PRECAUÇÕES DE SEGURANÇA

Neste manual, símbolos são usados ​para destacar avisos e cuidados que você deve ler para
evitar acidentes. Os significados desses símbolos são os seguintes:
PRECAUÇÕES DE SEGURANÇA Precauções de uso
 os seguintes recursos e funções.
A mais recente tecnologia de processamento para um desempenho excepcional
Características
Obrigado por selecionar o ZOOM G2.lu (doravante denominado simplesmente "G2.1u"). O G2.1u é um processador multiefeitos com
Amostragem de 96 kHz / 24 bits (com processamento interno de 32 bits) garante excelente qualidade de som. A resposta de frequência permanece plana até 40 kHz e a
conexão USB e pode ser usado como interface direta guitarra/computador. relação sinal-ruído convertida na entrada é de incríveis 120 dB, demonstrando o alto nível de desempenho alcançado pelo G2.1u. O G2.lu também possui uma
Controles e Funções/Conexões
 Usando o sintonizador
O G2.lu incorpora um afinador autocromático. Para usar a função de sintonizador, os efeitos integrados devem ser ignorados (desligados temporariamente) ou silenciados (som original e som de efeito desligados).
Usando a função de ritmo
 atualmente selecionado para criar seu próprio som.
1 Selecione o módulo de efeito
Os patches do G2.lu podem ser editados livremente alterando as configurações dos parâmetros de efeito. Tente editar o patch
uma cópia.
Armazenando/Copiando Patches
Um patch editado pode ser armazenado em um banco da área do usuário (A – d). Também é possível armazenar um patch existente em outro local para criar
18
elemento é controlado pelo pedal pode ser selecionado para cada patch individualmente.
Usando o pedal de expressão integrado
O pedal de expressão no painel superior do G2.lu permite ajustar o som do efeito ou o volume em tempo real durante a reprodução. Qual
 Use of Expression Pedal/Foot Switch

Use of Expression Pedal/Foot Switch 4. Press the [STORE] key once more.
Adjusting the sensitivity of The expression pedal adjustment is completed,
the built-in expression pedal and the unit returns to the play mode.
The G2.1u lets you use the built-in expression pedal or an external expression pedal (FP01/FP02)
connected to the [CONTROL IN] jack to adjust the effect sound or the volume in real time during play.
Connecting an optional foot switch (FS01) to the [CONTROL IN] jack allows changing patches or setting The expression pedal of the G2.1u is adjusted for HINT
the tempo for the rhythm function. optimum operation at the factory, but sometimes, • The point where the module is switched on or off
readjustment may be necessary. If the sound does when the pedal is depressed is always the same,
regardless of the action taken in step 3.
not change when the pedal is fully pushed down,
● GU, Gd, GH, GL or if it changes excessively even if the pedal is
• If "Er" appears on the display, repeat the procedure
from step 2.
Using the built-in DRIVE module only lightly pushed, adjust the pedal as follows.
expression pedal
● MU, Md, MH, ML 1. Turn power to the G2.1u on while
Using an external
The built-in expression pedal on the top panel of MOD/SFX module keeping the [PEDAL ASSIGN] key
the G2.1u can function as a volume pedal or it can depressed. expression pedal (FP01/
be used to control an effect parameter in real time. ● dU, dd, dH, dL The indication "dn" appears on the display. FP02)
Which function is selected for the expression DELAY module
pedal is stored for each patch individually. When you connect an optional expression pedal
For details on parameters that can be modified
with the expression pedal, see pages 27 – 33.
● rU, rd, rH, rL
REVERB module
DN (FP01/FP02) to the [CONTROL IN] jack of the
G2.1u, you can use that pedal as a volume pedal,
separately from the built-in expression pedal.
1. Select the patch for which you want
2. With the expression pedal fully raised,
to use the expression pedal. HINT
press the [STORE] key.
1. Plug the cable from the external
• The modulation target can also be selected by expression pedal into the [CONTROL
using the [PEDAL ASSIGN] key (→ p. 18). This
2. Set the Module selector to the method is available both in edit mode and in play IN] jack, and then turn the G2.1u on.
"CONTROL" position. mode.
• Which parameter changes when the expression 2. Operate the external expression
pedal is operated depends on the effect type pedal in play mode or edit mode.
selected for the module. For details, see pages 27 –
The volume changes.
33.
• The pattern in which the parameter changes when
the expression pedal is operated can be selected in HINT
edit mode from four choices. For details, see page The display indication changes to "UP".
The external expression pedal always functions as a
34.
The G2.1u goes into edit mode. volume pedal.
3. Push the expression pedal fully down
3. Turn Parameter knob 1 to select one 4. If necessary, store the patch. and then lift your foot off the pedal.
of the following modulation targets The expression pedal setting is stored as part of Using a foot switch (FS01)
for the expression pedal (→ p. 34). the patch.
Push strongly, Connecting an optional foot switch (FS01) to the
● oF
5. Select the patch in play mode and
so that pedal touches [CONTROL IN] jack of the G2.1u allows bank
operate the expression pedal. here. switching in play mode. It is also possible to
Pedal is inactive.
The selected function will be activated. switch bypass/mute on and off, control the tap
When the G2.1u is in the bypass condition, the tempo function, or perform other functions with
● VL expression pedal always functions as a volume the foot switch.
Volume pedal, regardless of the setting made in step 3. When foot is lifted,
pedal returns slightly. 1. Plug the cable from the FS01 into the
● WU, Wd, WH, WL [CONTROL IN] jack, and then turn the
WAH/EFX module G2.1u on.

20 ZOOM G2.1u ZOOM G2.1u 21

Use of Expression Pedal/Foot Switch Use of Expression Pedal/Foot Switch

2. Set the Module selector to the pressing the RHYTHM [R/P] key. effects. The operating environment conditions In this condition, the sound of a guitar connected
"CONTROL" position. for this type of use are as follows. to the [INPUT] jack of the G2.1u can be
● dH (delay hold) processed with the effects of the G2.1u and then
The foot switch controls on/off of the delay ■ Compatible operating system recorded on the audio tracks of a DAW (Digital
hold function. When a patch using the hold • Windows XP Audio Workstation) software application on the
function is selected, pressing the foot switch • MacOS X (10.2 or later) computer.
will activate hold, causing the current delay ■ Quantization
sound to be repeated (see illustration at the At the same time, the [OUTPUT] jack of the
16-bit quantization
The G2.1u goes into edit mode. You can now bottom of this page). Pressing the foot switch G2.1u carries the playback sound from the audio
make settings for the expression pedal or foot ■ Sampling frequency tracks of the DAW application, mixed with the
once more cancels the hold condition, and the
switch. 32 kHz / 44.1 kHz / 48 kHz guitar sound processed by the effects of the
delay sound will decay normally.
G2.1u.
3. Turn Parameter knob 2 to select one ● dM (delay input mute) HINT
of the following functions for the foot With each of the operating systems listed above, the For details on recording and playback, refer to
The foot switch controls muting on/off for the
switch. G2.1u will function as an audio interface simply by the documentation of the DAW application.
delay module input signal. connecting the USB cable. There is no need to install
any special driver software.
● bP (bypass/mute) NOTE
The foot switch controls bypass or mute on/off. HINT To use the G2.1u as an audio interface for the • Also when using the G2.1u as an audio interface,
• For information on effect parameters supporting the the signal after effect processing is always
This has the same effect as pressing both [W]/ tap function, see pages 27 – 33. computer, connect the [USB] connector of the
available directly at the [OUTPUT] jack.
[Q] foot switches at the same time in play • To use the hold function, an effect type that
G2.1u to a USB port on the computer. The G2.1u
• If the DAW application has an echo back function
mode. supports the hold function must be selected in the will be recognized as an audio interface. (input signal during recording is supplied directly to
patch. For details, see page 34. an output), this must be disabled when using the
• While the delay module is set to hold or mute, the G2.1u. If recording is carried out with this function
● tP (tap tempo) HINT
dot in the center of the display flashes. enabled, the output signal will sound as if
Pressing the foot switch repeatedly can be used • If the [POWER] switch of the G2.1u is set to OFF, processed by a flanger effect.
to set the interval for the rhythm function or to power will be supplied via the USB connection. • Use a high-quality USB cable and keep the
make settings for effect parameters supporting
4. Select the patch in play mode and • If the [POWER] switch of the G2.1u is set to ON, connection as short as possible. If power is
operate the foot switch. power will be supplied from the batteries in the supplied to the G2.1u via a USB cable that is more
the tap function. This has the same effect as G2.1u or the AC adapter. Care should be taken than 3 meters in length, the low voltage warning
The selected function will be activated.
pressing the [TAP] key. especially when running on battery power, indication may appear.
This function applies to all patches. because setting the switch to ON may result in
faster depletion of the batteries.
● bU (bank up)
Each push of the foot switch switches to the Using the G2.1u as audio
next higher bank. This has the same effect as
pressing the BANK [+] key. interface for a computer
G2.1u DAW
application
By connecting the [USB] connector of the G2.1u
● rH (rhythm on/off) [INPUT] USB
to a computer, the G2.1u can be used as an audio Effects
The foot switch controls start/stop of the [USB]
interface with integrated AD/DA converter and
rhythm function. This has the same effect as [OUTPUT]
Record
Original sound
Delay sound
Hold
G2.1u DAW
application
[INPUT]
Effects
USB
Foot switch pressed Pressed again [OUTPUT] [USB]
Playback

22 ZOOM G2.1u ZOOM G2.1u 23

 Restoring Factory Defaults Linking Effects
In the factory default condition, the patches of the user area (A0 – d9) contain the same settings as the The patches of the G2.1u consist of nine serially linked effect modules, as shown in the illustration below.
patches of the preset area (00 – 39). Even after overwriting the user patches, their original content can be You can use all effect modules together or selectively use certain modules by setting them to on or off.
restored in a single operation ("All Initialize" function).
Effect module
COMP WAH/EFX ZNR DRIVE EQ EXTRA EQ/CABI&MIC MOD/SFX DELAY REVERB
1. Turn the G2.1u on while holding down AUTO WAH
AUTO
ZNR
GATE
FD CLEAN
CLASS A
EXTRA EQ
CABINET&MIC
CHORUS
STEREO
DELAY
PINGPONG-
HALL
ROOM
the [STORE] key. RESONANCE DIRTY GATE CLEAN CHORUS DELAY SPRING
The indication "AL" appears on the display. BOOSTER JC CLEAN FLANGER ECHO EARLY
TREMOLO MS CRUNCH PITCH REFLECTION
PHASER US BLUES SHIFTER MULTI TAP
RING BG CRUNCH PEDAL DELAY
MODULATOR MS DRIVE PITCH

AL
SLOW BG DRIVE VIBRATO
ATTACK PV DRIVE STEP
Effect type
PEDAL VX OVERDRIVE DELAY
PEDAL GUV'NOR ECHO
BABY HOT BOX DYNAMIC
FUZZ FACE DELAY
METAL ZONE DYNAMIC
EXTREME FLANGER
2. To carry out the All Initialize function, DISTORTION
DIGI FUZZ
MONO
PITCH
press the [STORE] key once more. ACOUSTIC SHIFTER
All patch settings are returned to the factory HARMONIZED
PITCH
default condition, and the unit switches to play * Manufacturer names and product names mentioned in this table are SHIFTER
trademarks or registered trademarks of their respective owners. The
mode. To cancel All Initialize, press the names are used only to illustrate sonic characteristics and do not
RHYTHM [R/P] key instead of the [STORE] indicate any affiliation with ZOOM CORPORATION.
key.
For some effect modules, you can select an effect type from several possible choices. For example, the
MOD/SFX module comprises CHORUS, FLANGER, and other effect types. The REVERB module
NOTE
When you carry out All Initialize, any newly created
comprises HALL, ROOM, and other effect types from which you can choose one.
patches that were stored in the user area will be
deleted (overwritten). Perform this operation with care
to prevent losing any patches that you want to keep.
● EXTRA EQ is selected
Switching between live sound The algorithm for live performance is selected at
and direct recording sound the DRIVE module. This is recommended when
using the G2.1u for playing via a guitar amplifier.
In the above illustration, the DRIVE module is
shown as having 17 effect types. But each effect ● CABINET & MIC is selected
type has two algorithms (one for live performance The algorithm for direct recording is selected at
and one for direct recording) for each of its 17 the DRIVE module. This is recommended when
effect types, so that there are actually 34 effect the G2.1u is directly connected to a recorder, or to
types that can be used. a hifi system or other audio device.
The two algorithms are switched according to the
effect type selected for the EXTRA EQ/CABI &
MIC module, as follows. DRIVE EQ EXTRA EQ/CABI&MIC
Algorithm for EXTRA EQ
live performance
CABINET&MIC
Algorithm for
direct recording

24 ZOOM G2.1u ZOOM G2.1u 25

 Effect Types and Parameters

Effect Types and Parameters COMP

COMP (Compressor) module
How to read the parameter table Attenuates high-level signal components and boosts low-level signal components,
thereby keeping the overall signal level within a certain range.
SENSE 0 – 10 ATTACK FS, SL LEVEL 2 – 98, 1.0
Effect parameters 1 – 3
Adjusts the compressor sensitivity. Selects compressor attack speed in two
These are the parameters that can be adjusted with Parameter knobs 1 – 3 when Adjusts the signal level after passing the
Higher setting values result in higher levels. Available settings are "FS" (fast)
module.
the effect type is selected. The setting range for each parameter is shown. sensitivity. and "SL" (slow).
Three-digit setting values are shown with a dot between the two numerals.
Example: 1 – 98, 1.0 = 1 – 98, 100 WAH/EFX
WAH/EFX (Wah/Effects) module
Module selector Comprises wah and filter effects as well as VCA type effects.
The Module selector Effect module AW AW AUTO WAH
symbol shows the This effect varies wah in accordance with playing intensity.
Effect type
position of the knob at
AR Ar AUTO RESONANCE
which this DELAY
DELAY module This effect varies the frequency band of the resonance filter according to the picking intensity.
module/parameter is This is a delay module which allows long delay times and use of the hold function. The two effect types above have the same parameters.
called up. DL dL DELAY
HOLD This is a delay with a maximum setting of 5000 ms. POSITION bF, AF SENSE -10 – -1, 1 – 10 RESONANCE 0 – 10
PD Pd PINGPONG DELAY
HOLD This is a ping-pong type delay where the delay sound alternates between left and right. Selects the connection position of the
EC EC ECHO WAH/EFX module. Available settings Adjusts the effect sensitivity. Adjusts the resonance of the sound.
HOLD This effect simulates a tape echo with a long delay time of up to 5000 ms. are "bF" (before DRIVE module) and
These three effect types have the same parameters. "AF" (after EQ/EXTRA EQ module).
TIME 1 – 99, FEEDBACK MIX
0 – 98, 1.0 0 – 98, 1.0
BS bS
1.0 – 5.0
BOOSTER
TAP Adjusts the delay time. In the
range from 10 – 990 ms, the
adjustment is made in 10-ms
Adjusts the feedback amount.
Adjusts the mixing ratio of Raises signal gain and creates a dynamic sound.
steps (1 – 99). For 1 second and original sound and effect sound.
above, the adjustment is made in
100-ms steps (1.0 – 2.0). RANGE 1–5 TONE 0 – 10 LEVEL 2 – 98, 1.0
Selects the frequency band that is Adjusts the signal level after
Adjusts the sound quality. passing the module.
Expression pedal boosted.
A pedal icon ( ) in the listing indicates a parameter that can be controlled with the expression
TR tr TREMOLO
pedal (FP01/FP02).
This effect periodically varies the volume.
Specify the respective module as modulation target for the expression pedal (→ p. 20), and then
DEPTH RATE WAVE u0 – u9, d0 –
select the respective effect type of the module. The parameter can then be controlled in real time 0 – 98, 1.0 0 – 50
d9, t0 – t9
with a connected expression pedal. Allows selection of the modulation
Tap waveform. Available settings are "u"
(rising sawtooth), "d" (falling sawtooth),
A [TAP] key icon ( TAP ) in the listing indicates a parameter that can be set by hitting the [TAP] Adjusts the modulation depth. TAP Adjusts the effect rate. and "t" (triangular). Higher setting
key. values result in more clipping of wave
In edit mode, when the respective module/effect type is selected, repeatedly hitting the [TAP] key peaks, which reinforces the effect.
will set the parameter according to the key press interval (modulation cycle, delay time, etc.). PH PH PHASER
In play mode, if the DELAY module is ON for the currently selected patch, repeatedly hitting the This effect produces sound with a pulsating character.
[TAP] key will temporarily change the parameter.
POSITION bF, AF RATE 0 – 50 COLOR 1–4
Hold
Selects the connection position of the
A foot switch icon ( HOLD ) in the listing indicates an effect type for which hold can be turned
WAH/EFX module. Available settings
Adjusts the type of sound.
on and off with the foot switch (FS01). are "bF" (before DRIVE module) and TAP Adjusts the modulation rate.
Set the foot switch function to "dH" (delay hold) (→ p. 22) for the respective patch. When this patch "AF" (after EQ/EXTRA EQ module).
is then selected in play mode, the hold function can be switched on and off by pressing the foot
switch.

26 ZOOM G2.1u ZOOM G2.1u 27

Effect Types and Parameters Effect Types and Parameters

RG rG RING MODULATOR DRIVE

This effect produces a metallic ringing sound. Adjusting the FREQUENCY parameter results in a drastic DRIVE module
change of sound character. This module provides 16 types of distortion and an acoustic simulator. Each effect type of
POSITION FREQUENCY MIX the module has two modeling algorithms (for live performance and direct recording).
bF, AF 1 – 50 0 – 98, 1.0
These algorithms are switched automatically according to the on/off condition of the
Selects the connection position of the CABINET & MIC effect (→ p. 25).
WAH/EFX module. Available settings Adjusts the frequency that is used Adjusts the level of the effect sound
are "bF" (before DRIVE module) and for modulation. mixed to the original sound. FC FC FD CLEAN CA CA CLASS A CLEAN
"AF" (after EQ/EXTRA EQ module). The rich, clean sound of a classic 1965 Fender Twin Clean sound of the Vox AC-30 combo amp,
Reverb operating in Class-A
SL SL SLOW ATTACK
JC JC JC CLEAN MC MC MS CRUNCH
This effect reduces the attack rate of the sound, resulting in a violin playing style sound.
Clean sound of Roland JC series with built-in chorus Big sound of a Marshall stack running between
POSITION TIME CURVE which gives a wide, clear tone. clean and crunch
bF, AF 1 – 50 0 – 10
BL bL US BLUES BC bC BG CRUNCH
Selects the connection position of the
WAH/EFX module. Available settings Crunch sound of a Fender Tweed Deluxe '53 Fat sound of the Mesa Boogie MkIII combo amp
Adjusts the attack time. Adjusts the attack volume change curve.
are "bF" (before DRIVE module) and MD Md MS DRIVE BG bG BG DRIVE
"AF" (after EQ/EXTRA EQ module).
The High gain sound of a Marshall JCM2000-driven High gain sound of Mesa Boogie Dual Rectifier amp
PV PV PEDAL VX stack channel 2 (vintage mode).
Simulates a vintage pedal wah sound. PV PV PV DRIVE OD Od OVERDRIVE
Simulation of the classic Boss OD-1 overdrive
POSITION bF, AF FREQUENCY 1 – 50 LEVEL 2 – 98, 1.0 The high gain sound of the classic Peavey 5150
pedal
Selects the connection position of the Adjusts the frequency that is GV GV GUV'NOR distortion HB Hb HOT BOX
WAH/EFX module. Available settings emphasized. When no expression Adjusts the signal level after passing the
are "bF" (before DRIVE module) and pedal is used, the effect is the module. Simulation of the Guv'nor distortion effect from Simulation of the drive channel of a Hot Box tube
"AF" (after EQ/EXTRA EQ module). same as with a half-raised pedal. Marshall. amp.
FF FF FUZZ FACE MT Mt METAL ZONE
PB Pb PEDAL BABY Simulation of the classic Boss Metal Zone pedal
Simulates a vintage pedal wah sound. Simulation of the original classic British fuzz pedal
famous for long sustain and midrange
POSITION bF, AF FREQUENCY 1 – 50 LEVEL 2 – 98, 1.0
ED Ed EXTREME DISTORTION DF dF DIGI FUZZ (digital fuzz)
Intense super-high gain distortion High gain fuzz attack
Selects the connection position of the Adjusts the frequency that is
WAH/EFX module. Available settings emphasized. When no expression Adjusts the signal level after passing the All above effect types have the same parameters.
are "bF" (before DRIVE module) and pedal is used, the effect is the module.
"AF" (after EQ/EXTRA EQ module). same as with a half-raised pedal. GAIN 0 – 98, 1.0 TONE 0 – 10 LEVEL 2 – 98, 1.0
Adjusts the signal level after passing the
Adjusts the distortion intensity. Adjusts the sound quality.
ZNR module.
* Manufacturer names and product names mentioned in this table are trademarks or registered trademarks of their respective
ZNR (ZOOM Noise Reduction) module owners. The names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION.
This module serves for reducing noise during playing pauses. It offers a choice between
noise reduction (reduction of noise components) and noise gate (muting during pauses). AC AC ACOUSTIC
NR nr ZNR (ZOOM Noise Reduction) This effect makes an electric guitar sound like an acoustic guitar.
ZOOM original noise reduction which reduces noise in playing pauses without affecting the overall tone.
TOP 0 – 10 BODY 0 – 10 LEVEL 2 – 98, 1.0
GT Gt GATE
Adjusts the special string tone
This is a noise gate which cuts off the sound during playing pauses. Adjusts the signal level after passing the
that is characteristic for an Adjusts the degree of body resonance.
module.
DG dG DIRTY GATE acoustic guitar.
This is a vintage type gate with special closing characteristics.
All above effect types have the same parameters.

THRESHOLD 1 – 16
Adjusts the sensitivity. For maximum noise reduction, set the value as high as possible without causing the sound to decay
unnaturally.

28 ZOOM G2.1u ZOOM G2.1u 29

Effect Types and Parameters Effect Types and Parameters

EQ FL FL FLANGER
EQ (Equalizer) module This effect produces a resonating and strongly undulating sound.

Allows adjusting the three main bands (BASS, MIDDLE, TREBLE) of the six-band equalizer. DEPTH 0 – 98, 1.0 RATE 0 – 50 RESONANCE -10 – -1, 0,
1 – 10
BASS MIDDLE TREBLE Adjusts the modulation resonance
±12 160Hz ±12 800Hz ±12 3.2kHz Adjusts the modulation depth. TAP Adjusts the modulation rate. intensity.
Adjusts the low frequency range level. Adjusts the mid frequency range level. Adjusts the high frequency range level.
PT Pt PITCH SHIFTER
This effect shifts the pitch of the original sound up or down.
EXTRA EQ/CABI&MIC
SHIFT -12 – -1, dt, TONE MIX
EXTRA EQ/CABINET & MIC module 0 – 10 0 – 98, 1.0
1 – 12, 24
This module allows adjusting the three remaining bands of the six-band equalizer. In Adjusts the pitch shift amount in
addition, the module contains a cabinet simulator that produces sound suitable for direct Adjusts the level of the effect
semitones. Selecting "dt" gives a Adjusts the sound quality.
sound mixed to the original sound.
recording on a MTR or for reproduction via headphones or a studio monitor. detuning effect.
ET Et EXTRA EQ
PP PP PEDAL PITCH
Adjusts the three remaining bands of the six-band equalizer. The HARMONICS control allows adjustment of
the harmonics frequency range level. This effect allows using a pedal to shift the pitch in real time.

LO MID PRESENCE HARMONICS ±12 COLOR See Table 1 MODE UP, dn TONE 0 – 10
±12 400Hz ±12 6.4kHz 12kHz
Selects the type pitch change type
Adjusts the mid-low frequency range Adjusts the extremely high frequency Adjusts the harmonics frequency range Selects the direction of the pitch change. Adjusts the sound quality.
effected by the pedal.
level. range level. level.
Table 1
CB Cb CABINET & MIC COLOR MODE Pedal minimum value Pedal maximum value COLOR MODE Pedal minimum value Pedal maximum value
This effect type simulates amplifier cabinet sound and mic directional characteristics, suitable for direct UP -100 cent Original sound only UP -1 octave + DRY +1 octave + DRY
1 dn Original sound only -100 cent 5 dn +1 octave + DRY -1 octave + DRY
recording on a multi-track recorder. The cabinet characteristics are automatically set either to Combo (12" x
1, 12" x 2) or to Stack (12" x 4), depending on the selected drive type. The on/off condition of this effect in UP DOUBLING Detune + DRY UP -700 cent + DRY 500 cent + DRY
2 dn Detune + DRY DOUBLING 6 dn 500 cent + DRY -700 cent + DRY
turn automatically switches the modeling algorithm of the DRIVE module (→ p. 25).
UP 0 cent +1 octave UP -∞ (0 Hz) + DRY +1 octave
3 dn +1 octave 0 cent 7 dn +1 octave -∞ (0 Hz) + DRY
MIC TYPE dy, Co MIC POSITION 0 – 2
UP 0 cent -2 octaves UP -∞ (0 Hz) + DRY +1 octave + DRY
Lets you select different microphone 4 dn -2 octaves 0 cent 8 dn +1 octave + DRY -∞ (0 Hz) + DRY
characteristics according to sound
Selects the mic type. "dy" simulates the pickup position. The following settings
frequency response of a dynamic mic are available. VB Vb VIBRATO
and "Co" simulates the frequency 0: Mic pointed at speaker center Effect with automatic vibrato.
response of a condenser mic. 1: Mic pointed halfway between speaker
edge and center DEPTH 0 – 98, 1.0 RATE 0 – 50 MIX 0 – 98, 1.0
2: Mic pointed at speaker edge
Adjusts the level of the effect sound
Adjusts the modulation depth. TAP Adjusts the modulation rate. mixed to the original sound.
MOD/SFX
MOD/SFX(Modulation/SFX) module ST St STEP
Comprises modulation and delay effects such as chorus, pitch shifter, delay, and echo. Special effect that changes the sound in a staircase pattern.
CH CH CHORUS DEPTH 0 – 98, 1.0 RATE 0 – 50 RESONANCE 0 – 10
This effect mixes a variable pitch-shifted component to the original signal, resulting in full-bodied resonating sound.
Adjusts the modulation resonance
Adjusts the modulation depth. TAP Adjusts the modulation rate.
DEPTH RATE MIX intensity.
0 – 98, 1.0 1 – 50 0 – 98, 1.0

Adjusts the modulation rate. Adjusts the level of the effect sound DL dL DELAY
Adjusts the modulation depth.
mixed to the original sound. This is a delay with a maximum setting of 2000 ms.
SC SC STEREO CHORUS TIME 1 – 99, FEEDBACK 0 – 98, 1.0 MIX 0 – 98, 1.0
1.0 – 2.0
This is a stereo chorus with clear sound.
TAP Adjusts the delay time. In the
DEPTH 0 – 98, 1.0 RATE 1 – 50 MIX 0 – 98, 1.0 range from 10 – 990 ms, the
Adjusts the level of the effect
adjustment is made in 10-ms
Adjusts the feedback amount. sound mixed to the original
Adjusts the level of the effect steps (1 – 99). For 1 second and
sound.
Adjusts the modulation depth. Adjusts the modulation rate. sound mixed to the original above, the adjustment is made in
sound. 100-ms steps (1.0 – 2.0).

30 ZOOM G2.1u ZOOM G2.1u 31

Effect Types and Parameters Effect Types and Parameters

TE tE TAPE ECHO DELAY

This effect simulates a tape echo. DELAY module
TIME 1 – 99, FEEDBACK MIX This is a delay module which allows long delay times and use of the hold function.
0 – 98, 1.0 0 – 98, 1.0
1.0 – 2.0
DL dL DELAY
TAP Adjusts the delay time. In the range
from 10 – 990 ms, the adjustment is Adjusts the level of the effect HOLD This is a delay with a maximum setting of 5000 ms.
made in 10-ms steps (1 – 99). For 1 Adjusts the feedback amount. sound mixed to the original PD Pd PINGPONG DELAY
second and above, the adjustment is sound.
made in 100-ms steps (1.0 – 2.0). HOLD This is a ping-pong type delay where the delay sound alternates between left and right.
EC EC ECHO
DD dd DYNAMIC DELAY HOLD This is a warm sounding long delay of up to 5000 ms duration.
This is a dynamic delay where the effect volume changes depending on the input signal level. With positive These three effect types have the same parameters.
settings, the effect volume increases at higher input signal levels. With negative settings, the effect volume
increases at lower input signal levels. TIME 1 – 99, FEEDBACK MIX
0 – 98, 1.0 0 – 98, 1.0
1.0 – 5.0
1 – 99,
TIME AMOUNT 0 – 10 SENSE -10 – -1, 1 – 10 TAP Adjusts the delay time. In the
1.0 – 2.0 range from 10 – 990 ms, the
Adjusts the level of the effect
adjustment is made in 10-ms
TAP Adjusts the delay time. In the range Adjusts the feedback amount. sound mixed to the original
from 10 – 990 ms, the adjustment is steps (1 – 99). For 1 second and
Adjusts the level of the effect sound.
made in 10-ms steps (1 – 99). For 1 Adjusts the effect sensitivity. above, the adjustment is made in
second and above, the adjustment is sound mixed to the original sound 100-ms steps (1.0 – 5.0).
made in 100-ms steps (1.0 – 2.0).
REVERB
DF dF DYNAMIC FLANGER
REVERB module
This is a dynamic flanger where the effect volume changes depending on the input signal level. With positive
settings, the effect volume increases at higher input signal levels. With negative settings, the effect volume This module comprises various reverb functions such as hall reverb, early reflection, and
increases at lower input signal levels. multi-tap delay.
HL HL HALL
DEPTH 0 – 98, 1.0 RATE 0 – 50 SENSE -10 – -1, 1 – 10 This reverb simulates the acoustics of a concert hall.
Adjusts the modulation depth. TAP Adjusts the modulation rate. Adjusts the effect sensitivity. RM rM ROOM
This reverb simulates the acoustics of a room.
MP MP MONO PITCH SHIFTER
This is a monophonic pitch shifter with low sound modulation, suitable for single-note playing. SP SP SPRING
This effect simulates a spring-type reverb.
SHIFT -12 – -1, dt, TONE MIX
0 – 10 0 – 98, 1.0 The above three effect types have the same parameters.
1 – 12, 24
Adjusts the pitch shift amount in DECAY 1 – 30 TONE 0 – 10 MIX 0 – 98, 1.0
Adjusts the level of the effect sound
semitones. Selecting "dt" gives a Adjusts the sound quality.
mixed to the original sound.
detuning effect. Adjusts the level of the effect sound
Adjusts the duration of the reverb. Adjusts the sound quality.
mixed to the original sound.
HP HP HARMONIZED PITCH SHIFTER ER Er EARLY REFLECTION
This is an intelligent pitch shifter that automatically generates harmonies according to a preset key and This effect isolates only the early reflection components of the reverb.
scale.
-6, -5, -4, -3, DECAY 1 – 30 SHAPE ±10 MIX 0 – 98, 1.0
SCALE KEY C, Co, d...b MIX 0 – 98, 1.0
-m, m, 3, 4, 5, 6 Adjusts the envelope of the effect sound.
Determines the interval for the pitch Determines the tonic for the scale used Adjusts the level of the effect sound In the negative range, the envelope is Adjusts the mixing ratio of
shifted sound (see Table 2). for pitch shifting (see Table 3). mixed to the original sound. Adjusts the duration of the reverb. reversed. At 0, the effect is a gate reverb.
In the positive range, the envelope is a original sound and effect sound.
Table 2 Table 3
decay-type envelope.
Setting Type of scale Interval Setting Type of scale Interval Setting Tonic Setting Tonic
Sixth down Third up C F#
MD Md MULTI TAP DELAY
-6 3 C Fo
-5 Fifth down 4 Fourth up Co C# G G This effect produces several delay components with different delay times.
Major scale Major scale
-4 Fourth down 5 Fifth up d D Go G# TIME 1 – 99, PATTERN MIX
1–8 0 – 98, 1.0
-3 Third down 6 Sixth up do D# A A 1.0 – 3.0
-m Third down E E Ao A# TAP Adjusts the delay time. In the
Minor scale range from 10 – 990 ms, the
m Third up F F b B Selects the combination pattern for the Adjusts the mixing ratio of
adjustment is made in 10-ms
taps. The selection ranges from original sound and effect
steps (1 – 99). For 1 second and
rhythmical to random patterns. sound.
above, the adjustment is made in
100-ms steps (1.0 – 3.0).

32 ZOOM G2.1u ZOOM G2.1u 33

Effect Types and Parameters

CONTROL Specifications
CONTROL module
Serves for making pedal settings and lets you control the foot switch function and master Effect types 54
level setting applying to all patches. Effect modules Max. 9 simultaneous modules
RTM DESTINATION See Table 4 FS See Table 5 MASTER LEVEL 0 – 98, 1.0 Patches User area: 10 patches x 4 banks
Preset area: 10 patches x 4 banks
When a foot switch (FS01) is connected
When an expression pedal (FP01/FP02)
to the [CONTROL IN] jack, this selects Sampling frequency 96 kHz
is connected to the [CONTROL IN]
jack, this selects the modulation target
the function that can be operated with
Adjusts the master level for all patches.
A/D converter 24 bit, 64 times oversampling
the foot switch (See Table 5). The D/A converter 24 bit, 128 times oversampling
module for the RTM function (See Table
function selected here applies to all
4). Signal processing 32 bit
patches.
Frequency response 20 Hz – 40 kHz +1 dB -3 dB (with 10 kilohms load)
Table 4 Table 5
Display 2-digit 7-segment LED
Setting Modulation target Setting Function
oF OFF bP Bypass/Mute Parameter LEDs, Pedal assign LEDs
VL Volume tP Tap tempo Input Standard mono phone jack
WU, Wd, WH, WL WAH/EFX module (*) bU Bank up Rated input level -20 dBm
GU, Gd, GH, GL DRIVE module (*) rH Rhythm function on/off Input impedance 1 megohm
MU, Md, MH, ML MOD/SFX module (*) dH Delay hold Output Standard stereo phone jack (doubles as line and headphone jack)
dU, dd, dH, dL DELAY module (*) dM Delay mute Maximum output level Line: +5 dBm (output load impedance 10 kilohms or more)
rU, rd, rH, rL REVERB module (*) Phones: 20 mW + 20 mW (into 32 ohms load)
Control input For FP02/FS01
USB interface
PC interface: 16-bit (stereo configuration for recording/playback)
The operation of modules denoted by (*) "UP" Sampling frequency: 44.1 kHz, 48 kHz
changes as follows, according to the letter at Maximum value
Power requirements
right.
AC adapter9 V DC, 300 mA (center minus plug) (ZOOM AD-0006)
Batteries Four IEC R6 (size AA) batteries,
U UP
Approx. 7.5 hours continuous operation (alkaline batteries)
The parameter is at minimum when the pedal is Minimum value
Dimensions 165 mm (D) x 255 mm (W) x 79mm (H)
fully raised and at maximum when the pedal is fully
"DOWN"
Weight 1100 g (without batteries)
pushed down.
Maximum value Options Expression pedal FP02/ Foot switch FS01

• 0 dBm = 0.775 Vrms

D DOWN • Design and specifications subject to change without notice.
The parameter is at maximum when the pedal is
fully raised and at minimum when the pedal is fully Minimum value
pushed down.
"HIGH" Troubleshooting
Maximum value

H HIGH ● No power
When the pedal is fully raised, the parameter is at Refer to "Turn power on" on page 8.
Value set in patch
the value set in the patch. When the pedal is fully ● Reverb effect does not operate
pushed down, the parameter is at maximum. While a rhythm pattern is playing, the reverb effect is not available. Stop the rhythm pattern first
(→ p. 12).
"LOW" ● High level of noise
L LOW Is ZOOM AC adapter being used? Be sure to use only adapter for 9 V DC, 300 mA with center
Value set in patch
When the pedal is fully raised, the parameter is at minus plug (ZOOM AD-0006).
minimum. When the pedal is fully pushed down, ● Battery life is short
the parameter is at the value set in the patch. Minimum value Are manganese batteries being used? The use of alkaline batteries is recommended.

34 ZOOM G2.1u ZOOM G2.1u 35

G2.1u Preset Pattern

# PatternName TimSig # PatternName TimSig

1 8beat_1 4/4 21 POP_3 4/4
2 8beat_2 4/4 22 DANCE_1 4/4
3 8beat_3 4/4 23 DANCE_2 4/4
4 8shufle 4/4 24 DANCE_3 4/4
5 16beat_1 4/4 25 DANCE_4 4/4
6 16beat_2 4/4 26 3per4 3/4
7 16shufle 4/4 27 6per8 3/4
8 ROCK 4/4 28 5per4_1 5/4
9 HARD 4/4 29 5per4_2 5/4
10 METAL_1 4/4 30 LATIN 4/4
11 METAL_2 4/4 31 BALLAD_1 4/4
12 THRASH 4/4 32 BALLAD_2 3/4
13 PUNK 4/4 33 BLUES_1 4/4
14 DnB 4/4 34 BLUES_2 3/4
15 FUNK_1 4/4 35 JAZZ_1 4/4
16 FUNK_2 4/4 36 JAZZ_2 3/4
17 HIPHOP 4/4 37 METRO_3 3/4
18 R'nR 4/4 38 METRO_4 4/4
19 POP_1 4/4 39 METRO_5 5/4
20 POP_2 4/4 40 METRO

ZOOM CORPORATION
ITOHPIA Iwamotocho 2chome Bldg. 2F, 2-11-2, Iwamoto-cho,
Chiyoda-ku, Tokyo 101-0032, Japan
Web Site: http://www.zoom.co.jp

G2.1u - 5000-1
 G2.1u Patch List Please use patches "for Live" when you use guitar amp, and use patches "for Recording"
when you connect your guitar directly to a recorder. Setting recommendation on popular guitar amps
Name of patches
Descriptions Key effect Pedal setting
Marshall JCM-2000
for Live for Recording
RECTIFYING This patch is modeled after the powerful sound which uses the silicone rectifier section of that popular amplifier. You
In case of patches for Live（A0∼A9、b0∼b9 ） In case of patches for Recording（C0∼C9、d0∼d9 ）
may want to play riffs and solos with this sound valued by heavy rock guitarists. BG DRIVE VOLUME
A0 C0 Referenced album: "Hybrid Theory" by Linkin Park (2001) EQUALISATION REVERB CLASSIC GAIN / CHANNEL A EQUALISATION REVERB CLASSIC GAIN / CHANNEL A
LUSH LIFE This sound features the high-quality sound of our G2’s signal processing technology with a clean and lush chorus plus OFF 4 6 4 6 4 6 4 46 6 4
OFF 46 6 OFF 4 6 4 6 OFF 4 6
OFF
4 6 4 6 4 6 4 46 6 4
OFF
46 6
OFF
4 6 4 6
OFF
4 6

CHORUS VOLUME
A1 C1 delay patch. Try to use it for accompaniments in pop music, or solo music with your favorite guitar. 2
0 8 2
2 8 2
5 2 8 2
48 8 2 2 8 8 2 28 8 2
2 8 2
0 8 2
0 8 2
1 2 8 2
58 8 2 2 8 8 2 28 8 2
2 8

The Pie
0 10 0 10 0 10 0 010 10 0 010 10 0 10 0 10 0 10 0 10 0 10 0 10 0 010 10 0 010 10 0 10 0 10 0 10
We have already started to call the sound of this UK rock band "traditional". This patch is modeled after the punchy PRESEMCE TREBLE MIDDLE VOLUMEBASS GAIN
CHANNEL BCHANNEL VOLUME GAIN INPUT PRESEMCE TREBLE MIDDLE VOLUMEBASS GAIN
CHANNEL BCHANNEL VOLUME GAIN INPUT
DEEP READ
TONE
1 SHIFT CLEAN DEEP READ
TONE
1 SHIFT CLEAN
sound of the overdriven JCM 800 amplifier and thus it is suitable also for the hard plucking of modern punk rock guitar MS DRIVE READ 2 CRUNCH READ 2 CRUNCH

A2 C2 style. This is the sound of Humble Pie in later years with Dave Clemson as its guitar player. CRUNCH GAIN
Referenced album: "Smokin'" by Humble Pie (1972)
SynthDaze We took advantage of a newly developed fast tracking pitch shift algorithm and created this simulated synthesizer
sound. We hope you will come up with great solos using this sound reminiscent of Jan Hammer’s exciting trades with
METAL WAH Fender TWIN Reverb
A3 C3 ZONE FREQ
Jeff Beck. Referenced album: “Wired” by Jeff Beck (1976) In case of patches for Live（A0∼A9、b0∼b9 ） In case of patches for Recording（C0∼C9、d0∼d9 ）
FENDER CLEAN This patch is a straightforward modeling of the sound of that black-face Fender Twin Reverb and provides a clean sound 1 2 BRIGHT 543 98 654 654
1 2 BRIGHT 543 54 654 654
that is indispensable for the ensemble. When you foot down the expression pedal and with the EFX module switched on, FENDER TREMOLO

10

876

3
7
876

21

987

321

987

321

876

21

987

321

987

321
8.5 5 5 4.5 5 5

21
654
A4 C4 you can add a unique tremolo effect to get that retro-sound instantly. We have selected a room ambience as default to CLEAN RATE

9
10 10 10 10
make this patch suitable for current musical style but, of course, you can replace it with the spring reverb simulation.
10 9 32 10 9 10
NORMAL NORMAL
OFF OFF

VOLUME TREBLE MIDDLE BASS VOLUME TREBLE MIDDLE BASS

SANTANA Many people through the years have favored Carlos Santana’s guitar sound. This patch is modeled specifically after his
wailing lead sound with sweet distortion. Any of his hits like “Black Magic Woman”, “Europe” or “Adouma” will BG WAH
A5 C5 sound pleasant if you make use of this patch. CRUNCH FREQ
Referenced album: “Amigos” (1976) and “Shaman” (2002) by Santana
FUNK PLANET II This patch is suitable for funky chording, and using the pedal-wah effect. We have arranged a clean sound which can be
Roland JC-120
WAH In case of patches for Live（A0∼A9、b0∼b9 ） In case of patches for Recording（C0∼C9、d0∼d9 ）
used for not only funk music but also any music style. You can create a funky groove by using brushing or single note PHASER
A6 C6 cutting. FREQ CHANNEL-1 CHANNEL-1
HIGH HIGH
BRI VOLUME TREBLE MIDDLE BASS BRI VOLUME TREBLE MIDDLE BASS
NUANCE DRIVE This patch is the simulation of the legendary tone of the BOSS OD-1 that is considered the de-facto standard for the 5 5 5 5 5 5 5 5
overdrive stomp box. The patch can provide high playability and retains the nuances of the guitarists' touches. The ST CHORUS
addition of the chorus effect using expression pedal will enable the guitar players to adapt to virtually any musical OD1 LOW OFF LOW OFF
A7 C7 MIX 5 5 5 0 10 0~3
situation.
0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10
C MAJOR HARMONY This patch provides a mild lead sound accompanied by the harmonies based on the C major scale and makes our G2 the
HPS
world’s first effective device in the class that features the HPS (harmonized pitch shifter) function. You can select the PV DRIVE
A8 C8 MIX
key and the scale according to the phrase you play. When you use guitar amp for recording patches, not only intended modeling sound will not existing,
ACOUSTIK With this patch selected, your electric guitar will start to sound like an acoustic electric guitar. You can use rich chorus but also you hear harsh-sounding sometimes. Please adjust guitar amp setting as above reference.
ACOUSTIC ST CHORUS
sound when you foot down the expression pedal. We would recommend you to combine this patch with the single-coil
A9 C9 SIM MIX
type front pick-up. You can also use this patch actively to create the clean ensemble effect.
POWERED BY Even if you are the type of guitar player who is proud of wailing solos, you may sometimes want to use thrash power
chords (with some muting-technique on the bridge). The distorted sound of this patch provides the best playability for PV DRIVE VOLUME
B0 d0 that purpose. Referenced album: “Dookie” by Green Day (1994)
BREATH YOU TAKE This patch provides you with a clean sound with effective use of the compressor. Also with the delay effect set to
synchronize with the 8th notes, you will get Andy Summers' signature sound for arpeggios. You can control delay mix by JC CLEAN
DELAY Introduction for newly developed effects
B1 d1 expression pedal. Referenced album: “Synchronicity” by the Police (1983) MIX

Mr. Fripp This wildly fat sound with infinite sustain is modeled truthfully after the sound created by the combination of MXR’s
Dyna Comp and Dallas’ Fuzz Face. Designed for using your guitar’s front pick-up. FUZZ DRIVE Early Reflection Dynamic Delay/Dynamic Flanger
B2 d2 Referenced album: “In The Court Of The Crimson King” by King Crimson (1969) FACE GAIN Early Reflection is the component of the reverb sound that reaches to the listener first This is the so-called ducking effect: the mix balance of the dry signal and the effect
after the original sound has bounced off the wall. The reverb sound consists of this signal of a delay or a flanger is controlled by the envelope of the original signal of the
ORANGE CRUSH This patch provides the jet sound from the good old days created by the combination of the edgy vintage distortion early reflection and the late reflection, and the former characterizes the size of the guitar.
stomp box and the flanger. We have rearranged that sound to give a hybrid tone that is retro sounding and refreshing FLANGER room. The early reflection effect extracted from the whole reverb sound has been In the Dynamic Delay section, you can set the “SENSE” parameter to the minus value
GUV'NOR
B3 d3 at the same time by combining the dry distortion, flanging jet-effect and lush reverb. RATE quite popular among the rack-mounted signal processors but we have arranged this to get the ducking delay effect: the feedback component in the delayed signal is not
Referenced album: “Barracuda” by Heart (1972) effect on the G series especially for the guitar. To get the most popular type of this put out while there is an input signal and the feedback component arises as soon as
AC CLEAN This patch is modeled after the classical Brit clean sound of the VOX AC series guitar amps operated in the class A effect, you can set the “SHAPE” parameter to the plus value (decaying effect) and the input signal is muted. This effect is very handy when, for example, you play fast
without the negative feedback. The sound of those amps became enormously popular in the British musical industry of CLASS A adjust the “DECAY” parameter to decide the size of the simulated room. If you phrases on the guitar and the feedback component gets in the way. On the other
VOLUME would like a wild effect, set the “SHAPE” parameter to the extreme minus value and hand, you can set the “SENSE” parameter to the plus value and you will have the
B4 d4 the 1960s, continued through many famous British groups in the 1970s and has remained popular to this day. CLEAN
Referenced album: “1962-1966…Red Album” by the Beatles you will get the special effect that sounds like the tape machine played in reverse. feedback component while you are playing the guitar and you can cut off the

EXTRA EQ
BIG WALL
feedback as soon as you mute the guitar, which should be very handy in the break of
This powerful sound is the result of the deepest distortion ever created by any multi-effect pedals. The overwhelming
a song where you want to mute all of the sound.
presence of the power chords in lower registers and the smooth responses to the tapping technique will be favored by PEDAL PITCH
BG DRIVE In addition to the frequency ranges of 160Hz, 800Hz and 3.2kHz (LOW, MID and The same thing goes with the “Dynamic Flanger”: you can set the “SENSE”
B5 d5 the connoisseurs of the high-gain sound. In addition, you can create a pedal pitch effect that bends down 2 octaves. 2oct DOWN TREBLE respectively,) controlled by the normal EQ module, you can boost or cut the parameter to the minus value and you will get no flanging effect while the input
ranges of 400Hz, 6.4kHz and 12kHz using the LOW MID, PRESENCE and HARMONICS signal is high and you will get flanging effect when you lower the signal level of the
VibroCrunch This patch is modeled after the sound that utilizes the so-called Leslie effect for its vibrato-like character and it is popular controls respectively in the EXTRA EQ module. These frequency ranges are rarely input. You can get a unique effect like a long note that is completely dry at the
VIBRATO
among the American blues-rock players like the late S.R.V. It is suitable for crisp rhythm playing or the dynamic VIBRATO controllable with other effect devices made for guitars. With “PRESENCE” you can beginning and then the flanging effect is gradually added as the signal level of the
B6 d6 RATE
chording. Referenced album: “Texas Flood” by Stevie Ray Vaughan (1983) adjust the high frequency range that affects the projection of the sound and with note decreases. On the other hand, you can have the flanging effect only when you
1984 Recently E.V.H. is known as the user of the 5150 amps but in the past he used to create that big crunchy sound with his
“HARMONICS” you can tweak the overtone contained in the clipped sound. The play loud if you set the “SENSE” parameter to the plus value. This effect works great
specially modified Marshall amp. This patch is the consummate simulation of that E.V.H. sound from his early years. The overdriven sound of tube amplifiers is rich in overtone and this EXTRA EQ module is when you want to embellish the accents in your arpeggios and riffs or to add a
DELAY(OFF) indispensable for the simulation of this aspect of the sound. hidden flavor to your lead guitar sound.
name of this patch is, of course, borrowed from that greatest album of V. H. with David Lee Roth. When you foot down MS DRIVE

Multi Tap Delay

B7 d7 the expression pedal and get the long delay effect on, it makes the best lead sound. MIX
Referenced album: “1984” by Van Halen (1984)
With this effect, you can utilize up to eight independent delay lines whose delay
The SPY who loved me (or Spagetti Western) The sound will remind you of the soundtracks of the James Bond series or Spaghetti Western movies. FENDER SPRING times can be set separately to make rhythmical patterns. We also provided eight
B8 d8 Referenced album: The soundtracks from “007, Dr. No” (1962) CLEAN MIX practical settings ranging from the constant rhythmic pattern to the random one. Try
HEAD LONG This sound is ZOOM’S original that became a favorite of the guitarist Brian May. The patch has a very strong character pattern 2 for example: the played notes are fed back like rhythmical patterns that will
but you can hear how it is effectively used in his actual recordings. If you are big-fan of Brian May, you may also want inspire you to come up with various phrases one after another. You could apply this Such as product names and company names are all (registered) brand
STEP
to try the sound with the “step” turned “off” and the “delay” turned “on”. You will be transported to the world of STEP effect to your solo performances as something different from the sound-on-sound names or trade marks of each respective holders, and Zoom Corporation
B9 d9 RATE
“Brighton Rock” with that incredible guitar orchestration. With the additional use of the HPS set to the minor 3rd in the effect. This effect is programmed as a stereo ping-pong delay and thus we strongly is not associated or affiliated with them. All product names, explanation
key of E, you will be able to perfect the simulation!! Referenced album: “Innuendo” by Queen (1991) recommend you to try it using headphones. The delay time can be set to 3 sec. and images are used for only purpose of identifying the specific products
maximum. that were referenced during product development.
Note 1 : The default patches stored in the pre-set area from the bank No. 0 to No. 3 are the same as those stored in the banks from A to d.
Note 2 : We recommend you to adjust the parameter for the noise reduction according to your guitars and amps.
 Modeling Description … Reference for drive effect types and its original models.
EFFECT TYPE : BC CRUNCH EFFECT TYPE : US BLUES EFFECT TYPE : MS CRUNCH EFFECT TYPE : GUV'NOR

MESA/BOOGIE Mark III bC bC Fender Tweed Deluxe '53 bL bL Marshall JCM800 MC MC Marshall Guv'nor GV GV
The origin of the MESA/BOOGIE amplifier was the modified Fender Princeton. Randall The very first Fender amplifier was developed by Leo Fender and his trusty partner, the Marshall has continued to produce great amplifiers for up-to-date musical trends in The initial sales talk for this serious distortion pedal “Guv’nor” bearing the Marshall brand
Smith, an amp tech in San Francisco, souped up those small guitar amps to put out 100w engineer Doc Kaufman in 1945-46. Actually, the earliest models were not made under the cooperation with the musicians. This brand started with its “JTM- 45 (stands for Jim&Terry was that you could get the distortion sound of the Marshall amps with this small stomp box.
power and sold them. The first model was called “Mark I”. Carlos Santana tried one and “Fender” brand but the “K&F Manufacturing Corporation” named after the Initials of the Marshall)” in 1962 and now its products are indispensable items in the modern Rock scene. Depending on which guitar amps you combine, you can actually get the Marshall amps
said, “Shit man, that little thing really Boogies! “ -which gave the amplifier the brand name two. The first amplifier using the “Fender” brand was the “Model 26” in 1947. In 1949, Marshall seems to have been experimenting with different circuit designs of amplifiers but distortion. There are two different versions of the Guv’nor: the Britain-made ones from
“BOOGIE.” the entry models called “Champion 400/600” series followed. The so-called “Tweed Amps” 1981 was the most prolific year for the brand because it released many new models like the 1988 and the Korean-made ones from 1998. The program on this G series is modeled after
The second model “Mark II” had lead and rhythm channels and a 4-band equalizer to give covered literally with tweeds all over were developed during the 1950s and the 1960s. In “1959” and “1987” with four inputs, “2203” and “2204” with master volumes. In 1983, the original version from 1988. The Guv’nor’s characteristic feature is the frequency point
wider variety to the guitar tone. The special feature of this model was an accomplished these years, the company put out various tweed models like the “Bassman” or the Marshall added the “2210” and “2205” with two (Normal and Boost) channels as well as you can tweak using the “TREBLE” control. Even if you lower this parameter value, the
simul- power circuitry (the operation could be switched between class A and class AB). The “Bandmaster”. The program of this G series is modeled after, among others, the most effect send/return connectors to its lineup. These models also carried the collective sound will get fat instead of getting dullish. As you raise the value, the sound will get
power amplifier section had six power tubes. When the class A operation is selected, two representative “Tweed Deluxe” aka the “Wide Panel” from 1953. This amplifier has a designation “JCM (stands for Jim&Charles Marshall) 800”. They had three ECC83 pre-tubes sweeter and clearer.
EL34 power tubes are activated and the amp puts out a really smooth sound. When the 12AY7 and a 2AX7 pre-tubes, two 6V6GT power-tubes, a 5Y3GT rectifier tube and a 12” and four EL34 power-tubes. The tone control circuit was placed after the pre-amp section
class AB operation is selected, these two EL34s and other four 6L6GC power tubes are all Jensen loudspeaker and its output power is 10w. Recently the original amplifier is priced and this design seems to have become the standard for the modern Marshall amplifiers.
activated and the amplifier puts out its full potential power. quite highly and is very difficult to find in good condition. This amp has two inputs but one For the modeling on this G series, we selected the “2203” with a master volume and it is
Until the model Mark II, MESA/BOOGIE amps were quite expensive, hand-made amplifiers, is the input for a microphone. It has just one tone knob for treble control. Therefore, it is quite easy to get the distortion. By today’s standards, the amplifier’s distortion is rather
but the next model “Mark III” was more affordable. It has one 10” loudspeaker and 60w advisable to use this program on the G series with a flat tone setting except for the treble moderate, but the sound is very fat, the low-end is quite tight and, above all, the sound cuts
output power but retains all of the classic BOOGIE features; simul-power circuitry, the parameter so that you can enjoy the characteristic sound in the lower registers and the through very well. When higher gain is required, this amplifier is often combined with
graphic EQ, and three (Rhythm1, Rhythm2 and Lead) separate channels. With this Zoom G unique sound in the higher registers of the original Fender amp. overdrive or booster pedals. For the modeling, we used the head with a “1960A” cabinet
series, you can select the modeling of the combo type of this “Mark III.” that has four 12” loudspeakers and works very well with the “2203”.

EFFECT TYPE : BG DRIVE EFFECT TYPE : FD CLEAN EFFECT TYPE : OVERDRIVE EFFECT TYPE : HOT BOX

MESA/BOOGIE Dual Rectifier BG bG Fender Twin Reverb '65 FC FC BOSS OD-1 od Od MATCHLESS HOT BOX Hb Hb
The “Rectifier” model has the improved simul-power circuitry (see the “Mark III” section) In the later half of 1965, a reverb unit was added to the “Twin” amp, which was the birth of The “OD-1” released by BOSS in 1977 was originally developed for the simulation of the The “HOT BOX” was released as a pedal preamp bearing the MATCHLESS brand. It uses
and the increased gain in the preamp section. This amp puts out 100w power and has five the “Twin Reverb” model. In 1965, Fender company was sold to CBS because of Leo natural overdrive sound of tube amplifiers, but this stomp box turned out to be popular as two 12AX7A tubes for the truthful reproduction of the sound of the “MATCHLESS” guitar
12AX7 tubes for the pre-amp and four 6L6GC tubes for the power-amp. As opposed to the Fender’s health problem. The program on this G series is modeled after the pre-CBS “Twin the booster unit to connect to the input of the real tube amplifier to get tighter and more amplifiers. It has the compressed sound and the quick response, which are distinctive
“Mark” series, the Rectifier has its tone control circuit after the volume circuit for better Reverb” from 1965 aka “Black Panel”. This amp has four 7025 (12AX7), a 12AX7 and two punchy sound with the increased gain. The “OD-1” employs the asymmetrical “clipper” characteristics of tube amps. Its sound is fat and cuts through very well, too. Even if you
effect on the sound. Since this amp had been introduced, the brand image of 12AT7 pre-tubes, four 6L6GC power-tubes and silicon diodes for the rectifier circuit. The section in its circuit design that uses three diodes to create the overdrive sound that is mild crank up the gain to get a distorted sound, you will retain the nuances of the original guitar
MESA/BOOGIE has changed from being the premiere amp manufacturer for fusion music to diode rectifier is believed to give a tighter sound to the amplifier than the tube rectifier does, and rich in nuances. The pedal had been in production from 1977 to 1985, but now it is sound. Although it is categorized as preamp, the ideal way to get the best possible sound is
that for heavy metal music. which should be the key to the characteristic glittering sound of this “Twin Reverb”. This unexpectedly difficult to even find a used one. And if you could locate one, it would be to connect it, like usual stomp boxes, to the input of your guitar amp. Its design is also
guitar amplifier has two 12” loudspeakers by Jensen and pus out 80w power. On the astonishingly expensive. There have been many stomp boxes known as overdrive units. The attractive: the case is polished like a mirror and the “MATCHLESS” logo lights up when you
The most prominent feature of this amp is its rectifier circuitry after which it was named. program in this G series, you can have the sound with the “Bright” switch on by tweaking most famous one is probably the “Tube Screamer” but we chose this very original overdrive turn it on. This “Hot Box” is literally a magic box: you can get the signature sound of the
The “Dual Rectifier” employs, as its name suggests, two different rectifier circuits: one uses the “Harmonics” parameter in the “EXTRA EQ” section. When you turn the reverb effect pedal “OD-1”. If you are lucky enough to use the real “OD-1”, we invite you to try blind “MATCHLESS” amps regardless of the guitar amplifier you connect it to.
silicon diodes and another uses tubes. When the diodes are selected, the amp gives you on, you will get that “Twin Reverb” sound you have been longing for. test to turn off all of the effect module except the “OD-1” on the G series and compare the
tight and highly powerful sound. When the tube rectifier circuit is selected, you will get a sound of the modeling and that of the real one. We think that you will not hear any
warmer sound. This program is modeled after the combination of a four-12” BOOGIE difference.
cabinet and the Dual Rectifier head using the vintage channel and the silicon-diode rectifier
circuit.

EFFECT TYPE : JC CREAN EFFECT TYPE : PV DRIVE EFFECT TYPE : METAL ZONE EFFECT TYPE : EXTREME DISTORTION

Roland JAZZ CHORUS JC JC PEAVEY 5150 STACK Pv Pv BOSS MT-2 MT Mt ZOOM Extreme Distortion Ed Ed
Simply put, the Roland “JC-120” is the most familiar guitar amplifier among both The “5150” and the “5150 MkII” were very famous guitar amplifiers originally developed as The “MT-2” (“METAL ZONE”) has the strongest distortion. Its unique distortion sound has This distortion program is developed especially for the G series. We deliberately made use
professionals and amateurs. Released in 1975 from Roland, this amp became known as the signature models for Eddie Van Halen. Unfortunately, he doesn’t use it anymore very fat mid to low range and it has a parametric EQ in addition to the Hi and Low EQs, of the characteristics of digital devices and even emphasized the edge of the digital sound to
“portable”, “loud” and “almost trouble-free” (which are the very characteristics Japanese because of the expiration of the endorsement contract. The program on this G series is which is the key to the scooped metal sound. This stomp box is reputed for its flexibility in get the distortion to the maximum. The “TM-01” (Tri Metal) was the pedal that had the
products are known for!). You are pretty sure to find one in any live houses or studios all modeled after the first version of the “5150”. This amplifier has two (Rhythm and Lead) sound because you can not only get that scooped metal sound by cutting the mid range and deepest distortion sound among the stomp boxes from ZOOM but was discontinued. It had
over the world. The key to that sound of “JC-120” is its unique chorus effect: the slightly channels and puts out 120w power using five 12AX7 pre-tubes and four 6L6GC power- boosting the high and low range but also the overdrive sound by reducing the gain and as much as three diode-clipping stages and had very high gain. The “Extreme Distortion” is
delayed vibrato sound comes from one of two 12” loudspeakers and the dry sound from tubes. The rectifier circuit employs silicon diodes. The uniqueness of the sound of this boosting the mid range. This is one of the best-selling stomp boxes among many of the programmed to get the gain even higher. It raises the signal level to the maximum at the
another and both sounds are combined in the air, which creates that distinctive spacey amplifier is characterized by its sharp attack, deep and smooth tone, fine distortion and fat popular line-ups of BOSS products. Once connected, the Strat or the Les Paul will have the input stage and gets the wild distortion sound at the clipping stage. In fact, you won’t
mood. This effect became very popular which is why Roland decided to release the chorus and clinging low registers. The program is modeled after the combination of the Lead “MT-2” sound regardless of the types of guitar pickups. It was first introduced in 1991 and change the distortion rate even if you lower the volume on your guitar! Its distortion is that
circuit independently as the “CE-1” pedal. Incidentally, the chorus effect on the G series is channel of the 5150 head and a “5150SL”, a four-12” cabinet. Just crank up the gain and is still in the BOSS’s catalog; a truly a long-seller! deep. Contrary to the usual distortion effects whose sound gets thinner as you raise the
modeled after its follower “CE-2”. Another unique feature of JC-120 is its “Bright” switch. play one of Van Halen’s hit “Top Of The World”! gain, this “Extreme Distortion” won’t lose the fatness and tightness of the sound.
This function is not included in this modeling program but you can approximate the effect of
this switch by tweaking the “Harmonics” parameter in the “Extra EQ” section.

EFFECT TYPE : CLASS A CLEAN EFFECT TYPE : MS DRIVE EFFECT TYPE : FUZZ FACE EFFECT TYPE : DIGI FUZZ

VOX AC30/6TB CA CA Marshall JCM2000 MD Md Dallas-Arbiter FUZZ FACE FF FF ZOOM Digital Fuzz DF dF
The long history of the VOX company harks back to the foundation of “Jennings Musical “JCM2000” is based on the reputed “Plexi” amp (aka Old Marshall) whose rich overtones “FUZZ FACE” was originally released from the Dallas-Arbiter company in 1966 encased in a Forty years ago, my fellow guitar player used to crank up his amp trying to distort his guitar
Instruments” (JMI) in 1958. Originally, this company made amplifiers with 10-15w output and powerful sound were legendary. It has very flexible sound and can produce the uniquely designed housing that literally looked like a face. It is also famous as legendary sound and make other guys of the band virtually deaf at the end of the rehearsal. When it
power but the musical trend required more powerful amplification, which resulted in the traditional Marshall sound, modern heavy metal sound or sounds suitable for any musical guitarist Jimi Hendrix’s favorite gear. He combined this “FUZZ FACE” with his Marshall was difficult to get the distorted sound out of the amplifiers like in those days, some guys
birth of the revered “AC30” guitar amp. The very original AC30 had two Celestion 12” genre. It has the modern Marshall’s standard circuit with four ECC83 pre-tubes and four amps because it was hard to get distorted sound from them at that time, and created avant- made cuts in the cone loudspeakers to make the sound distorted, which was the origin of
loudspeakers using alnico magnets, EF86 pre-tubes, EL84 power-tubes and a GZ34 rectifier EL34 power-tubes. It is an all-tube amplifier that can produce clean or heavily distorted garde tones. The heavy and fat low end and the fuzz sound with long sustain are the the sound of fuzz effects. The fuzz pedals were developed to reproduce that distortion-like
tube. The Shadows and the Beatles used this model and their influence helped this amp sound and you can use it in all kinds of music. The sound is rather grainy but the response characteristics of this effective device. The earliest model used two PNP germanium sound. In other words, the trick of fuzz effect is to simulate the dirty distortion and that
become popular among many guitarists. Later, as the musical trend required amplifiers with is fast and the guitar sound cuts through very well. “JCM2000” series has two different transistors and was very different in sound from the later models using silicon transistors. “broken” feel. This “Digital Fuzz” has the very effect described above. Its drastic
even more gain, the company developed an add-on device called “Top Boost Unit”. The models: the TSL and the DSL. The program on the G series is modeled after the simply The theory of creating distorted sound is simple. Have you tried to connect the guitar to a distortion, relentless cut-offs and noises in the decay are the characteristics that one could
“AC30-6TB”, which this program in our G series is modeled after, is the later version of the designed “DSL-100”. As with the modeling of the “JCM800”, we combined the head with microphone input on your radio cassette recorder to emulate that sound? You cannot go simply describe as “broken”. Its fat and tight sound can be seriously recommended for the
AC30 with an integrated “Top Boost Unit”. After the JMI had sold the VOX brand, the sales a “1960A” cabinet and used the Lead channel that has more distortion. too wrong if you think that the circuitry of this device is similar to that. The program on this fuzz maniacs to try. This is literally the Digital Dirty Fuzz that is only possible in the digital
of the amplifier regrettably began to decline. However, the KORG Inc. acquired the VOX G series is modeled after this earliest version most satisfactorily. domain (are you brave enough to make cuts in your loudspeakers?).
name recently and rejuvenated the brand by starting to manufacture truthful reissue models.
In this G series, the program is modeled after the sound using the Hi input of the normal
channel that will give you that clean guitar sound of the Beatles and the Shadows, which
are the best examples of the distortion-free sound of the class-A operated amplifiers.

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