwould-fitan/acoustic guitar on his old and battered Stratocaster*Add totthis the {ulkup Fender amp and a small Ibanez pêdal, and you are approaching magic térritofÿ. Just like this effect type does. Connect a Stratacaster and,bend the third string nearthe 14th fret. Feel that smile appear on your face. If youlwant to express your feeling, dive-this.one a go. SD+M Stk © Marshall Stack + SD-1 Ever since the dawn of rock, Marshall has been recognized as the best brand of amp for this genre. With the JCM800 series that appeared in the eighties, Marshall again pulled ahead of the pack/Among;the various models of the series, the most successful mustbeithe 100-watt 2203 featüringlamasterVolume control. With its crisp and solid Sound, it makes the guitar stand dùt-gloriously-in.a.bandieven over the vocals, something that hard rock guitarists really appréciatemHoWeterAfordashing leads with heavy riffs or righthand playing, gain with thisemp alone Was stilhnot{enough. Driving the Marshall JCM800 with an’overdrive pedal wiéssthe ensWerThis effect/type recreates thessound of those. glitzy hairspray bands from theveightiés, dsing thé Boss SD-1 as overdrive pedal. FZ+M Stk © Marshall Stack + FUZZ FACE At the Monterey Pop Festival in 1967, à guitar was smashed and burnt on stage, helped along by Zippoilightetifiuidaqustabefore this poor Stratocaster gave up the ghost, its psychedelic colors disintegrätingit had been played with furious intensity and produced à sound unliké*anÿthing heard before: And that is also what thisteffect tÿpéftombining a Marshall SuperLeadM00mwith#the"FUZZ FACEMfrom DallasfAtbiter, attempts to do. lt produces a ildly deformed sound thât is not déstined for delicate chords but for audacious dramatic leads with heavy sustain. Such asthose ofthelegendary Jimi Hendrix. Z Combo O1Combo The Bluesbreaker or Ba£MäRA/ENORderul combo amps buEnowddays, their gain can seem a little low. Sometimes You just want-to.combine the-transparénty and dynamics of these combo amps with &.more.intense-levelofdistortion andsustain.he Z Combo (great namel) is the answer to Your praÿers. Yourget a midrange sound like adding up a Marshall and a Fender and dividingithem b} two, plus distortion that equals notching up the volume from 10 to 15 (or from M2MtoM on the Bassman): While.not intended for jazz or heavy metal, the sound is great for a Wide range of other blues and rock styles. Z Stack O1Stack Which amplifier has the strongest distortion.in the worlds the Rectfier, the Herbert, the TriAmp? No, it is the Z Stack that Voufindrightherenlhe distortion is so strong that simply touching the fingerboard with \your left hand (or right hand you're left-handed) will produce sound. (This makes righthand playing a snap) But amazing, à 9th chord will remain dearly identifiable as suchAbecause the sound does notilose its core. The biggest problem of this amplifier is that it does hot exist-except in the Zodm G series, that is. Give it à ty if you are after really heavy Soünd» zon O10n When playing an electric guitaf, distortion is of course one of the essential style elements, but different guitarists will have different preferences. What this effect type does is exemplify the preferences of the Zoom G series developers. The smooth overdrive sound should lend itself to many playing Styles, allowing finely nüanced changes. Warmth is better than with any stomp box, and loud Volume will not causetthe sound to become unpleasant Just the right amount of sustain ensures that attack dynamics remain vibrant. Tracking your fingenwork with uncanny accuracy, the effect reproduces even the final tinge of the pick when it leaves the string. We believe that many guitarists will find here what they were Looking for. ExtremeDS © Extreme Distortion This distortion program is develéped especially for the Zoom G Series. We deliberately made use of the characteristics of dilitaLdevices and even emphäsized the edge of the digital sound to get the distortion to the/maximum.TheMTM-01M (Tri Metal) was the pedal that had the deepest distortion Sôund'amongsthe stomp boxes from ZOOM but was discontinued. It had as much 4s/thifee diode-clipping stages and had very high gain. The "Extreme Distortion” is programmed.to get the gain even higher. It raises the signal level to the maximum at the input stag@ and gets the wild distortion Sound at the clipping stage. In fact, you won't change the distortionrate éven ifYoulowerthe volume on your guitar! Its distortion is that deep. Contrarfitoithe Usüal-distortion effects whose sound gets thinner as you raise the gain, this “ExtremeMDistortion” won/blosemthefatness and tightness of the sound. © Digital Fuzz DATE Forty years ago, my fellow guitar player used.to crank up his amp trying to distort his guitar sound and make other guys of the-bänd virtually deaf atthe end of the rehearsal. When it was difficult to get the distorted/sound'outioftheamplifiers like in those days, some guys made cuts in the cone loudspeakersohmakethe sound distortèd, which was the origin of the sound of fuzz effects. Thefüzapedalswere developed to reproduce that distortion-like sound. In other words, the tfie@offüzz effect is to simulate the dirty distortion and that “broken” feel. This "Digital IFuzz" has the ver effect described above. Its drastic distortion, relentless cut-offs and noises in the decay are the charécterstics that one could simply describe as "broken®.Mis fat and tight soundican be serfously recommended for the Fuzz maniacs to ty. This is itérally the Digital Dirty Fuzz thatis only possible in the digital domain (are you brave enoughto Make cuts in Jour loudspeskers?). Z Clean OZClean This is à clean sound that makes the drive module virtually disappear. The bass is tight, and a very slight treble emphasis creates vigor. Why choose this effect type, then? Try it when creating patches for arpeggios and cutting. You should get smoother and more rounded sound. you want to produce clean guitar sound via a line input, excessive bass may make it sound as if the pick got caught betweemothe strings. This effect type should solve such problems. 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 connection and settings of this unit, and how to record your instrument play. [Cubase LE Installation » [Connections and Preparations » [Recording with Cubase LE Cubase LE Installation » Connections and Preparations » Cubase LE Installation » Connections and Preparai ns » To connect this unit to a computer running Windows XP and to enable audio input/output, proceed as follows. To connect this unit to a computer running MacOS X and enable Start Cubase LE. audio input/output, proceed as follows. Audio MIDI Setup

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 this unit to the computer using a USB cable. AC adapter Batteries ' _ IS Guitar or other instrument INPUT] jack Computer This unit > {OUTPUT] il | USB cable = Audio system or other hi-fi playback equipment 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 this unit to monitor the signal. When a device designed to use USB power is powered 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 power is supplied to a device designed to use USB power 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 XP, a message saying "New Hardware Found" will appear. Before proceeding, wait a while until this message disappears. From the "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. 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. 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 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 (3) Connect this unit to the computer using a USB cable. INPUT jack Macintosh This unit sa PTS [OUTPUT] jack = Audio system or Batteries other hi-fi playback equipment AC adapter ff. i a {sf Guitar or other instrument NOTE +_lf you monitor the audio signal during recording via the audio output of the computer, there will be an audible latency. Be sure to use the IOUTPUT] jack of this unit to monitor the signal. When a device designed to use USB power is powered 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 power is supplied to a device designed to use USB power via a USB cable that is more than 3 meters in length, the lowr 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. sie Deer MDI Devices } systm ser CRM, use mdococ D Cutoumu (us ae cor > System OP ETETAEe frapertes For suit im audio 15) 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.

6) When Cubase LE has started up, access the

"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 "File" menu and select "New Project". The new project window appears. Here you can select a project template. 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 or other instrument to the [INPUT] [14] jack of this unit 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. . 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 instrument, adjust the output level of this unit to achieve a suitable recording level for Cubase LE. 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 way that the meter registers to a fairly high value but 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 or other instrument 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 instrument 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". To start recording, click the Record button in the transport panel. 0 0001.01.01.000 J - CU 7 © - Record button “ramené 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. Recording stops. Check the recorded content. To play the recording, perform the following steps.

of the master channel (as TIRIN 4, Raise the fader of displayed in step the master channel

15) fully down. to obtain a suitable

volume. 0001.01.01.000 D wwe +

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. 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. For optimum enjoyment à 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 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. 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.