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ZOOM G3 Guitar Effects Amp Simulator Manual

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1. Adjusts the amount of effected sound Sets the depth of the modulation Sets the speed of the modulation that Ist sed win ihe orignal sound kwi Tone 0 10 Level 0 150 PageQ2 Adjusts the tone Adjusts the output level mixing an effect sound that is slightly pitch shifted with the original sound this effect e has a chorus effect without much sense of modulation Knob1 Knob3 25 25 Mix 0 100 Adjusts the detuning in cents which Sets the pre delay time of the effect Adjusts the amount of effected sound are fine increments of 1 100 semito that is mixed with the original sound 0 10 Level 0 150 Adjusts the output level Knob1 Knob3 Comp 0 9 Rate 1 50 Mix 0 100 P Adjusts the amount of effected sound that is mixed with the original sound Sets the sensitivity of the compressor Sets the speed of the modulation Level 0 150 Adjusts the output level Page02 Knob1 Knob3 0 100 Rate i 0 100 Adjusts the amount of effected sound that is mixed with the original sound Sets the depth of the modulation Sets the speed of the modulation Tone 0 10 Level 0 150 Page02 Adjusts the tone Adjusts the output level 062 Ensemble This is a chorus ensemble that features three dimensional movement EEN Knob1 Knob
2. Adjusts the amount of effected sound that is mixed with the original sound Tone 0 10 Level 0 150 Page02 U I Adjusts the tone Adjusts the output level Knob1 Knob2 Knob3 Size 1 100 Tone 0 10 Mix 0 100 P HAIR cae tne Sets the size of the space Adjusts the tone Ref 0 10 Level 0 150 Adjusts the amount of effected sound that is mixed with the original sound Adjusts the amount of reflection fror the wall Adjusts the output level Knob1 Knob2 Knob3 Comp 0 10 Gain 0 100 0 150 Sets compressor strength one 0 100 Sets overdrive gain output level Sets overdrive tone Isi Comp Phsr RATE LEVEL Salo FLANGER W CHO S PedalVox FRED DRVMIZ LEVEL IJA PedalCry FRED DRYMI LEVEL Pedal Cry This effect combines compressor and phaser Knob1 Knob2 Knob3 Comp 0 10 Rate 1 50 d 0 150 Sets compressor strength 4 STG 8 STG Color inv 4 inv 8 Sets the speed of the modulation Adjusts the output level Sets phaser color Knob1 Knob2 Knob3 Comp 0 10 Sense 10 1 1 10 0 150 Sets compressor strength 0 10 Sets auto wah sensitivity output level Page02 Sets resonance of auto wah Knob1 Knob2 Knob3 1 50 ChoMx 0 1
3. Prese 0 100 CAB See Table 1 Adjusts volume of superhigh frequencies Selects cabinet 040 Modeled sound of a VOX AC30 combo amplifier operating in Class A Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts tube amp compression Adjusts the output level Trebl 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 e of superhigh frequencies Selects cabinet Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts tube amp compression Adjusts the output level Trebl 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 Adjusts volume of superhigh frequencies Selects cabinet WYA BG CRUNCH Crunch sound of a Mesa Boogie MkIII combo amp Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts tube amp compression Adjusts the output level 0 100 Middl 0 100 Bass 0 100 me of high frequencies Adjusts volume of low frequencies 0 100 CAB See Table 1 e of superhigh frequencies Selects cabinet AKA HW STACK Modeled sound of the legendary Hiwatt Custom 100 all tube amplifier from the UK Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Ad
4. Knob1 Knob2 20Hz 20kHz 0 5 1 2 4 8 16 Gain1 Adjusts center frequency of EQ1 Adjusts EO1 20Hz 20kHz 0 5 1 2 4 8 16 Gain2 12 12 Adjusts center frequency of EQ2 Adjusts EQ2 Q Adjusts EQ2 gain Level 0 150 Adjusts the output level This effect uses the comb filter that results from fixing the modulation of the flanger like an equalizer Knob2 Knob3 Freq 1 50 10 0 10 Mix 0 100 FRED RESO MIX Adjusts the intensity of the resonance Adjusts the amount of effected sound sound of the effect that is mixed with the original sound HiDMP 0 10 Level 0 150 Adjusts the treble attenuation of the effect sound This sets the emphasized freq Adjusts the output level Knob1 Knob2 Sense 10 1 1 10 0 10 Level Adjusts the intensity of the resonance Adjusts the sensitivity of the effect sound Knob1 Knob2 SENSE RESO LEVEL 10 1 1 10 0 10 DEDET Adjusts the intensity of the resonance sound 013 Cry This effect varies the sound like a talking modulator Knob1 Knob2 Knob3 Range 1 10 Reso 0 10 Sense 10 1 1 10 P Adjusts the frequency range processed Adjusts the intensity of the modulation by the effect resonance sound Bal 0 100 Level 0 150 Adjusts the balance between original and effect sounds
5. BOMTON Sars Kya Z Dream CAIN TOME LEVEL nea as s ae Simulation of the compact Matchless Hotbox pre amplifier with a built in tube Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 gain Adjusts the output level Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 gain Adjusts the output level Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts the tone Adjusts the output level A high gain sound that emphasizes low and middle frequencies a Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 Adjusts the gain Adjusts the tone Adjusts the output level A high gain sound for lead playing based on the Mesa Boogie Road King Series Lead channel Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 gain Adjusts the tone Adjusts the output level Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 Adjusts the gain Adjusts the tone Adjusts the output level 034 ZNeos JA crunch sound modeled on the sound of a modified VOX AC30 Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 gain
6. Knob1 0 50 1 10 Level Sets the level that activates the compressor Adjusts the compression ratio Adjusts the output level MZE SlowATTCK This effect slows the attack of each note resulting in a violin like performance Knob2 Set the curve of volume change du ATIC attack time nng Adjusts the Siou K attack Knob1 Knob2 Knob3 tu ENVELOPE 1 25 Gtrin EfxIn Level 0 150 Fe TUT THRESH LEVEL effect sensitivity signal detection level Adjusts the output level NEXT gt gt gt m D 0 eh l lt K D S U 3 D eh D 33 Effect Types and Parameters 006 INoiseGate This iS a noise gate that cuts the sound during playing pauses Knob1 Knob2 THRSH LEVEL Noise Cate effect sensitivity Adjusts the output level Knob1 Knob2 1 25 0 150 effect sensitivity Adjusts the output level Knob2 Knob3 12 12 800Hz 12 12 uts the low middle 400 Boosts or cuts the middle 800 frequency band 12kHz 12 12 igh Boosts or cuts the harmoni kHz frequency band m D 0 eh l lt K D S U 3 D eh D 34
7. OFF USB RED e The All Initialize screen appears Are You Sure YES STORE NO ANY KEY 2 To execute the All Initialize function STORE SWAP e Press O NOTE STORE SWAP e Press any key other than O to cancel e Executing the All Initialize function will restore all the settings of the 63 including its patches to factory defaults Do not use this function unless you are certain that you want to do this C D e eh gt D 3 mg 31 Using Audio Interface Functions This unit can be used with computers running the following operating systems E Compatible OS Windows Windows XP SP3 32bit or newer Windows Vista SP1 32bit 64bit or newer Windows 7 32bit 64bit 32bit Intel Pentium 4 1 8GHz or faster RAM 1GB or more 64bit Intel Pentium DualCore 2 7GHz or faster RAM 2GB or more Intel Mac OSX 10 5 8 10 6 5 or later Intel CoreDuo 1 83GHz or faster RAM 1GB or more C 2 gt gt S 2 Fe D h 0 D Tl S 0 pa 32 E Quantization bit rate 16 bit E Sampling frequency 44 1kHz For details about recording playback and other functions please see the included startup guide e You can adjust the balance between the signals from the 63 and the computer See page 20 e You can adjust the recording level See page 21 e When its POWER switch is set to OFF the GB c
8. e f the setting number of quarter notes would not fall in this range it will automatically be adjusted e Changing the TIME setting will erase the currently recorded loop To adjust the tempo e urn of the middle unit e You can also set the tempo using DB X O e f no loop has been recorded yet you can also set the tempo by tapping SS TEMPO 2 3 e The setting range is 40 250 e Changing the tempo will erase the currently recorded loop e This tempo setting is used by every effect rhythms and the looper 4 To record a phrase and play it back I e Press Recording Playing O v TYPE A PAGE G v eh gt Y TYPE A PAGE 0 xo D REC 2 E if set to Manual I e When Is pressed again or the maximum recording time about 40 seconds is reached loop playback starts and PLAY appears on the display E If set to a note mark e Recording continues for the set time and then loop playback starts and PLAY appears on the display secon J 2 u e During recording press When using a rhythm recording will start after the precount to cancel recording I When using a rhythm the loop timing will be quantized so even if you stop the loop recording a little out of time the loop end point will be adjusted to match the tempo correctly To adjust the loop volume e urn of the right un
9. 448Hz GUITAR bx Other tuner types Depending on the selected type the nearest string name and how far the sound input is from that pitch are shown Select from the following tunings SG WI EN String number Note name Display Meaning 7 6 5 4 S 2 1 GUITAR Standard tuning for guitars including 7 string guitars B E A D G B E OPENA In open A tuning the open strings make an A chord E A E A C E OPEN D In open D tuning the open strings make a D chord D A D F A D OPEN E In open E tuning the open strings make an E chord E B E G B E OPEN G In open G tuning the open strings make a G chord D G D G B D DADGAD This alternate tuning is often used for tapping etc D A D G A D 4 To use a drop tuning 3 e Turn of the right effect C gt Q eh 23 e Drop tuning is not possible when the TYPE is set to CHROMATIC 440Hz GUITAR b gt x0 EE e Play the open string that you want to tune and tune it E CHROMATIC TUNER E OTHERTUNERS The name of the nearest note and the pitch The number of the nearest string and the accuracy are shown pitch accuracy are shown f PATCH SELECT RHYTHM e The keys above the displays A gt a TOTAL STORE SWAP GLOBAL TAP also light to show the pitch O O O Q O O O accuracy Pitch too low Pitch too high Pitch correct To end tuning 1 2 3 Press O Using Rhyth
10. Adjusts the output level Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 gain Adjusts the output level NEXT gt gt gt m D 0 eh l lt K D U 3 D eh D 37 m h D 0 eh l lt K D S U 3 D eh D 38 Effect Types and Parameters Kiem Lead Lead a bright and smooth distortion sound Knob1 Knob2 Knob3 DAIN TOME LEVEL hall 0 100 0 100 Level 0 150 LL lha gain Adjusts the output level E Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts the tone Adjusts the output level 038 This effect changes the tone of an electric guitar to make it sound like an acoustic guitar Knob1 Knob3 0 100 Level 0 150 Adjusts the unique string t of Adjusts the body resonance of acou acoustic guitars MERE FD COMBO Modeled sound of a Fender Twin Reverb 65 which is loved by guitarists in various genres Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 Adjusts the output level Adjusts tube amp compression Adjusts the output level T 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies
11. 2 oe Tuti to change the type of character FD CLEAN _ symbol 4 SKIP A FG WA ES 3 Turn to change the character e The following characters and symbols can be used L amp 4 _ A Z a z 0 9 Space CEE 15 Setting specific patch parameters To set an expression pedal function Set the control destination e Turn of the right effect O O v TYPE A PAGE INPUT VOL Use this to control the input level OUTPUT VOL Use this to control the output level NO ASSIGN No function is assigned D z 5 e 9 D ang g D o 3 D eh D 0 16 e urn to show the different parameters that can be controlled by the expression pedal e See Effect types and parameters for details about the parameters that can be controlled for each effect e Rhythm and looper output levels are not affected when controlling the Output Volume with an expression pedal Set the adjustment range 2 e urn O of the right effect to set the minimum value 3 e Turn of the right effect to set the maximum value e The minimum value can be set higher than the maximum value When set this way pushing the pedal down decreases the effect while letting it up increases the effect 6 To set an optional footswitch function e Press O on the right effect PAGE v TYPE A e n order to use the function set the correspondi
12. Note All trademarks and registered trademarks mentioned in this manual are for identification purposes only and are not intended to infringe on the copyrights of their respective owners Introduction Feels just like using effect pedals The three effects each have their own displays parameter knobs and footswitches allowing you to control all of them intuitively Realistic amplifier modeling Using our new ZFX IV DSP we have faithfully recreated the distortion rich with harmonics and the compression characteristic of tube amps The precisely crafted modeled sounds are extremely responsive to picking dynamics and guitar volume control Combine diverse effects as you like With over 100 types of effects that you can freely combine the amp 3 is a multi effects unit that will let your imagination run wild Looper that can be synchronized with rhythms The looper can be synchronized with rhythms and record phrases of up to 40 seconds Automatic saving The auto save function reliably stores the changes you make Works with ZOOM Edit amp Share software The 63 can be used with Edit amp Share software which is a patch editor and librarian on a computer to back up patches and change the order of effects See the ZOOM website http www zoom co jp for further information about Edit amp Share Terms Used in This Manual Patch The ON OFF status and the parameter settings of each effect are stored as patche
13. Parameter value Meaning DIRECT Use when connected to headphones or monitor speakers COMBO FRONT Use when connected to an ordinary combo amp input STACK FRONT Use when connected to an ordinary stack amp input COMBO POWER AMP Use when connected to an ordinary combo amp return STACK POWER AMP Use when connected to an ordinary stack amp return e Press O on the left effect PAGE e Turn to set the signal flow direction O S pese v TYPE A PAGE v TYPE A PAGE SIGNAL PATH SIGNAL PATH bak HR 8 NEXT gt gt gt 0 gt 3 S D Ep 3 19 Changing Various Settings 6 To set the amount of time until the backlight dims e Turn O of the middle effect OTOOTO NOTE Y TYPE A PAGE ATTER e The setting options are ON and 1 30 seconds LIGHT TYPE LEVEL ALKA LINE Bo eco OFF 0 gt e S D z e 20 e Turn of the middle effect to set the battery type to ALKALINE or Ni MH nickel metal hydride DONO I Operating on batteries v TYPE A PAGE r Operating on adapter power TTER LIGA TYPE LEVEL INE aa Operating on USB bus power EE WA eco 0F F NY NOTE e Set the battery type correctly in order to allow the remaining battery charge to be shown accurately 8 To adjust the USB audio monitoring balance l e Jurn of the right effect e 4 T
14. Y TYPE A PAGE SB AUDION EIU This adjusts the balance between the signals sent from a connected MONITOR REC GAIN computer DAVV and the signal input and processed through the unit DIRECT wal O The setting range is 0 100 Set to 0 to monitor only the DIRECT signal or 100 to monitor only the DAW signal To adjust the recording level 2 e Turn of the right effect OTORO v TYPE 4 PAGE e This adjusts the level of the signal sent to the computer SB AUDIO SDUD e The setting range is 6 dB MONITOR REC GAIN DIRECT DAW To view the firmware versions Press O of the right effect PAGE MWE D e Check the ZOOM website http www zoom co jp for the latest firmware versions I Y TYPE A PAGE SB AUDIONTCIUOLI MONITOR REC GAIN 50 8dB SYSTEM 1 80 PRESET 1 88 DIRECT DAW BOOT 1 68 ws eee cnt Ba TA BAB Ba BAN Ba RA Te edie NG GLOBAL Press O l 0 gt 3 e S D Fp 5 21 Using the Tuner To activate the tuner 2 e Press for 1 second 2 Pressing for 1 second C e eh D D will bypass the effects 22 CHRO SS ESE 2 Pressing for 2 seconds will mute the output CHRO To select the tuner type 2 e Turn of the right effect CHROMATIC The chromatic tuner shows the nearest pitch name semitone and how far the input sound is from that pitch
15. 014 This envelope filter has the flavor of a MOOG MF 101 low pass filter and can be set in a wide range Knob1 Freq 0 100 Reso Sets minimum frequency of envelope filter Adjusts the sensitivity of the effect Adjusts the output level Sets effect sensitivity Sets effect resonance VLCTY Sets speed of filter action HPF BPF LPF Chara 2Pole 4Pole Fast Slow Adjusts amount of filter applied Level 0 150 Adjusts the output level his special effect gives the sound a stepped quality Knob1 Knob2 Knob3 0 100 Rate 0 50 D 0 10 Adjusts the intensity of the modulation resonance sound Sets the depth of the modulation Sets the speed of the modulation Shape 0 10 Level 0 150 Adjusts the output level Adjusts the effect envelope OMS SegFLTR The sequence filter has the flavor of a Z Vex Seek Wah Knob1 Knob2 Knob3 Page01 2 8 PTTRN 1 8 Speed 1 50 Adjusts number of sequence steps 0 10 Sets effect pattern Reso 0 10 Sets modulation speed Level 0 150 Knob1 Sets effect resonance MIWA RndmFLIR This filter effect changes character randomly Knob2 Adjusts the output level Knob3 1 50 0 100 Reso 0 10 Sets modulation speed Type HPF BPF LPF Adjusts freq Char
16. Adjusts the output level FS InputMute Knob3 Mix 0 100 P Sets the duration of the reverberations Adjusts the tone Adjusts the amount of effected sound that is mixed with the original sound Adjusts the delay between input of the ae j h level original sound and start of the reverb sound AOUE EOE Knob1 FS InputMute Knob3 Decay 1 30 Mix 0 100 P Sets the duration of the reverberations Adjusts the tone PreD 1 100 Level 0 150 Adjusts the amount of effected sound that is mixed with the original sound Adjusts the delay between input of the E j h level original sound and start of the reverb sound jas ANG SUN JENE This reverb effect simulates the acoustics of a large enclosure such as a sports arena Knob1 Ose Arena Knob3 1 30 Decay Mix 0 100 P Arena Reverb AP ene Sets the duration of the reverberations Adjusts the tone PreD 1 100 Level 0 150 Adjusts the amount of effected sound that is mixed with the original sound Adjusts the delay between input of the es j h level original sound and start of the reverb sound a seoor Knob1 Knob2 Knob3 Decay 1 30 Shape 10 10 DECAY SHAPE Mixo Mix 0 100 P Adjusts the duration of the reverb Adjusts the effect envelope Early Reflection Hie m
17. Dance je J O D N Ballad2 W D on W D on N 1 Sr1 uuuy uu 51 FCC regulation warning for U S A This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna e Increase the separation between the equipment and receiver e Connect the equipment to an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help For EU Countries Declaration of Conformity This product complies with the requirements of EMC Directive 2004 108 EC Low Voltage Directive 2006 95 EC and ErP Directive 2009 125 EC Disposal of Old Electrical amp Electronic Equipment
18. TapGuns For all your stoner rock needs Echo Run A combination of the MATCH 30 Stereo Delay amp Graphic EQ creates a clean dual time delay effect with some edge from the Graphic EQ Great for staccato single note rhythm patterns These added rhythm effects can bring percussive overtones to any idea GetWet Rich and wet Adjust the Time settings for a wide range of lush tones TW LEAD This lead tone uses Two Rock modeling The combination of analog delay and hall reverb harmonizes perfectly Guitar1 amp 2 Who needs another guitar player This patch will fatten things up nicely Crw Solo This patch uses T Scream to add a boost to Diezel Herbert modeling Analog delay is added for a solo sound Aphex In your face stutter effect for percussive attack Try hitting harmonics or single notes to create a digital glitch effect JAZZ BED A combination of Delay Reverb and Comp for complex jazz chord voicings that ring out clear and sustain long Minor SWG This patch uses the Acoustic effect to simulate a Maccaferri type guitar popular in gypsy jazz Use the front humbucker with this one Translator A combination of Cry Step and Air Try playing a continuous funk guitar line The step filter adds an interesting effect when combined with the Auto Wah Starting with a slightly crunchy drive sound chorus is added for flavor to get a sonic character used frequently in funky jazz MetaFlange A combination of
19. Using the uner nean een 22 C v ZOOM CORPORATION Copying or reproduction of this document in whole or in part without permission is prohibited C g e D h D eh lt A D 0 e S Usage and safety precautions SAFETY PRECAUTIONS In this manual symbols are used to highlight warnings and cautions that you must read to prevent accidents The meanings of these symbols are as follows Something that could cause serious injury or death Warning Something that could cause injury or Caution damage to the equipment Other symbols Required mandatory actions S Prohibited actions Operation using an AC adapter Use only a ZOOM AD 16 AC adapter with this unit S Do not use do anything that could exceed the ratings of outlets and other electrical wiring equipment Before using the equipment in a foreign country or other region where the electrical voltage differs from that indicated on the AC adapter always consult with a shop that carries ZOOM products beforehand and use the appropriate AC adapter Operation using batteries Q Use 4 conventional 1 5 volt AA batteries alkaline or nickel metal hydride Read battery warning labels carefully Always close the battery compartment cover when using the unit Alterations S Never open the case or attempt to modify the product Product handling Do not drop bump
20. 0 ms POP eee ee Pe eee eee eee ee eee ees Advanced ZOOM G Series High Performance ASIO Driver Version 1 0 1 0 built 01 24 2011 Copyright c ZOOM Corp 2011 ASIO Technology by Steinberg im aii Continued overleaf To connect this unit to a computer running MacOS X and enable audio input output proceed as follows The installation description uses Mac OS X v10 6 as an example Insert the supplied Sequel LE CD ROM into the CD drive of the Macintosh The contents of the CD ROM appear automatically If nothing happens when you insert the CD ROM double click the Sequel LE2 for Mac OS X icon shown on the desktop 2 Install Sequel LE on the Macintosh When the contents of the CD ROM are shown double click Sequel LE 2 mpkg to install the software x Sequel LE 2 mpkg Connect this unit to the computer using a USB cable AC adapter 6 wy Macintosh _ INPUT jack USB cable Audio system or other hi fi playback equipment This unit or wa OUTPUT jack Batteries NOTE e f 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 e 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 computer screen or unit display In such a cas
21. Adjusts synthesizer sound level Sine Tri SawUp vave SawDn Adjusts level of original sound Tone 0 10 Adjusts the output level Speed 0 100 P Sets waveform Adjusts the tone 076 Z Organ_ This effect simulates an organ sound UPPER LOWER DRY Z Or3an Ulla I esj Knob1 Knob2 Adjusts smoothness of pitch change Knob3 Upper 0 100 0 100 Dry 0 100 Page01 7 Adjusts volume of high frequencies Adjusts volume of low frequencies LPF 0 10 Adjusts level of original sound HPF 0 10 Page02 Adjusts high pass filter cutoff frequency Adjusts low pass filter cutoff frequency Level 0 150 Adjusts the output level NEXT gt gt gt m D 0 eh l lt K D U 3 D eh D 43 Effect Types and Parameters 077 Delay This long delay has a maximum length of 5000 mS Hold InputMute Knob1 Knob2 Knob3 Time 1 5000 FB 0 100 Mix 0 100 P Adjusts the amount of effected sound that is mixed with the original sound HiDMP 0 10 Level 0 150 DELAY Page01 606 gt Sets the delay time Adjusts the feedback amount ti Adjusts the output level This effect simulates a tape echo Changing the Time parameter changes the pitch of the echoes Knob1 Knob2 Knob3 Time 1 2000 FB 0 100 Mix 0 100 Adjusts the amount of effe
22. Extreme Distortion Flanger and Noise Gate provides a brutal high gain distortion with a flanger effect and gate to keep it quiet All around great Hard Rock tone UNDER WATR A combination of Chorus Reverb and Comp Auto Wah for an interesting clean sound for extended chord voicings Police This delay sound was inspired by Walking On The Moon by The Police Nirvana This distortion sound was modeled after the guitar sound of Nirvana s Kurt Cobain The combination of Dist 1 and Chorus represent typical effect settings that he used TriDelay This set up includes tape echo filter delay and mod delay effects You can turn these delay effects on and off as needed or use all three at once if you like PurpleRain This patch is inspired by Prince s Purple Rain The width of the sound that you feel when you play an arpeggio with this patch is from heavy use of the Stereo Delay effect 2000 DRIVE This drive sound uses Marshall JCM2000 modeling This is great for guitars with rear humbucker pickups FlyReverse Stereo chorus and reverse delay are combined for a clean sound 30 CLEAN This clean tone uses Matchless DC30 modeling The bright tone and cabinet resonance are its features peo e o em c ml s e e G ml lt m e Q 2 e m ee amp e e gt o ml e e e e miles e This is a spacey sound realized by combining Z Dream Seq Filter and Stereo Delay effects All you have t
23. being one of legendary guitarist Jimi Hendrix s favorite pieces of gear He combined this FUZZ FACE with his Marshall amps because at the time it was hard to get distorted sound from them The heavy fat low end and the fuzz sound with long sustain are the characteristics of this unit The earliest model used two PNP germanium transistors and was very different in sound from the later models using silicon transistors The model is based on the old Fuzz Face the earliest most sought after version that was released with typical guitar amps When using G3 amp modeling with a guitar amp you should set the OUTPUT item GLOBAL settings appropriately for that amp Some examples along with suitable settings for the guitar amps follow OUTPUT STACK FRONT Marshall JCM 2000 EQUALISATION CLASSIC GAIN channe A g CHANNEL VOLUME GAIN INPUT CLEAN PRESENCE TREBLE MIDDLE BASS EP rn CRUNCH CHA TONE SHIFT OUTPUT COMBO FRONT Fender Twin Reverb 1 2 y y y y BRIGHT 549 624 624 O S NAN A A A A 2 al N 100 N oo N oo N e oO oO NG 6 O 0 Oy NORMAL u VOLUME TREBLE MIDDLE BASS OUTPUT COMBO FRONT Roland JC 120 VOLUME TREBLE MIDDLE OUTPUT STACK POWER AMP Marshall JCM 2000 RETURN POWER AMP FOOTSWITCH CHANNEL REVERB a ff RETURN LEVEL m EFFECTS LOOP mn ON LOOP OUTPUT COMBO POWER AMP Roland JC 120 RETURN POWER AMP LINE OUT CH 2 EFFE
24. distort when the volume is about halfway up and allows a guitarist to get a great crunch tone The cabinet includes two 10 inch Jensen speakers that can output full lows and highs Another characteristic of this amp is the sharp clarity of the sound when chords are played Dist MXR Distortion MXR a company founded in the seventies by two high school students is famous for stomp boxes such as the Dynacomp and Phase 90 In the early days their products were actually built and painted in their garage and set out to dry in the garden As the story goes sometimes small insects would get stuck on the surface and the lot would be shipped out as is The pedals soon gained fame in the seventies but eventually lost their market share to products from large companies like BOSS and others that provided high performance at lower cost MXR disappeared from the scene but in the late eighties Jim Dunlop bought the company and is now producing a number of re issue models This pedal was loved by Randy Rhoads who made its distortion sound The hard edged tone stays detailed when playing fast solos or riffs with the muted lower strings The music of heavy metal and hard rock wouldn t be the same without it There are several versions of this pedal This model is based on the so called Ram s Head from the early seventies characterized by very long sustain and rich distortion canvas Players from the 70 s associated with this sound are Carlos Santan
25. download package for instructions on how to install the driver correctly G Download the latest ASIO driver from the web site of NOTE If the system software is an older version the product may not be recognized properly by the computer It is therefore recommended to always keep the system software updated to the latest version The system software can be downloaded from our web site Insert the supplied Sequel LE CD ROM into the CD 2 drive of the computer and perform the installation steps Insert the CD ROM When the contents of the CD ROM are shown double click Sequel LE2 for Windows and then select Setup exe When the language selection screen appears choose the language to use After making the selection follow the instructions on the screen gt Setup exe HINT If nothing happens when you insert the CD ROM open the Start menu and select Computer My Computer in Windows XP Then double click the Sequel LE 2 for windows CD ROM icon to display the contents of the CD ROM and double click the executable file Setup Setup exe NOTE During the installation of Sequel LE a screen asking about installation of activation software license authentication management software appears Install this software because it is required for registering Sequel LE Connect this unit to the computer using a USB cable AC adapter uitar or other instrument Computer INPUT jack B l This u
26. for country soloing when you need clear attack VX COMBO This crunch sound uses Vox AC30TBX modeling Turn the Stereo Chorus effect on for a wide arpeggio tone SonicFilta A combination of HW Stack and Filter Delay to create a biting Edge type sound but with a great filter effect and lush delay to follow Great for rhythm and chordal soloing TANGERINE This crunch sound uses Orange Graphic 120 modeling The combination of the HD Reverb adds dense reverberations CmpCutting This clean cutting sound combines Comp and Phaser effects Turn the Auto Wah on to add accents to your playing ATCH DRV This drive sound uses Matchless DC30 modeling Turn the Booster ON to crank up the gain even more Standard This Patch combines chorus tape echo and spring reverb effects Add your own favorite drive effect for a setup that is suitable for all kinds of genres Juice Chalk This natural crunch sound adds a detune effect to thicken the sound This patch is perfect for backing parts with power chords This slightly distorted crunch sound has a characteristic mid range This patch stands out for its unique atmosphere and feeling of space Inspired by Kiko Loureiro the guitarist of Angra this lead tone has a great playing feel HeadCrush This drive sound was inspired by Megadeth s Endgame album LstRythm This patch re creates the rhythm guitar sound on Megadeth s My Last Words Surf This is a surf guitar sound
27. is a pitch shifter with little sound variance for monophonic single note playing Knob1 Knob2 Knob3 12 1 0 1 12 24 Adjusts the pitch shift amount in semitones Selecting 0 gives a detuning effect Fine 25 1 0 1 25 Level 0 150 Allows fine adjustment of pitch shift amount in Cent 1 100 semitone steps Shift Tone 0 10 Bal 0 100 P Adjusts the balance between original ashes and effect sounds Adjusts the output level FRED TONE BAL Ring Mod This intelligent pitch shifter outputs the effect sound with the pitch shifted according to scale and key settings Knob1 Knob2 6 5 4 3 m m 3 4 5 6 See Table 2 Scale C C D D E F F G G A A B Key Sets the pitch of the pitch shifted sound added to the original sound 0 10 Sets the tonic root of the sca for pitch shifting Level 0 150 Knob1 Adjusts the output level Knob2 Knob3 0 100 Time 0 50 0 100 effect depth Up Down Sets time before effect starts Tone 0 10 Adjusts the balance between original and effect sounds Level 0 150 Sets direction of pitch bend Adjusts the tone Adjusts the output level This effect produces a metallic ringing s
28. or apply excessive force to the unit Be careful not to allow foreign objects or liquids to enter the unit Operating environment S Do not use in extremely high or low temperatures S Do not use near heaters stoves and other heat sources S Do not use in very high humidity or near splashing water S Do not use in places with excessive vibrations S Do not use in places with excessive dust or sand AC adapter handling Q When disconnecting the AC adapter from an outlet always pull the body of the adapter itself During lightning storms or when not using the unit for a long time disconnect the power plug from the AC outlet Battery handling D Install the batteries with the correct orientation Use a specified battery type Do not mix new and old batteries or different brands or types at the same time When not using the unit for an extended period of time remove the batteries from the unit a If a battery leak should occur wipe the battery compartment and the battery terminals carefully to remove all battery residue Connecting cables with input and output jacks a Always turn the power OFF for all equipment before connecting any cables Always disconnect all connection cables and the AC adapter before moving the unit Volume S Do not use the product at a loud volume for a long time Interference with other electrical equipment In consideration of safety the G amp S has been designed to minimize the emi
29. swapped e Turn O of the right effect v TYPE A PAGE Y TYPE A e The currently active patch cannot be selected as the destination CURRENT PATCH i STORE SWAP AD EXECUTE STORE FD CLEAN CANCEL ANY KEY T BANK e The current setting values 1 P 2 are automatically saved Change the bank 4 To complete patch storing swapping STORE SWAP e Press O I e After COMPLETE appears on the display the store swap patch opens v TYPE A PAGE v TYPE A O EW EE CURRENT PATCH Sie gtr e To cancel this press any STORE SWAP key instead of O COMPLETE FD CLEAN PENE E E 1 2 3 1 2 3 Setting specific patch parameters To activate the TOTAL menu TOTAL TERR e Settings made for total parameters are saved separately for each patch 0 0 0 D land 5 e D 9 D su Fa E oF gt D 3 D eh D 0 14 NOTE e The setting range is 0 120 e To change the overall volume of all patches adjust the master level see page 18 z v TYPE A4 PAGE v TYPE 4 PAGE ENE oam 0 0 su Jra Em O O e e v 4 To change the patch name e Press O of the middle effect PAGE OORO v TYPE A PAGE v TYPE A PAGE NAME EE FE EN EE FE EN FD CLEPN 0 0 0 4 gt SKIP A 2 D eh 5 e D 9 D eh D 3 D eh D Tum to move the cursor v TYPE A
30. uses Class A circuits and hand wiring and no printed circuit boards They lit the fuse for the explosion in interest in boutique amps that continues today The DC 30 as its model name indicates has roots in the VOX AC30 With two channels channel 1 uses two 12AX7 tubes for the preamp while channel 2 uses an EF86 pentode tube to allow the operation of a unique variable tone circuit The power amp uses four EL84 tubes while the rectifier uses a 5AR4 The cabinet contains two specially designed 12 inch Celestion speakers It features a powerful dazzling tone that belies its 30 watt power Governor The Marshall official sales talk for this distortion pedal Guv nor was that you could get the distortion sound of the Marshall amps with this small stomp box Depending on which guitar amps you combine you can actually get the Marshall amps distortion There are two different versions of the Guv nor the Britain made ones from 1988 and the Korean made ones from 1998 This model is based on the original version from 1988 The Guv nor s characteristic feature is the frequency point you can tweak using the TREBLE control Even if you lower this parameter value the sound will get fat instead of dull As you raise the value the sound will get sweeter and clearer FuzzSmile FUZZ FACE was originally released from the Dallas Arbiter company in 1966 encased in a uniquely designed housing that literally looked like a face It was famous for
31. 00 1 2000 Adjusts chorus rate 0 100 Adjusts chorus mix DlyMx 0 100 Adjusts delay time Level 0 150 Knob1 Adjusts delay mix Adjusts the output level Knob3 1 2000 DlyMx 0 100 y time 0 100 Adjusts dela Level 0 150 Adjusts reverb mix Knob1 Adjusts the output level Knob2 Knob3 1 50 ChoMx 0 100 0 100 Adjusts chorus rate Level 0 150 Adjusts chorus mix Adjusts the output level Knob1 Knob2 Knob3 0 100 FIgRt 0 50 ChoMx 0 100 1 50 Adjusts flanger rate Level 0 150 Adjusts vintage chorus mix Adjusts vintage chorus rate Adjusts the output level This simulates a vintage Vox wah pedal Knob2 0 100 Adjusts the mix with the unaffec sound This simulates a vintage CRYBABY wah pedal Knob2 0 100 Adjusts the mix with the unaffec sound NEXT gt gt gt m D 0 eh l lt K D U 3 D eh D 47 m h D 0 ob l lt K D S U 3 D oe D 48 Effect Types and Parameters COLOR TOHE BEHD PDL Pitch IYA PDL MnPit COLOR TOHE BEND FAIMIFit WH Ta
32. 1 10 Sets the depth of the modulation Sets the speed of the modulation Adjusts the sensitivity of the effect Reso 10 1 0 1 10 Level 0 150 PageQ2 i i i ti Adjusts the intensity of the modulation Adjusts the output level resonance 066 This effect automatically adds vibrato Knob1 Knob2 Knob3 Depth 0 100 Rate 0 50 D 0 100 Sets the depth of the modulation Sets the speed of the modulation oT ME Daane DENE EN Orginal and effect sounds 0 10 Level 0 150 Adjusts the output level Knob1 Knob2 m D 0 eh l lt K D S U 3 D eh D 42 Page01 0 100 0 100 060 Adjusts the level of the sound one Adjusts the level of the sound two Adjusts the volume of the unaffec ave g Oct octave below the effect sound octaves below the effect sound Chara 0 100 Tone 0 10 Level 0 150 Adjusts effect character Adjusts the tone Adjusts the output level MA PitchSHFT This effect shifts the pitch up or down Knob1 Knob2 Knob3 m O Tone 0 10 Bal 0 100 GOK Adjusts the pitch shift amount in semitones Adusts ihe tone Adjusts the balance between orig Pitch SHFT Selecting 0 gives a detuning effect J and effect sounds Z Fine 25 1 0 1 25 Level 0 150 Allows fine adjustment of pitch shift amount in Cent 1 100 semitone steps k pis ING Bp evel 069 MonoPitch This
33. 107 types Number of simultaneous effects 3 Number of user banks patches 10 patches x 10 banks H Sampling frequency 44 1kHz A D conversion 24 bit with 128x oversampling F D A conversion 24 bit with 128x oversampling Signal processing 32 bit floating point amp 32 bit fixed point Frequency characteristics 20 20 kHz 1 dB 3 dB 10 kO load Display LCD x3 Input Standard monaural phone jack Rated input level 20dBm Input impedance 1MO ACTIVE PASSIVE switch selectable Output R Standard monaural phone jack Maximum output level Line 5 dBm with output load impedance of 10 kQ or more L Mono Phone Standard stereo phone jack line nheadphones Maximum output level Line 5 dBm with output load impedance of 10 kQ or more Headphones 20 mW 20 mW into 32 0 load Balanced output XLR connector Output impedance 100 0 HOT GND COLD GND 200 O HOT COLD PRE POST switch selectable GND LIFT switch selectable Control input For FP01 FP02 FSO1 S N equivalent input noise 120dB Noise floor residual noise 100dBm Power AC adapter DC9V center minus plug 500 mA ZOOM AD 16 Batteries 6 hours of continuous operation using 4 AA alkaline batteries USB Bus power Dimensions 170mm D x 234mm VW x 54mm H USB USB Audio Weight 1 2kg Options FP01 FP02 expression pedal and FS01 foot switch e OdBm 0 775Vrms 50 Rhythm List GUIDE Pops
34. 3 Depth 0 100 Rate 1 50 Mix 0 100 P Page01 J Sets the depth of the modulation Sets the speed of the modulation pk me amount Bi effected sound that is mixed with the original sound Tone 0 10 Level 0 150 Page02 Adjusts the tone Adjusts the output level NEXT gt gt gt m D 0 eh l lt a D S U 3 D eh D 41 Effect Types and Parameters MEE VinFLNGR This analog flanger sound is similar to an MXR M 117R Knob1 Knob2 Knob3 Depth 0 100 Rate 0 50 D 10 1 0 1 10 Adjusts the intensity of the modulation resonance PreD 0 50 Mix 0 100 Level 0 150 Adjusts the amount of effected sound that is mixed with the original sound Sets the depth of the modulation Sets the speed of the modulation Sets pre delay time of effect sound Adjusts the output level Knob1 Knob2 Knob3 Depth 0 100 Rate 0 50 D 10 1 0 1 10 Adjusts the intensity of the modulation resonance Sets the depth of the modulation Sets the speed of the modulation Adjusts the amount of effected sound that is mixed with the original sound PASA tne OUNPULTEVE Sets pre delay time of effect sound The volume of the effect sound changes according to the input signal level with this dynamic flanger Knob1 Knob2 Knob3 Depth 0 100 Rate 0 50 d 10 1
35. Adjusts the amount of effected sound that is mixed with the original sound OOK PreD HPF 0 10 Adjusts the delay between input of the original sound and start of the reverb sound 090 Hall This reverb effect simulates the acoustics of a concert hall InputMute E Knob1 Knob3 Decay 1 30 Mix 0 100 P HAL faa Page01 Adjusts the amount of effected sound a Sets the duration of the reverberations Adjusts the tone that is mixed with the original sound PreD 1 100 Level 0 150 Page02 j i g Adjusts the delay between input of the Adjusts the output level original sound and start of the reverb sound Adjusts high pass filter cutoff frequency Adjusts the output level CEE As m D 0 eh l lt K D S U 3 D eh D 46 Effect Types and Parameters 091 This reverb effect simulates the acoustics of a room Knob1 InputMute Knob3 Decay 1 30 Mix 0 100 P ROOM L a a tl le Sets the duration of the reverberations Adjusts the tone LI s PreD 1 100 Level 0 150 Adjusts the amount of effected sound that is mixed with the original sound Adjusts the delay between input of the original sound and start of the reverb sound ORPA TiledRoom This reverb effect simulates the acoustics of a tiled room
36. Applicable in European countries with separate collection systems This symbol on the product or on its packaging indicates that this product shall not be treated as household waste Instead it shall be handed over to the applicable collection point for the recycling of electrical and electronic equipment By ensuring this product is disposed of correctly you will help prevent potential negative consequences for the environment and human health which could otherwise be caused by inappropriate waste handling of this product The recycling of materials will help to conserve natural resources For more detailed information about recycling of this product please contact your local city office your household waste disposal service or the shop where you purchased the product ZOOM CORPORATION 4 4 3 Surugadal Kanda Chiyoda ku Tokyo 101 0062 Japan http www zoom co p G3 5000 1 Guitar Effects amp Amp Simulator Comment Patch Name TW Crunch This crunch sound uses modeling of a Two Rock amp The light distortion is perfect for backing parts You can also turn OverDrive ON to get a lead tone with sustain VX DRIVE This cutting sound will remind you of 80s new wave With the sensitivity of the compressor set so that it responds slowly the attack is emphasized more when picking This is perfect for guitars with single coil pickups This drive sound uses Vox AC30TBX modeling and features high frequency characteristic typica
37. CT LOOP R ETURN SEND R L MONO R L MONO LEVEL 4dBm 20dBm When the G3 is connected to an amp s RETURN jack G3 OUTPUT set to a POWER AMP option the guitar amp s volume control will not effect the level of the sound from the G3 Use the G3 s MASTER LEVEL GLOBAL settings to adjust its output volume When using headphones or monitor speakers set OUTPUT to DIRECT 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 USB Sequel LE Startup Guide USB Sequel LE Startup Guide This USB Sequel LE Startup Guide explains how to install Sequel LE on a computer make connections and settings for this unit and perform recording Sequel LE installation gt Connections and preparation Sequel LE installation gt Connections and preparation To connect this unit to a computer running Windows 7 or Windows Vista XP and to enable audio input output proceed as follows The installation description uses Windows 7 as an example ZOOM Corporation http www zoom co jp and install the driver The ASIO driver software is required to enable use of Sequel LE for audio input and output with a computer Refer to the read_me file included in the
38. Guitar Effects amp Amp Simulator OPERATION MANUAL Thank you very much for purchasing the ZOOM 63 Please read this manual carefully to learn about all the functions of the 6 so that you will be able to use it fully for a long time Keep this manual in a convenient place for reference when necessary Contents Usage and safety precautions 2 Using Rhythms 24 Introduction a r aar 3 Using the Looper 26 Terms Used in This Manual 3 Updating the firmware 30 Part NGNE Sasabana Aa adan Ra m uw AEn asec 4 Restoring the 63 to its factory default settingS 31 Turn the power on and play 6 Using Audio Interface Functions 32 Adjusting effects 8 j Effect Types and Parameters 33 Selecting Patches 10 me Troubleshooting 49 Storing Patches 12 Specifications 50 Setting specific patch parameters 14 PADATAN ES Cenere Sa a ia aaa gan aa ana a 51 Changing Various Settings 18
39. O O O Y TYPE A PAGE v TYPE A PAGE v TYPE A PAGE O Patch Nane DZ RIFF 2 3 e When pressing two footswitches at the same time the sound could be affected by the footswitch that is pressed slightly earlier To avoid this do not make sound when switching banks 4 To return to the Home Screens 1 e Press and hold for 1 second ROLIR IHAIRIillillili 000 Noise Gate GAIN TUBE LEVEL Storing Patches The 63 automatically saves settings when parameters are adjusted To store a patch or swap with a different patch STORE SWAP e Press O 00 eh e U D STORE SWAP l e O blinks and the screens appear as below O O O O ORO v TYPE A PAGE v TYPE A PAGE we ATC SELECT LOCATION STORE SWAP AG EXECUTE STORE CANCEL ANY KEY i BANK 2 PATCH To select whether to store or swap the patch e Turn of the left effect Store Swap O OOTO v TYPE A PAGE v TYPE A PAGE oe STORE SWAP STORE EXECUTE STORE EXECUTE STORE CANCEL ANY KEY CANCEL ANY KEY 12 To set where to store or swap the new patch E To change the patch number where stored swapped 2 e Turn of the right effect v TYPE A PAGE 00 we eb D 0 13 v TYPE A PAGE CURRENT PATCH FD CLEAN STORE SWAP EXECUTE STORE CANCEL ANY KEY L BANK Change the patch number E To change the bank where stored
40. Page03 Adjusts volume of super high frequencies Selects cabinet NAYA BG DRIVE The high gain sound of the Mesa Boogie Dual Rectifier red channel Vintage mode Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts tube amp compression Adjusts the output level 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 Adjusts volume of superhigh frequencies Selects cabinet The 3 channel high gain sound of a Diezel Herbert which is a handmade German guitar amplifier that allows control of three independent channels Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 Adjusts the gain Adjusts tube amp compression Adjusts the output level Trebl 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 Page03 Adjusts volume of super high frequencies Selects cabinet Page02 CTED 29 Effect Types and Parameters WM TW ROCK This crunch sound uses the drive channel of a Two Rock Emerald 50 an American boutique amplifier Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 Adjusts the gain Adjusts tube amp compression Adjusts the output level Trebl 0 100 Middl 0 100 Bass 0 100 Adju
41. Playback stops immediately e FINISH Playback stops after the loop plays to its end FADE OUT Playback stops after fading out e Even when set to FINISH or FADE OUT you can stop loop playback immediately by pressing and 2 holding down e To adjust the RHYTHM LEVEL 3 Turn of the right unit C D 5 eh T 3 9 0 30 Updating the firmware To download the latest firmware version Update application e Visit the ZOOM Website http www zoom co p To prepare to update the firmware version e Confirm that the POWER switch is set to OFF PATCH SELECT Y e While pressing both O O connect the unit to a computer using the USB cable ROLIN USB POWER B PATCH SELECT l Y NA OPS a Bu e The VERSION UPDATE screen appears Ready for version update To update the firmware e Launch the version update application on your computer and execute the update NOTE HINT NT e Do not disconnect the USB cable while the e See the ZOOM website for instructions about firmware is being upgraded how to use the application e When the 63 has finished updating COMPLETE appears on the display e Disconnect the USB cable Restoring the 43 to its factory default settings 1 To use the All Initialize function STORE SWAP e While pressing O set the POWER switch to ON STORE SWAP USB POWER D eco 5 ON
42. Speed Bal 0 100 P Adjusts the balance between original and effect sounds DOG THRSH 0 50 Level 0 150 Page02 Adjusts effect threshold Adjusts the output level OLYE Phaser This effect adds a phasing variation to the sound Knob1 Knob2 Knob3 4 STG 8 STG inv 4 inv 8 Sets effect pattern Sets modulation speed 1 50 P Level 0 150 e of the effect type Adjusts the output level Knob1 Knob2 Knob3 0 50 0 100 Bias 0 100 Sets modulation speed Sets the depth of the modulation Adjusts bias of waveform modulation Wave 0 100 Mode VIBRT CHORS Level 0 150 Adjusts modulation waveform Sets effect to vibrato or chorus Adjusts the output level 056 This effect combines two phasers Knob2 Knob3 1 50 SyncA RvrsA Duo Phose CO Adjusts speed of LFO A modulation Adjusts speed of LFO B modulation Adjusts the output level o mlie ResoA 0 10 ResoB 0 10 Link Seri Para STR ee Adjusts resonance of LFO A modulation DPT_A 1 100 DPT_B 1 100 Adjusts depth of LFO A modulation Adjusts depth of LFO B modulation heya WarpPhase This phaser has a one way effect Knob1 Knob2 Knob3 1 50 0 10 Level 0 150 Sets modulation speed Sets effect resonance Adjusts the output level Knob1 Knob3 0 100 Rate 1 50 Mix 0 100 P RateA d Level 0 150
43. a uency range affected 2Pole 4Pole Sets effect resonance Bal 0 100 Sets filter type Level 0 150 Adjusts amount of filter applied Adjusts the balance between original and effect sounds Adjusts the output level Knob1 018 Booster The booster increases signal gain to make the sound more powerful Knob2 Knob3 0 100 0 100 Level 0 150 gain Adjusts the output level Simulation of the Boss OD 1 the compact effect box that was the first to take the overdrive title Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 gain Adjusts the output level NEXT gt gt gt m D 0 eh l lt K D U 3 D eh D 35 m D 0 eh l lt K D S U 3 D eh D 36 Effect Types and Parameters inspired numerous clones 020 T Seream P of the Ibanez TS808 which is loved by many guitarists as a booster and has Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 gain Adjusts the tone Adjusts the output level Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts the tone Adjusts the output level 022 Simulation of the MXR disto
44. a 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 mid range and detailed distortion that maintains presence even when playing chords The result is a wholly unique sound somewhere between distortion and fuzz GreatMuff VX COMBO VOX ACSOTBK Tracing back the long history of VOX one finds that it all began in 1958 under the moniker Jennings Musical Instruments JMI Originally this company built amps in the ten to fifteen watt range but as time went on the demand for higher power amps became stronger It lead to the birth of the famous AC30 The original AC30 had two Alnico Celestion 12 speakers one EF86 tube for preamp section and one EL84 tube for power amp section along with a GZ34 rectifier In the following years musicians wanted even higher gain and VOX responded with the Top Boost unit an add on that was later integrated in the AC30TBX We decided to emulate AC30TBX TANGERINE Orange Graphic 120 Orange was established in London by Clifford Cooper in 1968 Their most famous amp is the Graphic 120 which is noted for not have any writing on the front panel but usesillustrations instead to show all its functions As with many other British amp brands it uses two ECC83 tubes for the preamp and four EL34 tubes for th
45. active pickups Set this to PASSIVE not pushed in if you are directly connecting a guitar with passive pickups PRE POST switch Use this switch to set the point when the signal is output from the BALANCED OUT connector Set it to POST pushed in to output the signal after the 63 effects Set it to PRE not pushed in to output the signal before the GB effects GROUND switch ZOOM AC adapter AD 16 Use this switch to connect or disconnect the FS01 BALANCED OUT connector with the ground Set it to LIFT pushed in to separate the signal path from the grounding pin Set it to CONNECT not pushed in to connect it to the grounding pin sowey Hed Turn the power on and play To turn the power on Lower the amplifiers volume all the way m When using batteries E When using an adapter Insert batteries into the battery Connect the AC adapter and set the compartment POWER switch to ON USB POWER DC 9V eco 500mA g z Fe gt D 6 3 D 3 2 lt Bottom of the unit CONTROL IN USB POWER DC 9V eco 500mA e ON OFF 0 0 USB RED Co Turn the amplifier s power on and raise its volume e POWER switch options U eco If the 63 is not used for about 25 minutes it will be set to standby I The GB will not
46. an be connected to a computer by USB and powered by its USB bus e To monitor the signal of your connected guitar after it has passed through your DAW software set the USB AUDIO MONITOR balance to 100 See page 20 At other settings the signals from the computer and the 63 will be mixed causing the output signal to sound like a flanger effect is being used Effect Types and Parameters Effect type Effect explanation Footswitch function This dynamic delay adjlusts the volume of the effect sound se DynaDelay FS InputMute Knob3 TIME SENSE MIX P i Sense Mix 0 100 I ot 2 Adjusts the amount of effected sour 1 Sie P i n sn that is mixed with the original sound Dyna Delay Level 0 150 Adjusts the output level Tempo synchronization possible icon Pedal control possible icon Parameter explanation E Effect Types and Parameters 001 Comp This compressor in the style of the MXR Dyna Comp Knob1 Knob2 Knob3 Sense 0 10 0 10 Level 0 150 Adjusts the compressor sensitivity Adjusts the tone Adjusts the output level ATTCK Slow Fast Sets compressor attack speed to Fast or Slow Knob1 THRSH 0 50 1 10 Level RockConr THESH PATI LEUEL Sets the level that activates the compressor Adjusts the compression ratio Adjusts the 1 10
47. at is mixed with the original sound Level 0 150 Adjusts the output level This dynamic delay adjusts the volume of the effect sound according to the input signal level Knob1 Knob2 Knob3 TIME SENSE Hix P Time 1 2000 Sense 10 1 1 10 Mix 0 100 P Adjusts the amount of effected sound that is mixed with the original sound InputMute i i Sets the delay time Adjusts the effect sensitivity Dyna Delay FB 0 100 Level 0 150 Adjusts the feedback amount Adjusts the output level MRS FilterDiy This effect filters a delayed sound InputMute Knob1 Knob2 Knob3 Time 1 2000 FB 0 100 Mix 0 100 Adjusts the amount of effected sound that is mixed with the original sound Rate 1 50 0 100 Reso 0 10 Adjusts the intensity of the modulation resonance Le 0 150 Adjusts the output level stem PitchDly This effect applies pitch shift to a delayed sound FS InputMute Knob1 Piich delay i 1 2000 Pitch Sets volume of pitch shift applied to Adjusts the amount of effected sound delayed sou that is mixed with the original sound FB 0 100 Tone 0 10 Level Adjusts the feedback amount Adjusts the tone Adjusts the output level This stereo delay allows the left and right delay times to be FS InoutMute set separately Knob1 Knob3 TimeL 1 2000 Mix 0 100 Ea nam Adjusts delay time of left channel Adjusts delay time of right channel Adjusts the amo
48. be set to standby as long as there is a signal input from a guitar OFF When set to OFF the G3 can be powered from a USB bus by connecting it to a computer s USB port Display information E Home Screens show the current patch SENSE TONE LEVEL A DELAY 66 ss 000 D sss sss 2 z Fe gt D 6 5 o 3 2 lt Wm e m og TEMG Adjusting effects Confirm that the Home screens are shown gt amp 5 D 0 eh e Press and e Turns the effect ON OFF e An effect is ON when its footswitch LED is lit e An effect is OFF when its footswitch LED is not lit To select an effect type e Press O O v TYPE A e The effect type changes Y TYPE A PAGE SENSE TONE LEVEL e See page 33 for information about effect types and parameters n e Adjustments are automatically saved To adjust parameters O O O Y TYPE PAGE e Time rate and some other effect parameters can be set in note durations that are synchronized to the tempo pa AN Time IDB Mix NRA 568 J38 78 To change the page e Press O PAGE e he next page opens HiDMP P P Level 19 MONO 180 Effect processing capacity Pn me ima The allows you to combine three effects as you like However If you combine a effect types that require great amounts of processing power it is possible to exce
49. ble 1 Knob1 Knob2 stele PDL Pitch Use an expression pedal to change the pitch in real time with this effect Knob3 1 9 eae See Table 3 Tonie sa Bend 0 100 Page01 Sets the type of pitch change control with the expression pedal ASER Sets the amount of pitch shift Sets the direction of the pitch change to Up or Down Adjusts the output level Knob1 Knob2 This is a pitch shifter specially for monophonic sound single note playing which allows the pitch to be shifted in real time with the expression pedal Knob3 1 9 oa See Table 3 Tone ae Bend 0 100 Page01 Sets the type of pitch change with the expression pedal Paju E tone Level 0 150 Sets the am ount of pitch shift Mode Up Down Page02 Sets the direction of the pitch change to Up or Down Adjusts the output level Type Modeled cabinet and speakers FD COMBO 2x12 Fender Twin Reverb 65 cabinet with 2x12 inch Jensen speakers VX COMBO 2x12 Vox AC30 cabinet with 2x12 inch Celestion Alnico speakers US BLUES 4x10 Fender Tweed Bassman cabinet with 4x10 inch Jensen speakers BG CRUNCH 1x12 Mesa Boogie MkIll cabinet with 1x12 inch Electro Voice speaker HW STACK 4x12 Hiwatt Custom 100 cabinet with 4x12 inch Fane speakers TANGERINE 4x12 Orange Graphic 120 cabinet with 4x12 inch Celestion s
50. cted sound that is mixed with the original sound InputMute Sets the delay time Adjusts the feedback amount 0 10 Level 0 150 InputMute Knob1 Knob2 Knob3 Time 1 2000 FB 0 100 i 0 100 E Modeny 5 FE Adjusts the amount of effected sound a Sets the delay time Adjusts the feedback amount that is mixed with the original sound Ld Ld 1 50 P Level 0 150 Sets the speed of the modulation Adjusts the output level m m D 0 eh l lt K D S U 3 D eh D a4 This analog delay simulation has a long delay with a maximum length of 5000 mS Knob1 Knob2 Knob3 1 5000 FB 0 100 Mix 0 100 P Hold InoutMute Adjusts the amount of effected sound i U a that is mixed with the original sound Adjusts the output level FS Hold InputMute Knob1 Knob2 Knob3 Time 10 2500 0 100 Bal 0 100 P Adjusts the balance between original Sets the delay time Adjusts the feedback amount and er Sor sounds 0 10 Level 0 150 Adjusts the output level InputMute Knob1 Knob2 Knob3 Mulli Tap Delay i 1 3000 PTTRN 1 8 Mix 0 100 TIME PITRH MIX Sets the tap pattern which varies from Adjusts the amount of effected sound rhythmical to random patterns th
51. d through extensive research of vintage amps combines both the modern and the sublime sound of vintage amps The Emerald 50 is a 50 watt amp with two channels The clean channel has a beautiful clean tone that resembles a Fender and the lead channel allows you to get an extended tone with sustain This high end amp with point to point wiring is appreciated by many guitarists who are particular about their sound T Scream Ibanez TS808 This modeled is the early Tube Screamer that was introduced by Ibanez in 1979 for the non US market In Japan it was sold under the MAXON name as the OD808 As the moniker implies when using the pedal on its own it produces natural distortion such as when driving a tube amp hard But it often was used simply as a booster with gain at 0 and volume at 10 to drive an amp up even further Normally this would not change the tone of the amp but a slight peak in the mid range gives an overall softer tone This pedal is also famous for being used by blues guitar legend Stevie Ray Vaughan PROCO RAT This is one of the most widely used pedals It has only three knobs Distortion Filter Volume but each knob has a wide adjustment range allowing for a variety of sound types With the distortion turned all the way up the fat up front sound is similar to a Fuzz pedal At the twelve o clock position it gets crunchy and brings out fine picking nuances allowing the player to tweak the sound by varying the playing s
52. e power the device from an AC adapter e 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 AND Audio Devices Built in Input ZOOM G Series eda das Clock source Default a Built in Output NA nak Input Qutput Digi CoreAudio Device Source Default inj out Format 44100 0 Hz 2ch 16bit J Ch Volume Value dB Mute M O 1 qn 1 00 0 00 2 F B 100 0 00 m Configure Speakers If another item is selected select the ZOOM G Series After confirming the setting quit Audio MIDI Setup Audio Connection To launch Sequel LE click Sequel LE icon in the Applications folder After Sequel LE starts click the button in the bottom left corner of the Multi Zone area of the Sequel window to open the settings page Click the Audio Connection item and select ZOOM G series from the pop up menu When you change the driver a confirmation window will appear Cl
53. e power amp The character of it output tone however is quite different from other British amps Many guitarists of memorable bands have used its unique crunch sound with strong cabinet resonance Even now young musicians also love it and its unique covering of orange Tolex DZ DRIVE This modern three channel amp features great tonal versatility ranging from a clean tone to heavy distortion In particular the extremely dry and gritty distortion produced by channel 3 gives a piercing effect that is hard to produce with any other amp It is a favorite of Heavy Rock bands such as Metallica and Slipknot The uncluttered sound compliments the tones of a tuned down guitar A DEEP control allows further boosting of the bass frequencies for an extremely low sound OverDrive BOSS 0D 1 The OD 1 released by BOSS in 1977 was originally developed to simulate the natural overdrive sound of tube amplifiers but this stomp box turned out to be popular as a booster used in front of the real tube amplifier to get tighter and more punchy sound with increased gain The OD 1 employs an asymmetrical clipper section in its circuit design that uses three diodes to create the overdrive sound that both mild and rich in nuances If you are lucky enough to hear the sound of the real OD 1 we invite you to try a blind test to turn off all of the effect modules except the OD 1 and compare the sound of this modeling and that of the real one We b
54. e up hard a E feT Ts s s s s s s s s e s s e e SIs e s s es e s Ss Ts e s s s s s S s e s Ts When trying preset patches with a guitar amp refer to the Recommended settings for use with typical guitar amps on the back of this page Manufacturer names and product names mentioned in this patch list are trademarks or registered trademarks of their respective owners and do not indicate any affiliation with ZOOM CORPORATION All product and artist names are intended only to illustrate sonic characteristics that were used as reference in the development of this product Patch Name Comment Automatic This patch uses the Slicer to generate an automatic backing rhythm This is a great sound for playing guitar along to electro style dance music RETRO LEAD Combination of BG Crunch OverDrive and Air Clear lead tone with all the sustain and none of the fuzz Z Z This crunch sound was inspired by ZZ Top s Doubleback Try it with a guitar that has humbucker pickups Nash UK This is a country sound that uses the modeled sound of the British Vox AC30TBX amp Perfect with a Telecaster YngDrive This shred tone is inspired by Yngwie Run up a harmonic minor scale on a Strat with this one RECT DRIVE This high gain sound uses Mesa Boogie Dual Rectifier modeling An optimal gain setting and the Hall Reverb produce a sound that is excellent for riffing TnSpank The sound is good
55. econd model the Mark II had lead and rhythm channels and a 4 band EQ to give wider variety of tone Until the model Mark Il MESA BOOGIE amps were quite expensive hand made amplifiers but the next model the Mark IlI was more affordable It had one 12 loudspeaker and 60 watt of power but retained all of the classic BOOGIE features simul power circuitry the graphic EQ and three Rhythm1 Rhythm2 and Lead separate channels We emulated this famous combo amp Mark III MS DRIVE Marshall JEM2000 JCM2000 is based on the PLEXI amp aka Old Marshall whose rich overtones and powerful sound were legendary It has very a flexible sound and can produce the traditional Marshall sound modern heavy metal sound or sounds suitable for many musical genres It has a modern Marshall s standard circuit with four ECC83 tubes in the preamp section and four EL34 tubes for the power section It is an all tube amplifier that can produce clean or heavily distorted sound and can be used in all kinds of musical situations The sound is rather grainy but the response is fast and the guitar cuts through the mix very well JCM2000 series has two different models the TSL and the DSL We decided to emulate DSL 100 for this one We combined this amplifier with a 1960A cabinet and used the Lead channel that has more distortion MATCH30O MATCHLESS DC30 Matchless which appeared in the late 1980s with a focus on excellence
56. ect sends the sound left and right DZ DRIVE This high gain sound uses Diezel Herbert amp modeling By setting the ZNR DETECT parameter to GtrIn unnecessary noise is shut out MuffDrive Great Muff for monstrous riffs with monstrous loads of gain and sustain Adjust the Room Reverb for a more spacious beast NiceMiddle By adding the distortion of the T Scream amp model a dense mid range tone suitable for soloing is produced This twangy crunch sound uses Fender Twin Reverb modeling By putting the Spring Reverb before the amp the reverberations are also slightly distorted Heavy Noisy midrange distortion Great for getting on top of a mix if you need to get rowdy and obnoxious Tsugaru By using the pitch shifting of the Bend Chorus effect a sound reminiscent of the traditional Japanese Tsugaru Shamisen is generated To maximize this similarity use the rear pickup on a guitar with single coil pickups and pick eighth notes with downward strokes TIME BOMB Combination of Comp T Scream and Tangerine A vintage amp on the verge of exploding Great for aggressive rhythms or solos Luscious A combination of the Acoustic Arena Reverb and Filter Delay creates a beautiful acoustic sound with a great luscious reverb that swallows you whole and a Filter Delay to give some depth to the sound Glam Rock This patch uses Orange Graphic 120 modeling to capture a glam rock sound Two Booster effects jack the mid rang
57. ed the processing capacity of the 63 If the processing required for the effect exceeds the capacity of the amp 3 THRU is shown over the effect graphic and the effect is bypassed This can be avoided by changing one or more of the effect types e Amp models and the HD Reverb effect require great amounts of processing e An effect requires the same amount of processing power whether it is on or off gt amp e D 0 eh 6 Selecting Patches Confirm that the Home display is shown e U eh gt 0 10 1 To activate patch selection l e Press and Hold for 1 second to activate patch selection e he screens show the patch bank number and name v TYPE A PAGE O TYPE O Q TYPE Q mel E aa HOME To change the patch 2 e Press to select the next lower patch 3 e Press to select the next higher patch 2 e Turn of the middle effect e The patch number and name changes v TYPE A PAGE O TYPE O o O TYPE o Patch Name U Ka FOR MS LEAD l eat iii AA HOME R LH SG OO _ 1 1 2 3 To change the bank l 2 e Press and at the same time to select the next lower bank 2 3 e Press and at the same time to select the next higher bank e Turn 6 the middle effect 5 e U eh 11 e The patch bank and name changes O O O
58. elieve that you will not hear a difference Dist 1 BOSS DS 1 This orange colored pedal can be called the standard of distortion sound Among the many distortion pedals from BOSS it is a big seller along with the SD 1 In Japan sales of the pedal ceased at one point although production for the U S market continued but as of 2005 the product is available again This was the only BOSS pedal to be reintroduced to the market in this fashion The sound is trebly and very distortion like but it can hold its own in a band This pedal was favored by Joe Satriani and Nirvana s Kurt Cobain MetalWRLD BOSS MT 2 The MT 2 METAL ZONE has the most intense distortion of lot Its unique distortion sound has very fat mid to low range and it has a parametric EQ in addition to the Hi and Low EQ which is the key to the scooped metal sound This stomp box is reputed for its flexibility in sound because you can not only get that scooped metal sound by cutting the mid range and boosting the high and low range but also the overdrive sound by reducing the gain and boosting the mid range This is one of the best selling stomp boxes among many of the popular line ups of BOSS products Once connected a Strat or Les Paul will have the MT 2 sound regardless of the types of guitar pickups It was first introduced in 1991 and is still in the BOSS s catalog today US BLUES When it first came out in 1951 the BASSMAN had an output of 26 wa
59. ick the Switch button O Launch Sequel LE and set ZOOM G Series as the Pilot Z rea a Arrange Zone Output Selector Record Format Next click the Setup button to open a window where you can set the latency buffer size of the driver Set the latency as low as possible without causing the sound to drop out during recording and playback Man O CoreAudio Device Settings ZOOM G Series 256 Samples J Buffer Size Use CoreAudio Channel Names Version 1 1 0 121 Open Config App Continued overleaf Sequel LE Starting Manual G E 1 Continued from front O Select New Project from the Project menu This will close the currently open project and create a new empty project file If the currently open file has been changed a message appears asking if you want to save it or not File menu Menus on Windows version Project menu Edit menu Untitled In the Mac OS X version the File Project and Edit menus appear at the upper left corner of the screen SequelLE File Project Edit NOTE After installing Sequel LE the first time you launch it a demo project is automatically opened Even after creating a new project you can open this demo project again any time by using Open Project from the Project menu QO Add an audio track 1 Click the Add New Track button at the top of the track list Add New Track 2 Click the Audio button at the to
60. it NOTE e The setting range is 0 100 CED 27 Using the Looper To overdub a recorded loop E To start overdubbing I e During loop playback press Playing Overdubbing C gt e eh D Y TYPE A Y TYPE PAGE 28 E To end overdubbing 1 e Press again Overdubbing Playing v TYPE A v TYPE A Press PLAY g Hold To stop loop playback 8 To erase the loop 2 2 e Press l e Press for 1 second O O e CLEAR appears on the display v TYPE A PAGE PLAY L 2 3 9 To return to the Home Screens 3 Pees cai a SE ne You can return to the Home Screens while the loop is playing e Returning to the Home Screens will not erase the loop e Turning the power OFF will erase the loop Cc a Q ot gt s 29 To change the Looper settings e Press O of the right unit PAGE D OORO v TYPE A OTORO v TYPE A PAGE e To activate the Undo function 1 Turn of the right unit When Undo is ON the maximum loop recording time is limited to 20 seconds se U US et weet eee ene TE SE a KA U 1 e When Undo is ON you can cancel the last overdubbing by pressing for 1 second After undoing you can also redo by pressing for 1 second again restoring the last overdubbing e To select the STOP MODE STOP MODE How loop playback stops Turn of the right unit STOP
61. justs tube amp compression Adjusts the output level T 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 e of superhigh frequencies Selects cabinet Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 Adjusts the gain Adjusts tube amp compression Adjusts the output level Pr l l Par 9 GAIN TURE LEVEL Trebl 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 e of superhigh frequencies Selects cabinet Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 m D 0 eh lt a D S U 3 D eh D Adjusts tube amp compression Adjusts the output level T 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 gt Adjusts volume of superhigh frequencies Selects cabinet Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts tube amp compression Adjusts the output level Trebl 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1
62. k soloing When playing long chords this filtered sound is like bubbles that appear and soon fade away creating a dreamlike comfortable feeling Percussive and melodic mono synth with a bit of flange to spice it up SHIMMR MAN Combination of Acoustic Rack Comp and HD Reverb Shimmering clean chords ring out with acoustic guitar like qualities Destroyer WARNING WARNING Explosive sound using Bomber effect USE AT YOUR OWN RISK STRT SHRED Combination of OverDrive Stereo Delay and Tangerine This tone is designed for fast leads and sweeping arpeggios with a touch of delay A combination of Flanger Vintage Chorus Delay Reverb and the Rack Comp that produces a very lush clean flanging effect with reverb delay and nice compression Great for spacious type clean passages Welcome to Space Try single note combinations and hear the planets collide FuzzLead This fuzz tone provides a strong lead tone whether you are using a guitar with single coil or humbucker pickups FD CLEAN Church Fender Twin Reverb modeling is used for this clean sound Turn the tremolo on to get the vibrato effect of the Twin Reverb Spacious Organ overtones for a wide ambient soundscape The Air effect contributes to a solo sound that adds a reverberation like that of a wind instrument This patch is good for legato style playing This is a dotted eighth note delay sound like that employed by U2 s guitarist The Edge The Stereo Delay eff
63. l of alnico speakers JB Talk This is a re creation of the talking modulator sound that can be heard on Jeff Beck s rendition of Superstition MS FULLUP This is a re creation of the sound of the universally loved vintage Marshall amp set to full up Compared to modern high gain amps this sound features a unique saturation This combination of slow attack and stereo delay effects give guitar chords the beautiful sound of a string section Play long chords slowly with this one Starting with a tone that stands out well the combination of short and long delays provides an elegant sound for soloing Super Dry By setting the threshold of the Noise Gate rather high the sonic waves seem like they are being cut off in this echoless riffing sound HW STACK This crunch sound uses Hiwatt Custom 100 modeling This patch is great for use with humbucker pickups Horizons A combination of Acoustic Chorus and Delayt Reverb provides a beautiful acoustic guitar simulation with a warm lush chorus delay and reverb that smooths out every passage Great for acoustic rhythm and leads This drive sound is like the one used by Kiko Loureiro playing lead in Angra The key is the use of a small amount of delay This sound is perfect for percussive 16th note muted backing parts The keys are the compressor that brings outs the attack and the movement of the phaser This sound is based on the Marshall JTM45 and combines modeling of a Ba
64. ms To activate a rhythm RHYTHM e Press O e he rhythm pattern starts to play automatically and the rhythm setting screens open C gt 5 e ad gt lt eh 3 24 Y TYPE PAGE Y TYPE PAGE MEMBRHYTHM PATTERN 1 TEMPO GUIDE e You can use a rhythm pattern while using the looper To select the rhythm pattern e Turn of the left effect Q NOTE T RHY THM PATTERN e See page 51 for types of patterns GUIDE 8 p m To PATCH 4 To adjust the rhythm level of the right effect O TYPE O O NOTE M To HOME 2 3 C 5 e ad lt eh 3 25 6 To complete setting the rhythm E The rhythm stops and the previous screen reappears RHYTHM gt H e Press O E To select a patch and keep the rhythm playing 2 e Press l E To return to the Home Screens and keep the rhythm playing 3 e Press Using the Looper To activate the Looper 3 e Press for 1 second OF 207 OFF S oO v TYPE A v TYPE A PAGE REC 2 C gt Q eh gt D 26 To set the recording time e urn on the left unit Manual O Use the footswitch to start and stop recording v TYPE A PAGE Note mark EE Manual Set the recording time by setting the tempo and the number of uarter notes gy FEU 2 e The looper can record 1 5 40 seconds 20 seconds when UNDO is enabled
65. munications Playback ounds Communications Select a playback device below to modify its settings xa Ki Sound pes Select a recordina device below to modify its settings In the Sound window verify that ZOOM G Series Audio 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 Launch Sequel LE and select ZOOM G Series ASIO as the ASIO driver To start Sequel LE double click the Sequel LE shortcut icon that was created on the desktop After Sequel LE starts click the button in the bottom left corner of the Multi Zone area of the Sequel window to open the settings page Click the Audio Connection item and select ZOOM G series ASIO from the pop up menu When you change the ASIO driver a confirmation window will appear Click the Switch button 1200 44 Pilot Zone P Arrange Zone Output Selector Record For Next click the Setup button to open a window where you can set the latency of the ASIO driver Set the latency as low as possible without causing the sound to drop out during recording and playback _ ZOOM G Series Audio Driver Control Panel J oj xj z r ASIO Setting OOM G Series Audio Latency 5
66. n the high gain brilliant channel slight distortion is possible by connecting a guitar with a high output pickup such as a Les Paul But the sound always remains detailed and transparent allowing the listener to clearly pick out the individual notes that make up a chord MESA BOOGIE Dual Rectifier This modeling is based on Mesa Boogie Dual Rectifier which has five 12AX7 tubes in the preamp section and four 6L6GC tubes in the power amp section the amp produces 100 watts of power Unlike the Mark series this model gives more priority to the tone shaping it features a tone control circuit after the volume control After this model hit the scene the Mesa Boogie brand image changed from Fusion to Metal The distinguishing feature of this amplifier and its namesake is of course the rectifier The sound provided by this modeling is based on the Dual Rectifier which has two rectifier circuits one of which is tube based and one configured with silicone diodes The diodes create a tight high powered sound while the tube sound is more soft and warm BG DRIVE FD VIBRO This model was created in during a transition period before all Fender amp panels became black in the late 1960s beginning in 1964 Called the Brown face this model has a characteristic full tone that is different from the black panel models The preamp uses five 12AX7 and one 12AT7 for a total of six tubes while the power uses two 6L6GC tubes The sound begins to
67. ng effect must also be ON e See Effect types and parameters for details about the parameters that can be assigned for each effect em e v TYPE A PAGE BYPASS MUTE Sets the effect to bypass or mute TAP TEMPO Press the footswitch repeatedly at the desired tempo to set the tempo used for rhythms the looper and effects NO ASSIGN No function is assigned to the footswitch Te edt TONG Gg TOTAL e Press O D eh 5 e D 9 0 D eh g D o 3 eh D 0 17 Changing Various Settings To activate the GLOBAL menu GLOBAL eit v TYPE A PAGE v TYPE A PAGE NOTE e Global parameter settings affect all patches v TYPE A PAGE ASTERIO ZA LEVEL TEMPO OUTPUT 106 126 DIRECT A ALKA N N e IN LINE UU nner NM Ea Ea EE FA eo 0FF Ea MASTER 1 2 3 BATTERY USB AUDIO VERSION ATTER SB AUDIO CIL LIGHT TYPE LEVEL MONITOR REC GAIN ON 38 dB gt D 5 e S D z e 18 NOTE e The setting range is 0 120 To set the master tempo 2 e The setting range is 40 250 e This tempo setting is used by every effect rhythms and the looper E Setting the tempo by tapping TAP e Press O two or more times at the desired tempo iT ee TAP TAP TAP e You can also set the tempo using an FS01 footswitch sold separately See page 17
68. nit _USBecable Audio system or other hi fi playback equipment lt S OUTPUT jack Batteries NOTE e f 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 e 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 computer screen or unit display In such a case power the device from an AC adapter e 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 e No special steps are necessary for canceling the USB connection Simply disconnect the USB cable from the computer e When you connect this unit for the first time to a computer running Windows 7 a message saying New Hardware Found will appear Before proceeding wait a while until this message disappears Bring up the Sound window from the Control Panel and make the input device setting for the computer To bring up the Sound window select Control Panel from the Start menu and click Hardware and Sound then click Sound Sound Playback Jecording sounds Com
69. o do to make music with this patch is turn the volume up on your guitar G3 PatchList E 1 Modeling Description Reference for drive effect types and its original models FD COMBO Fender Twin Reverb 65 This amp modeling is based on the pre CBS Twin Reverb from 1965 aka Blackface This amp has four 7025 12AX7 one 12AX7 and two 12AT7 total of 7 tubes for preamp section and four 6L6GC tubes for power amp section and silicon diodes for the rectifier circuit The amp incorporates a diode rectifier which is believed to give a tighter sound to than a tube rectifier does this is the reason for this characteristic glittering sound of this Twin Reverb The original amp has two 12 loudspeakers by Jensen and 80 watts of output power HW STACK HIWATT Custom 100 The Custom 100 was the flagship amp from HIWATT a British manufacturer that ranks with Marshall among the British legends Vintage HIWATT amplifiers which were made before the mid 1980s used high graded military spec parts and hand soldered point to point wiring Their sound was the epitome of clean The pre stage tubes were ECC83 the power tubes were the same EL34s as used by Marshall Unlike the glittering clean sound of a Fender amp the clean sound of a HIWATT is darker having that characteristic British tone Especially in the normal channel turning up the volume to maximum will simply increase the sound pressure without breakup or loss of detail I
70. o sound or very low volume e Check the connections P4 6 e Adjust the patch level gt P14 e Adjust the master level P18 eWhen adjusting the volume with an expression pedal make sure that a suitable volume setting has been set with the pedal e Confirm that unit is not in mute mode P22 e The unit might have switched to standby to save power P6 In standby audio input and output are disabled There is a lot of noise e Check the shielded cables that you are using for defects e Use only a genuine ZOOM AC adapter The sound distorts strangely has an odd timbre e Set the OUTPUT parameter according to the output equipment e Set the Active Passive switch according to the type of guitar pickups or the device connected directly to the GB An effect is not working If the effect processing capacity is exceeded THRU appears on the effect graphic In this case the effect is bypassed The expression pedal is not working well Check the expression pedal settings P 16 The recorded level in a DAW is low Check the recording level setting P21 Batteries lose their charge quickly e Are you using manganese batteries Alkaline batteries should provide 6 hours of operation e Check the battery setting P20 Set the type of battery being used for a more accurate display of the remaining charge D gt 6 e 49 Specifications Effect types
71. ound Adjusting the Freq parameter results in a drastic change of sound character Knob1 Knob2 Knob3 Freq 1 50 0 10 Bal 0 100 Page01 I Sets the frequency of the modulation Adjusts the tone Adjusts the balance between orig and effect sounds Level 0 150 Page02 Adjusts the output level 073 This effect creates a lo fi sound BIT SMPLNG BAL eeu Bit Crush Mush Knob1 Knob2 Knob3 Bit 4 16 SMPL 0 50 0 100 Page01 Sets bit depth Sets sampling rate Level 0 150 Adjusts the balance between original and effect sounds Tone 0 10 Page02 Adjusts the tone Adjusts the output level 074 Bomber This effect produces an explosive sound when picking Knob1 Knob2 FS Trigger HndGn Arm i Bomb Thndr Decay 1 100 Sets type of effect sound THRSH 0 50 Sets length of reverberations Adjusts the balance between original and effect sounds Adjusts effect threshold 0 150 Level Power 0 30 Tone 0 10 Adjusts strength of explosive sound Adjusts the tone Page03 Adjusts the output level This effect produces the sound of a monophonic single note playing guitar synthesizer that detects the pitch of the input signal Knob1 Knob2 Knob3 Synth 0 100 Dry 0 100 Level 0 150
72. p of the dialog shown 3 Select empty at the top of the Name list and click the OK button to add an audio track to the project Add New Track Text Filter P Audio Category Name 70 s Funky Phaser Bass Bright Bass Bass Easy Bass Bass Synth Phaser Bizarreflanger Bluesman Brass Funky Brass Section Cancel 4 Double click the track name if you want to edit it Input Guitar here for this example Set the recording level Use the track Volume slider to adjust the input volume of the track so that distortion does not occur during recording Turn the Record Ready button on for the added track so that you can hear the sound of the instrument input on that track The level meter to the right of the track setting area moves in response to the input Track volume Track meter Guitar Record Ready Allows recording to take place on this track HINT In order to record with better sound quality adjust the volume so that it is as loud as possible without the signal distorting NOTE e While a track is record ready the signal input to this audio interface is output directly and the same signal is also output after it passes through the computer once resulting in a flanger like sound To avoid this set the USB level of the interface all the way to DAW e The meter above shows the signal level after processing with Sequel LE For this reason after
73. peakers MS CRUNCH 4x12 Marshall 1959 cabinet with 4x12 inch Celestion speakers MS DRIVE 4x12 Marshall JCM2000 cabinet with 4x12 inch Celestion speakers BG DRIVE 4x12 Mesa Boogie Dual Rectifier cabinet with 4x12 inch Celestion speakers DZ DRIVE 4x12 Diezel Herbert cabinet with 4x12 inch Celestion speakers TW ROCK 1x12 Two Rock Emerald 50 cabinet with 1x12 inch Fane speaker MATCH 30 2x12 Matchless DC30 cabinet with 2x12 inch Celestion speakers FD VIBRO 2x10 Fender Vibroverb 63 cabinet with 2x10 inch Jensen speakers OFF No cabinet used Mi Table 2 Setting Scale used Interval Setting Scale used Interval _6 6th down 3rd up 5 f 5th down 4 f 4th up 4 Marar 4th down 5 Major 5th up 3 3rd down 6 6th up m Minor 3rd down m 3rd up Hi Table 3 Color lt lt Pedal min Pedal max Color lt lt Pedal min Pedal max 1 octave 1 octave original 1 octave original 2 octaves 700 cents original 500 cents original 100 cents Doubling Detuned original 2 octave co 0 Hz original 1 octave original Troubleshooting The unit will not turn ON e Confirm that the POWER switch is set to ON When using bus power confirm that the switch is OFF before connecting the USB cable e When using batteries confirm that they are still charged N
74. playing the guitar or other instrument a slight delay might occur before the level meter moves Use Sequel LE to record Windows MacOS X Record to a track 1 Press to return to the beginning of the track before starting recording 2 Atthe right side of the Pilot Zone are several buttons used for recording playback and other controls Among these the second one from the right is the Cycle button Confirm that this button is OFF same color as other buttons pay P gt imi Qai 10 11 12 13 Ty 3 Click the Record button to start recording Recording will start after a two bar pre count L simssicm Untitled 4 After you are done performing press the space key on the computer keyboard to stop recording 10 Check the recording Start playback You can start playback in Sequel using one of the following methods e Click the Play button e Press the space key on the computer keyboard The space key can be used alternately to start and stop playback e Press the Enter key on the computer keyboard numerical keypad e Double click the bottom half of the ruler at the top of the Arrange Zone Stop playback You can stop playback using one of the following methods e Click the Play button during playback e Press the space key on the computer keyboard e Press the 0 key on the computer keyboard numerical keypad For optimum enjoyment While using Sequel LE other a
75. pplications 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 Sequel LE 1 Shut down other applications besides Sequel LE In particular check for resident software and other utilities 2 Reduce plug ins effects instruments used by Sequel 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 3 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 Sequel LE Then reconnect the USB cable and start Sequel LE again
76. rtion effect that made distortion popular worldwide Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts the tone Adjusts the output level 023 Simulation of the Boss DS 1 distortion pedal which has been a long seller Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts the tone Adjusts the output level 024 Simulation of the popular Pro Co Rat famous for its edgy distortion sound Knob1 Knob2 Knob3 CAIN TONE LEVEL 0 100 0 100 Level 0 150 gain Adjusts the output level Simulation of the Fuzz Face which has made rock history with its humorous panel design and smashing sound Knob1 0 100 0 100 Level 0 150 war ee FuzzSnile gain Adjusts the output level Simulation of the Electro Harmonix Big Muff which is loved by famous artists around the world for its fat sweet fuzz sound Knob1 0 100 0 100 Level 0 150 gain Adjusts the output level Simulation of the Boss Metal Zone which is characterized by long sustain and a powerful lower midrange Knob1 Gain 0 100 0 100 Level 0 150 gain Adjusts the output level a aaa Ngga KA
77. s Use patches to recall and save effects The 63 can store 100 patches Bank A set of 10 patches is called a bank The 63 has 10 banks labeled A J eh 0 Si D 3 G C D l lt S D souwey Hed Part Names Top Panel TOTAL key RHYTHM b gt ml key TAP key DCIN POWER USB CONTROL IN L OUTPUT R PATCH SELECT RHYTHM v A TAP gt a TOTAL STORE SWAP PATCH SELECT keys I TYPE keys O O O O Q Y TYPE a PAGE v TYPE A PAGE Display 2 WO wO m Rear Panel i INPUT jack INPUT BALANCED OUT OUTPUT PASSIVE PRE CONNECT Fa L MONO mm H E S c ACTIVE POST LIFT GROUND PHONES BALANCED OUT connector OOOO Headphones OUTPUT jack Guitar amplifier STORE SWAP key GLOBAL key BALANCED OUT GLOBAL GC O TYPE O a HOLD FOR LOOPER aO D PAGE keys Parameter knobs 1 3 Foot switches 1 3 POWER eco switch POWER DC 9V eco 500mA r ele L NG 4 USB BUS POWERED kana IN ri USB connector CONTROL IN jack DC9V AC adapter jack ACTIVE PASSIVE switch Use this switch to set the 63 INPUT impedance Set this to ACTIVE pushed in if you have an effect pedal connected between your instrument and the amp 33 or you are directly connecting a guitar with
78. ssion of electromagnetic radiation from the device and to minimize external electromagnetic interference However equipment that is very susceptible to interference or that emits powerful electromagnetic waves could result in interference if placed nearby If this occurs place the 623 and the other device farther apart With any type of electronic device that uses digital control including the G amp S electromagnetic interference could cause malfunction corrupt or destroy data and result in other unexpected trouble Always use caution Cleaning Use a soft cloth to clean the panels of the unit if they become dirty If necessary use a damp cloth that has been wrung out well Never use abrasive cleansers wax or solvents including alcohol benzene and paint thinner Malfunction If the unit becomes broken or malfunctions immediately disconnect the AC adapter turn the power OFF and disconnect other cables Contact the store where you bought the unit or ZOOM service with the following information product model serial number and specific symptoms of failure or malfunction along with your name address and telephone number Copyrights e Windows and Windows Vista are trademarks or registered trademarks of Microsoft e Macintosh and Mac OS are trademarks or registered trademarks of Apple Inc e All other trademarks product names and company names mentioned in this documentation are the property of their respective owners
79. ssman preamp and a Marshall 1960 cabinet MetalChor A combination of Metal World Graphic EQ and Stereo Chorus to create a very big and wide rock sound Great for all rhythm and leads for that huge hard rock tone Fat Boost This fat rhythm tone adds a Booster effect to the Marshall preamp and Bassman cabinet modeling combo Rockabilly The slap delay is strong in this rockabilly sound and the tremolo adds a retro feel DoublePick A punchy aggressive clean sound great for picked chords or palm muted percussive picking MachineGun _ Inspired by Jimi Hendrix s Machine Gun this patch uses The Vibe which is modeled after the Univibe to generate a unique vibrato S R V Fender Bassman modeling is used to get Stevie Ray Vaughan s blues tone 10 inch Ballsy nasty heavy sound from all 10 inches Metal This forceful metal tone brings up the low end The Delay effect is set to ping pong to add stereo width Octo Stomp A combination of Octave Z MP1 and Arena Reverb provides a great heavy tone with a haunting octave effect that lays underneath and a huge reverb that smooths and follows Makes everything sound huge Pure Arp This bright clear arpeggio tone brings out lovely harmonics in a tube amp sound Fix My Wah A combination of Metal world Graphic EQ and Pedal Vox which creates a high gain rock sound with a wah effect that is fixed to one frequency Graphic EQ adds some bite on top Great for roc
80. sts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 Page03 Adjusts volume of super high frequencies Selects cabinet ME MATCH 30 Modeled sound of a DC 30 channel 1 the Matchless flagship combo amp Knob1 Knob2 Knob3 Gain 0 100 0 100 Level 0 150 Adjusts tube amp compression Adjusts the output level 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 Adjusts volume of super high frequencies Selects cabinet Knob1 Knob2 Knob3 0 100 0 100 Level 0 150 Adjusts the gain Adjusts tube amp compression Adjusts the output level Trebl 0 100 Middl 0 100 Bass 0 100 Adjusts volume of high frequencies Adjusts volume of middle frequencies Adjusts volume of low frequencies Prese 0 100 CAB See Table 1 Adjusts volume of superhigh frequencies Selects cabinet Page02 DAIM TUBE LEVEL m h D 0 eh l lt K D S U 3 D eh D 40 Knob1 Knob2 Knob3 0 100 Rate 0 50 D 0 150 DEPTH RATE LEWEL epth of the modulation Adjusts the rate of the modulation Adjusts the output level Trenolo UP 0 UP 9 DWN 0 DWN 9 TRI 0 TRI 9 Knob1 Knob3 1 20
81. tts and used a single Jensen 15 inch speaker After various modifications it reemerged in 1959 with a 50 watt output and four specially designed Jensen 10 inch speakers We emulated the bright channel of the 59 BASSMAN It was introduced at the 1951 NAMM show along with the Precision Bass This amp was originally intended for 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 be used by many musicians today MS CRUNCH Marshall 1959 SuperLead100 This 1959 stack amp that received the nickname PLEXI from the material of its front panel is one of the most famous amplifiers in Rock history Its iconic sound was used on a number of rock albums by many famous guitarists all over the world It is no exaggeration to say that virtually everybody has heard the sound of this amp at least once It uses three ECC83 tubes for the preamp section and four EL34 tubes in the power amp section Two cabinets with four Celestion 12 speakers complete the package to make this epitome of British Rock With the volume full up the aggressive transients and resulting distortion are complemented by smooth harmonics are a guitarist dream TW ROCK Two Rock Emerald 50 After K amp M Analog Designs LLC was founded in 1999 the company built ten amps with the K amp M Analog Designs brand before establishing the TWO ROCK brand Their tone achieve
82. tyle Unlike a regular tone control the filter knob cuts the treble when turned clockwise This is the secret behind the typical RAT sound This model is simulated by the TONE parameter but operation is reversed treble is cut when turned counterclockwise Squeak HotBox MATCHLESS HOT BOK The HOT BOX was released as a pedal preamp bearing the MATCHLESS brand name It uses two 12AX7A tubes for an accurate reproduction of the sound of the MATCHLESS guitar amplifiers It has a compressed sound and a quick response that are distinctive characteristics of tube amps Its sound is fat and cuts through very well Even if you crank up the gain to get a distorted sound you will still retain the nuances of the original guitar tone Although it is categorized as preamp the ideal way to get the best possible sound is to connect it like a regular stomp box to the input of your guitar amp Its design features a case that is polished like a mirror and the MATCHLESS logo lights up when you turn it on This HOT BOX is literally a magic box you can get the signature sound of MATCHLESS amps regardless of the guitar amplifier you connect it to BG CRUNCH MESA BOOGIE Mark Ill The origin of the MESA BOOGIE amplifier wasa modified Fender Princeton Randall Smith an amp tech in San Francisco souped up these small guitar amps to 100 watts of power and sold them to various clients The first model was called Mark The s
83. unt of effected sound ay aE delay that is mixed with the original sound LchFB 0 100 RchFB 0 100 Level 0 150 Adjusts delay feedback of left channel Adjusts delay feedback of right channel Adjusts the output level Padet LchLv 0 100 RchLv 0 100 age I Adjusts delay output of left channel Adjusts delay output of right channel Sets the delay time Adjusts the feedback amount Sets the speed of the modulation Sets the depth of the modulation TIME PITCH Ix ay time m D 0 eh l lt K D U 3 D eh D FS InputMute Knob1 Knob2 Knob3 Time 1 2000 FB 0 100 Mix 0 100 Adjusts the amount of effected sound Sets the delay time Adjusts the feedback amount thats mixed with the origina sena 4 STG 8 STG Rate 1 50 inv 4 inv 8 Level 0 150 Sets the speed of the modulation Sets the tone of the effect type Adjusts the output level InputMute Knob1 Knob2 Knob3 Time 10 1000 25 100 Mix 0 100 Sots Me elay tne that is mixed with the original sound THRSH 0 30 Level 0 150 e 9 Adjusts effect threshold Adjusts the output level FS InputMute Knob3 Decay Mix 0 100 P HD Reverb Sets the duration of the reverberations Adjusts the tone
84. with plenty of reverb The Rack Comp effect gives it a strong attack US BLUES This light blues sound uses Fender Bassman modeling The combination of Air and Room reverb effects yields a three dimensional sound DeepArpe The combination of Chorus and Stereo Chorus effects creates a sound that is great for arpeggios DoubleOD The T Scream is used to make a bedrock sound for backing parts Turn on the OverDrive which is set to provide a boost to get the sustain necessary for a lead part Use the analog delay as you like Guv Boost This crunch sound uses the Governor effect The Z Clean is ready to be used to provide a full range boost You can turn the volume up without changing the gain HotBoxFaze A combination of the Phaser Hot Box and Noise Gate creates a rockin overdriven tone with a great swelling phaser and noise gate to quiet it up Classic in your face Eruption type of solo sound Open Wah Combination of Comb Filter OverDrive and FD Combo Using the comb filter creates the sound of an open wah through a vintage tube combo Try this when overdubbing secondary rhythm guitar tracks RabbitHole Trippy Pitch Delay Great for dark creepy melody lines Sliders A combination of the Bend Chorus Metal World and Noise Gate creates an amazingly different effect of recreating sliding into a note or chord just by striking one note or chord without hand movement SoDumbize Infectious filtered grooves

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