Operation Manual
© ZOOM Corporation
Reproduction of this manual, in whole or in part,
by any means, is prohibited.
Contents
SAFETY PRECAUTIONS Usage Precautions
• High humidity or moisture
• Excessive dust or sand
• Excessive vibration or shock
SAFETY PRECAUTIONS
In this manual, symbols are used to highlight warnings and
cautions for you to read so that accidents can be prevented. The
meanings of these symbols are as follows:
This symbol indicates explanations about dangerous
matters. If users ignore this symbol and handle the
device the wrong way, bodily injury and damage to
the equipment could result.
Caution
Please observe the following safety tips and precautions to
ensure hazard-free use of the G2.
Power requirements
Warning
Since power consumption of this unit is fairly high, we
recommend the use of an AC adapter whenever
possible. When powering the unit from batteries, use
only alkaline types.
SAFETY PRECAUTIONS ...............................................................2
Usage Precautions ........................................................................ 2
Handling
Warning
This symbol indicates explanations about extremely
dangerous matters. If users ignore this symbol and
Warning handle the device the wrong way, serious injury or
death could result.
Caution
SAFETY PRECAUTIONS Usage Precautions ....................... 2
Features................................................................................... 4
Terms Used in This Manual ................................................... 5
Controls and Functions / Connections ................................. 6
Selecting a Patch.................................................................... 8
Using the Tuner .................................................................... 10
Using the Rhythm Function ................................................. 12
Editing a Patch...................................................................... 14
Storing/Copying Patches ..................................................... 16
Using an Optional Foot Switch or Pedal ............................ 18
• Never place objects filled with liquids, such as vases, on
the G2 since this can cause electric shock.
• Do not place naked flame sources, such as lighted candles,
on the G2 since this can cause fire.
• The G2 is a precision instrument. Do not exert undue
pressure on the keys and other controls. Also take care not
to drop the unit, and do not subject it to shock or excessive
pressure.
• Take care that no foreign objects (coins or pins etc.) or
liquids can enter the unit.
Connecting cables and input and output
jacks
Using the foot switch (FS01) .......................................................18
Using the expression pedal (FP01/FP02)................................... 19
You should always turn off the power to the G2 and all
other equipment before connecting or disconnecting
any cables. Also make sure to disconnect all connection
cables and the power cord before moving the G2.
Restoring Factory Defaults .................................................. 20
Linking Effects ...................................................................... 21
Switching between live sound and direct recording sound ......21
Effect Types and Parameters ............................................... 22
Alterations
Warning
How to read the parameter table ...............................................22
Never open the case of the G2 or attempt to modify the
product in any way since this can result in damage to
the unit.
COMP ..................................................................................... 23
WAH/EFX ................................................................................23
ZNR .........................................................................................24
DRIVE ......................................................................................25
EQ ...........................................................................................26
EXTRA EQ/CABI&MIC............................................................. 26
MOD/SFX ................................................................................26
DELAY .....................................................................................29
REVERB ..................................................................................29
CONTROL ............................................................................... 30
[AC adapter operation]
• Be sure to use only an AC adapter which supplies 9 V DC,
300 mA and is equipped with a "center minus" plug
(Zoom AD-0006). The use of an adapter other than the
specified type may damage the unit and pose a safety
hazard.
• Connect the AC adapter only to an AC outlet that supplies
the rated voltage required by the adapter.
• When disconnecting the AC adapter from the AC outlet,
always grasp the adapter itself and do not pull at the cable.
• During lightning or when not using the unit for an
extended period, disconnect the AC adapter from the AC
outlet.
[Battery operation]
• Use four conventional IEC R6 (size AA) batteries
(alkaline).
• The G2 cannot be used for recharging.
• Pay close attention to the labelling of the battery to make
sure you choose the correct type.
• When not using the unit for an extended period, remove
the batteries from the unit.
• If battery leakage has occurred, wipe the battery
compartment and the battery terminals carefully to
remove all remnants of battery fluid.
• While using the unit, the battery compartment cover
should be closed.
Environment
Warning
To prevent the risk of fire, electric shock or
malfunction, avoid using your G2 in environments
where it will be exposed to:
• Extreme temperatures
• Heat sources such as radiators or stoves
2
Volume
Caution
Do not use the G2 at a loud volume for a long time
since this can cause hearing impairment.
Usage Precautions
Specifications ....................................................................... 31
Troubleshooting .................................................................... 31
Electrical interference
For safety considerations, the G2 has been designed to provide
maximum protection against the emission of electromagnetic
radiation from inside the device, and protection from external
interference. However, equipment that is very susceptible to
interference or that emits powerful electromagnetic waves
should not be placed near the G2, as the possibility of
interference cannot be ruled out entirely.
With any type of digital control device, the G2 included,
electromagnetic interference can cause malfunctioning and can
corrupt or destroy data. Care should be taken to minimize the
risk of damage.
Cleaning
Use a soft, dry cloth to clean the G2. If necessary, slightly
moisten the cloth. Do not use abrasive cleanser, wax, or solvents
(such as paint thinner or cleaning alcohol), since these may dull
the finish or damage the surface.
Please keep this manual in a convenient place for
future reference.
ZOOM G2
G2 Preset Pattern .......................................................................Back cover
The FCC regulation warning (for U.S.A.)
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against 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:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver
is connected.
• Consult the dealer or an experienced radio/TV technician for help.
ZOOM G2
3
Features
Terms Used in This Manual
Thank you for selecting the ZOOM G2 (hereafter simply called the "G2"). The G2 is a multi effect
processor with the following features and functions.
This section explains some important terms that are used throughout the G2 documentation.
IN
● Latest processing technology for outstanding performance
96 kHz / 24 bit sampling (with 32 bit internal processing) assures excellent sound quality. Frequency
response remains flat up to 40 kHz, and input-converted signal-to-noise ratio is an amazing 120 dB,
demonstrating the high level of performance achieved by the G2.
● Versatile palette of effects including new creations
Out of a total of 54 effects, up to nine (including ZNR) can be used simultaneously. The high-quality
choices provided by the G2 include distortion effects that simulate the tones of famous amps and effects
pedals, 6-band guitar EQ and delay effects with "hold" controloperated by foot switch.
● Great for live performances and direct recording
The distortion effect module provides two different algorithms for each of its 17 effect types, one for live
performance and one for direct recording. Depending on the on/off setting of the CABINET & MIC
effect which simulates amp cabinet sound and mic characteristics, the most suitable algorithm is
automatically selected, giving you the best sound for any application.
● Integrated rhythm functions and auto-chromatic tuner
A number of rhythm patterns using realistic PCM drum sounds are provided. This is convenient for use
as a metronome during individual practice or to provide a simple rhythm part for a quick session. An
auto-chromatic tuner for guitar is also built right into the unit, allowing you to easily tune your
instrument also at home or on stage.
● Sophisticated user interface
The combination of a rotary type selector and three parameter knobs make the effect editing process
intuitive and quick. The mute interval when switching patches has been reduced to less than 5
milliseconds. Seamless patch changing is now a reality.
● Dual power supply principle allows use anywhere
The G2 can be powered from four IEC R6 (size AA) batteries or an AC adapter. Continuous operating
time on batteries is approximately 7.5 hours with alkaline batteries.
COMP WAH/EFX ZNR DRIVE EQ EXTRA EQ/CABI&MIC MOD/SFX
■ Effect module
As shown in the illustration above, the G2 can be
thought of as a combination of several single effects.
Each such effect is referred to as an effect module. In
addition to modules comprising compressor effects
(COMP), amp simulator/distortion effects (DRIVE),
and modulation/special effects (MOD/SFX), the G2
also provides a module for ZNR (ZOOM Noise
Reduction). Parameters such as effect intensity can
be adjusted for each module individually, and
modules can be switched on and off as desired.
■ Effect type
Within some effect modules, there are several
different effects which are referred to as effect types.
For example, the modulation/SFX effect module
(MOD/SFX) comprises chorus, flanger, pitch shifter,
delay, and other effect types. Only one of these can
be selected at a time.
■ Effect parameter
All effect modules have various parameters that can
be adjusted. These are called effect parameters.
In the G2, effect parameters are adjusted with the
parameter knobs 1 – 3. Similar to the knobs on a
compact effect, these change aspects such as tonal
character and effect intensity. Which parameter is
assigned to each knob depends on the currently
selected effect module and effect type.
Operating the G2 on batteries
1. Turn the G2 over and open the cover
● Easy operation with foot switch and expression pedal
G2
bottom view
An optional foot switch (FS01) or expression pedal (FP01/FP02) can be connected to the CONTROL IN
jack. The foot switch is convenient for quickly switching effect programs, setting the tempo for the
rhythm function, or switching delay hold on and off. The expression pedal can be used to adjust the
volume or the tonal quality of an effect in real time.
Please take the time to read this manual carefully so as to get the most out of the unit and to ensure
optimum performance and reliability.
4
ZOOM G2
■ Patch
In the G2, effect module combinations are stored and
called up in units referred to as patches. A patch
comprises information about the on/off status of each
effect module, about the effect type used in each
module, and about effect parameter settings. The
internal memory of the G2 holds up to 80 patches
(including 40 patches which allow read/write).
■ Bank and area
A group of ten patches is called a bank. The memory
of the G2 comprises a total of eight banks, labelled A
to d and 0 to 3. Banks A – d form the user area
which allows read/write. Banks 0 to 3 are the preset
area containing read-only patches.
The patches within each bank are numbered 0
through 9. To specify a patch of the G2, you use the
format "A1" (patch number 1 from bank A), "06"
(patch number 6 from bank 0), etc.
■ Play mode/edit mode
The internal status of the G2 is referred to as the
operation mode. The two major modes are "play
mode" in which you can select patches and use them
for playing your instrument, and "edit mode" in
which you can modify the effects. The module
selector serves for switching between the play mode
and edit mode.
2. Insert four fresh IEC R6
of the battery compartment on the bottom.
DELAY REVERB OUT
(size AA) batteries.
Four IEC R6
(size AA) batteries
3. Close the cover of
the battery compartment.
Push the cover in until the
latch audibly snaps into
place.
Latch
Insert batteries facing
in alternate directions.
Cover
ZOOM G2
Latch
Use four IEC R6 (size AA) batteries.
Press the latch to release
it and then raise the cover.
When the batteries are getting low, the
indication "bt" appears on the display.
5
Controls and Functions / Connections
Controls and Functions / Connections
Parameter knobs 1 - 3
Top Panel
Module selector
These knobs allow changing the level of effect
parameters or of the overall patch. During rhythm
playback, the knobs let you select a pattern, set the
tempo, and adjust the rhythm volume.
Switches between play mode and edit mode. In edit
mode, the knob selects the module for operation.
BANK [-]/[+] keys
In play mode, the keys serve for directly switching to
the next lower or higher bank.
In edit mode, the keys switch the effect type for the
currently selected module.
RHYTHM [R/P] key
Serves to start/stop rhythm playback.
[TAP] key
Allows manual input of time related effect parameter
values such as delay time, and rhythm pattern tempo.
[STORE] key
Serves for storing edited patches in memory.
Display
[W]/[Q] foot switches
Shows patch numbers, setting values, and other
information about operating the G2.
These switches are used for selecting patches,
switching effect modules on and off, controlling the
tuner, and other functions.
AC adapter
Rear Panel
[DC IN] jack
[INPUT] jack
An AC adapter (ZOOM AD-0006) with a rated
output of 9 volts DC, 300 mA (center minus
plug) can be plugged into this jack.
Serves for connecting the guitar.
Guitar
[OUTPUT/PHONES] jack
[POWER] switch
This stereo phone jack serves for
connection to a guitar amplifier or
recorder. It is also possible to use a
Y cable for sending the output to
two amplifiers, or to plug a pair of
stereo headphones into this jack.
Turns the unit on and off.
Guitar amplifiers
Headphones
[CONTROL IN] jack
Serves for connection of the optional foot switch
(FS01) or expression pedal (FP01/FP02).
MTR (multitrack recorder)
FP01/FP02
FS01
6
ZOOM G2
ZOOM G2
7
Selecting a Patch
Selecting a Patch
Adjust tone and volume
To try out the various effects of the G2, we recommend that you simply play your instrument while
switching patches.
To adjust the effect sound and volume
levels in play mode, the Parameter
knobs 1 – 3 can be used. Each knob
controls a specific parameter.
Turn power on
Use a monaural shielded cable to connect
the guitar to the [INPUT] jack of the G2.
When using the G2 with the AC adapter,
plug the adapter into the outlet and plug
the cable from the adapter into the [DC
IN] jack on the G2.
Parameter knob 1
Parameter knob 3
Adjusts the GAIN
parameter of the
DRIVE module (mainly
distortion depth).
Adjusts the PATCH
LEVEL parameter
(output level of the
entire patch).
Set the [POWER] switch on the rear
panel of the G2 to ON.
Turn the guitar amplifier on and adjust
the volume to a suitable position.
Parameter knob 2
Adjusts the TONE parameter of the DRIVE
module (mainly distortion sound character).
Set the G2 to play mode
When you turn a Parameter knob, the
corresponding LED lights up and the display
briefly shows the current value of the respective
parameter.
If the Module selector is set to a position
other than "PLAY", set it to "PLAY".
The bank and patch
that were selected
when the power was
last turned off will
appear on the display.
HINT
A1
NOTE • If the DRIVE module is set to OFF for
the currently selected module
(display shows "oF"), Parameter
knobs 1 and 2 have no effect.
• Changes made here are temporary
and will be lost when you select
another patch. To retain the changes,
store the patch in the user area.
• The master level in common to all
patches is set in edit mode (→ p. 30).
Bank name Patch number
Immediately after turning the G2 on, the
unit will be in play mode, even if the
Module selector is set to a position other
than "PLAY".
Select a patch
To switch the patch, press one of the [W]/[Q] foot switches.
8
Directly selecting a bank
Pressing the [W] foot switch calls up the next lower patch, and pressing the [Q] foot
switch calls up the next higher patch.
To select the banks A – d, 0 – 3 directly, use
the BANK [-]/[+] keys.
Repeatedly pressing one foot switch cycles through patches in the order A0 – A9 ... d0 – d9
→ 00 – 09 ... 30 – 39 → A0, or the reverse order.
Pressing the BANK [-] key calls up the next lower bank, and
pressing the BANK [+] key calls up the next higher bank.
ZOOM G2
ZOOM G2
9
Using the Tuner
Using the Tuner
The G2 incorporates an auto-chromatic tuner. To use the tuner function, the built-in effects must be
bypassed (temporarily turned off) or muted (original sound and effect sound turned off).
Adjusting the reference pitch of the tuner
If required, you can fine-adjust the reference pitch of the G2 tuner. The default
setting after power-on is center A = 440 Hz.
Turn Parameter knob 1.
Switch to bypass or mute
Setting the G2 to the bypass state
In play mode, press both [W]/[Q] foot
switches together briefly and release.
Setting the G2 to the mute state
In play mode, press both [W]/[Q] foot
switches together and hold for at least 1
second.
40
BP
The current reference pitch is shown.
The adjustment range is 35 – 45 (center A = 435
to 445 Hz).
While the reference pitch value is shown,
turn Parameter knob 1 to adjust it.
MT
42
When you release the Parameter knob, the display
indication will return to the previous condition
after a while.
Patch change at bypass/mute
When you press both [W]/[Q] foot switches together while
playing your instrument, the bypass/mute condition is
activated. However, the sound may change momentarily
just before the condition is activated. This is because the
G2 switches to the next higher or lower patch when one of
the foot switches is pressed slightly earlier. (When you
cancel the bypass/mute condition, the original patch
number will be active again.)
This kind of behavior is not a defect. It is due to the very
high speed at which the G2 responds to patch switching.
To prevent the sound change caused by the above
condition, do not produce sound with your instrument until
the bypass/mute condition is fully established.
NOTE
Return to play mode
Press one of the [W]/[Q] foot switches.
The right side of the display
shows a symbol that indicates
by how much the tuning is off.
Play the string to tune
Play the open string to tune,
and adjust the pitch.
Pitch is high
Pitch is correct Pitch is low
A8
A8
Tune other strings in the
same way.
The left side of the display shows the
note which is closest to the current pitch.
10
When you turn the G2 off and on again,
the reference pitch setting will be reset
to 40 (center A = 440 Hz).
ZOOM G2
ZOOM G2
Indication turns faster the more
the pitch is off
11
Using the Rhythm Function
Using the Rhythm Function
The G2 has a built-in rhythm function that plays realistic drum sounds in various patterns. The rhythm
function is available in play mode or in the bypass/mute condition.
Adjust the rhythm volume
To adjust the rhythm volume, turn Parameter knob 3.
When you turn the Parameter knob, the current setting (0 – 30) is shown
on the display.
25
Set the G2 to play mode
Adjust the tempo
If the Module selector is set to a position
other than "PLAY", set it to "PLAY".
The rhythm pattern tempo can be adjusted in the
range of 40 – 250 BPM (beats per minute).
To continuously change the rhythm
tempo, turn Parameter knob 2.
Start the rhythm function
To manually specify the rhythm tempo,
hit the [TAP] key at least three times in
the desired interval.
To start the rhythm function, press the
RHYTHM [R/P] key.
NOTE
During rhythm playback, the REVERB
module is OFF.
At the first push of the [TAP] key, the current
tempo value is shown on the display. The G2 then
automatically detects the interval for the second
and subsequent keypresses and sets the tempo
accordingly.
Select a rhythm pattern
While the above steps are carried out, the current
tempo value (40 – 250) is shown on the display.
For values in the range from 100 to 199, a dot is
shown after the first digit. For values of 200 and
above, dots are shown after the first and second
digits.
The G2 has 40 built-in rhythm patterns. For more
information on the pattern contents, see the back
cover of this manual.
To continuously switch rhythm patterns,
turn Parameter knob 1.
20
To select the next higher or next lower
rhythm pattern, press one of the BANK
[-]/[+] keys.
Dot is shown
Tempo = 120 BPM
When the above steps are carried out, the current
rhythm pattern number (01 – 40) is briefly shown
on the display.
40
Dots are shown
Tempo =240 BPM
Stop the rhythm
To stop the rhythm, press the RHYTHM [R/P] key.
The G2 returns to the previous condition.
12
ZOOM G2
ZOOM G2
13
Editing a Patch
Editing a Patch
Terminate the edit mode
The patches of the G2 can be freely edited by changing the effect parameter settings. Try editing the
currently selected patch to create your own sound.
Select the effect module
To terminate the edit mode and NOTE When you return to play mode and
select another patch, the changes
return to the play mode, set the
you have made in edit mode will be
Module selector to the "PLAY"
lost unless you store the patch
position.
first. To retain the changes, store
the patch as described on page 16.
Turn the Module selector to select the
effect module to edit. The following
settings are available.
Change the parameter
value
(5)
(6)
(7)
(8)
(9)
(10)
(4)
(3)
(2)
(1)
To change the setting value of effect
parameters, use the Parameter knobs
1 – 3.
Which parameter is assigned to a knob depends on
which effect module/effect type is selected. For
information on parameters for effect
modules/effect types, see page 23 – 30.
(1) COMP module
(2) WAH/EFX module
(3) ZNR module
(4) DRIVE module
(5) EQ module
(6) EXTRA EQ/CABI&MIC module
(7) MOD/SFX module
(8) DELAY module
(9) REVERB module
(10) Pedal/foot switch related parameters
When you turn a Parameter knob, the
corresponding LED lights up and the display
briefly shows the current value of the respective
parameter.
55
When you switch to a different module, the effect
type currently selected for that module is shown on
the display. While the G2 is in edit mode, a dot
appears in the bottom right of the display.
Effect type
FC
NOTE
When a module that is set to OFF is
selected, the display will show "oF".
Dot shows that unit
is in edit mode
Select the effect type
To switch an effect
module on and off
To switch the selected module
between ON and OFF, press one of
the [W]/[Q] foot switches.
14
The indication "oF" appears
on the display. When you
press one of the foot
switches again, the
indication returns to the
previous condition.
OF
ZOOM G2
To switch the effect type
of the selected module,
use the BANK [-]/[+] keys.
BL
ZOOM G2
NOTE
If you press the BANK [-]/[+]
keys for a module that is set to
OFF, the module will be turned
ON.
For modules that have only one
effect type, pressing the BANK
[-]/[+] keys has no effect.
15
Storing/Copying Patches
Storing/Copying Patches
An edited patch can be stored in a bank of the user area (A – d). It is also possible to store an existing patch
in another location to create a copy.
To cancel the store process
To cancel the store process, operate the
Module selector before pressing the [STORE]
key again ( ).
In play mode or edit
mode, press the [STORE]
key.
The bank and patch number are shown
on the display as a flashing indication.
Press the [STORE] key
once more
A0
NOTE
When the store/copy process is
completed, the G2 returns to the
previous mode, with the target patch
being selected.
Patches of banks in the preset area (0 –
3) are read-only. No patches can be
stored or copied into these locations. If
you press the [STORE] key while a patch
from the preset area is selected, the
patch "A0" (bank A, patch number 0) will
be selected automatically as default
store/copy target.
D4
Specify the store/copy
target patch number
Select the store/copy
target bank
To specify the store/copy target patch
number, use the [W]/[Q] foot switches.
To select the store/copy target bank,
use the BANK [-]/[+] keys.
D4
D0
NOTE
16
Only a bank of the user area (A – d) can
be selected as store/copy target bank.
ZOOM G2
ZOOM G2
17
Using an Optional Foot Switch or Pedal
Using an Optional Foot Switch or Pedal
The G2 is equipped with a [CONTROL IN] jack designed for connection of an optional foot switch or
expression pedal. This section explains how to use these accessories.
Using the foot switch (FS01)
Connecting the optional foot switch FS01 to the
[CONTROL IN] jack allows changing banks with
the foot switch while the unit is in play mode. It is
also possible to switch bypass/mute on and off,
control the tap tempo function, or perform other
functions with the foot switch.
1.
2.
Plug the cable from the FS01 into the
[CONTROL IN] jack, and then turn the
G2 on.
Set the Module selector to the
"CONTROL" position.
● bP (bypass/mute)
The foot switch controls bypass or mute on/off.
This has the same effect as pressing both [W]/
[ Q ] foot switches at the same time in play
mode.
● tP (tap tempo)
Pressing the foot switch repeatedly can be used
to set the interval for the rhythm function or to
make settings for effect parameters supporting
the tap function. This has the same effect as
pressing the [TAP] key.
● bU (bank up)
Each push of the foot switch switches to the
next higher bank. This has the same effect as
pressing the BANK [+] key.
● rH (rhythm on/off)
The G2 goes into edit mode. You can now make
settings for the expression pedal and foot switch.
The foot switch controls start/stop of the
rhythm function. This has the same effect as
pressing the RHYTHM [R/P] key.
● dH (delay hold)
3.
Turn Parameter knob 2 to select one
of the following functions for the foot
switch.
The foot switch controls on/off of the delay
hold function. When a patch using the hold
function is selected, pressing the foot switch
will activate hold, causing the current delay
sound to be repeated (see illustration below).
Pressing the foot switch once more cancels the
hold condition, and the delay sound will decay
normally.
● dM (delay input mute)
Switches the delay module input muting
between on and off.
HINT
• For information on effect parameters supporting the
tap function, see pages 23 – 29.
• To use the hold function, an effect type that
supports the hold function must be selected in the
patch. For details, see pages 23 – 29.
• While the delay module is set to hold or mute, the
dot in the center of the display flashes.
4.
Select the patch in play mode and
operate the foot switch.
The selected function will be activated. This
function applies to all patches.
Connecting an expression pedal (FP01/FP02) to
the [CONTROL IN] jack allows using it as a
volume pedal or for adjusting an effect parameter
in real time.
The function selection for the expression pedal is
saved for each patch individually.
For information on parameters that can be
adjusted with the expression pedal, please refer to
pages 23 – 29.
1.
2.
4.
Hold
Foot switch pressed
18
Volume
● WU, Wd, WH, WL
WAH/EFX module
● GU, Gd, GH, GL
DRIVE module
● MU, Md, MH, ML
MOD/SFX module
● dU, dd, dH, dL
DELAY module
Using the expression pedal
(FP01/FP02)
Plug the cable from the expression
pedal into the [CONTROL IN] jack,
and then turn the G2 on.
Select the patch for which you want
to use the expression pedal.
Set the Module selector to the
"CONTROL" position.
The G2 goes into edit mode.
Delay sound
Pedal is inactive.
● VL
3.
Original sound
● oF
● rU, rd, rH, rL
REVERB module
HINT
• Which parameter changes when the expression
pedal is operated depends on the selected module.
For details, see pages 23 – 29.
• The pattern in which the expression pedal alters the
parameter can be selected in edit mode. There are
four choices (→ p. 30).
5.
If necessary, save the patch.
The expression pedal setting is saved as part of
the patch.
6.
Select the patch in play mode and
operate the expression pedal.
The selected function will be activated.
In the bypass condition, the expression pedal
always operates as a volume pedal, regardless of
the setting made in step 4.
Turn Parameter knob 1 to select one
of the following modulation targets
for the expression pedal (see page
30).
Pressed again
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19
Restoring Factory Defaults
Linking Effects
In the factory default condition, the patches of the user area (A0 – d9) contain the same settings as the
patches of the preset area (00 – 39). Even after overwriting the user patches, their original content can be
restored in a single operation ("All Initialize" function).
The patches of the G2 consist of nine serially linked effect modules, as shown in the illustration below.
You can use all effect modules together or selectively use certain modules by setting them to on or off.
Effect module
COMP
1.
Turn the G2 on while holding down
the [STORE] key.
The indication "AL" appears on the display.
AL
WAH/EFX
ZNR
DRIVE
AUTO WAH
AUTO
RESONANCE
BOOSTER
TREMOLO
PHASER
RING
MODULATOR
SLOW
ATTACK
PEDAL VX
PEDAL
BABY
ZNR
GATE
DIRTY GATE
FD CLEAN
CLASS A
CLEAN
JC CLEAN
MS CRUNCH
US BLUES
BG CRUNCH
MS DRIVE
BG DRIVE
PV DRIVE
OVERDRIVE
GUV'NOR
HOT BOX
FUZZ FACE
METAL ZONE
EXTREME
DISTORTION
DIGI FUZZ
ACOUSTIC
2.
To carry out the All Initialize function,
press the [STORE] key once more.
All patch settings are returned to the factory
default condition, and the unit switches to play
mode. To cancel All Initialize, press the
RHYTHM [R/P] key instead of the [STORE]
key.
EQ
EXTRA EQ/CABI&MIC
MOD/SFX
DELAY
REVERB
EXTRA EQ
CABINET&MIC
CHORUS
STEREO
CHORUS
FLANGER
PITCH
SHIFTER
PEDAL
PITCH
VIBRATO
STEP
DELAY
ECHO
DYNAMIC
DELAY
DYNAMIC
FLANGER
MONO
PITCH
SHIFTER
HARMONIZED
PITCH
SHIFTER
DELAY
PINGPONGDELAY
ECHO
HALL
ROOM
SPRING
EARLY
REFLECTION
MULTI TAP
DELAY
* Manufacturer names and product names mentioned in this table are
trademarks or registered trademarks of their respective owners. The
names are used only to illustrate sonic characteristics and do not
indicate any affiliation with ZOOM CORPORATION.
Effect type
For some effect modules, you can select an effect type from several possible choices. For example, the
MOD/SFX module comprises CHORUS, FLANGER, and other effect types. The REVERB module
comprises HALL, ROOM, and other effect types from which you can choose one.
NOTE
When you carry out All Initialize, any newly created
patches that were stored in the user area will be
deleted (overwritten). Perform this operation with care
to prevent losing any patches that you want to keep.
Switching between live sound
and direct recording sound
In the above illustration, the DRIVE module is
shown as having 17 effect types. But each effect
type has two algorithms (one for live performance
and one for direct recording) for each of its 17
effect types, so that there are actually 34 effect
types that can be used.
The two algorithms are switched according to the
effect type selected for the EXTRA EQ/CABI &
MIC module, as follows.
● EXTRA EQ is selected
The algorithm for live performance is selected at
the DRIVE module. This is recommended when
using the G2 for playing via a guitar amplifier.
● CABINET & MIC is selected
The algorithm for direct recording is selected at
the DRIVE module. This is recommended when
the G2 is directly connected to a recorder, or to a
hifi system or other audio device.
DRIVE
Algorithm for
live performance
EQ
EXTRA EQ/CABI&MIC
EXTRA EQ
CABINET&MIC
Algorithm for
direct recording
20
ZOOM G2
ZOOM G2
21
Effect Types and Parameters
Effect Types and Parameters
COMP
COMP (Compressor) module
Attenuates high-level signal components and boosts low-level signal components,
thereby keeping the overall signal level within a certain range.
How to read the parameter table
SENSE
Effect parameters 1 – 3
These are the parameters that can be adjusted with Parameter knobs 1 – 3 when
the effect type is selected. The setting range for each parameter is shown.
Three-digit setting values are shown with a dot between the two numerals.
Example: 1 – 98, 1.0 = 1 – 98, 100
0 – 10
Adjusts the compressor sensitivity.
Higher setting values result in higher
sensitivity.
ATTACK
FS, SL
Selects compressor attack speed in two
levels. Available settings are "FS" (fast)
and "SL" (slow).
LEVEL
2 – 98, 1.0
Adjusts the signal level after passing the
module.
WAH/EFX
WAH/EFX (Wah/Effects) module
Module selector
The Module selector
symbol shows the
position of the knob at
which this
module/parameter is
called up.
Comprises wah and filter effects as well as VCA type effects.
AW
Effect module
AUTO WAH
This effect varies wah in accordance with playing intensity.
Effect type
AUTO RESONANCE
AR Ar
This effect varies the frequency band of the resonance filter according to the picking intensity.
DELAY
DELAY module
DL
dL
This is a delay module which allows long delay times and use of the hold function.
DELAY
HOLD This is a ping-pong type delay where the delay sound alternates between left and right.
EC
EC
ECHO
HOLD This effect simulates a tape echo with a long delay time of up to 5000 ms.
These three effect types have the same parameters.
1 – 99,
1.0 – 5.0
FEEDBACK
0 – 98, 1.0
MIX
0 – 98, 1.0
TAP Adjusts the delay time. In the
range from 10 – 990 ms, the
adjustment is made in 10-ms
steps (1 – 99). For 1 second and
above, the adjustment is made in
100-ms steps (1.0 – 2.0).
Adjusts the feedback amount.
The two effect types above have the same parameters.
POSITION
HOLD This is a delay with a maximum setting of 5000 ms.
PD
Pd
PINGPONG DELAY
TIME
AW
Adjusts the mixing ratio of
original sound and effect sound.
bF, AF
Selects the connection position of the
WAH/EFX module. Available settings
are "bF" (before DRIVE module) and
"AF" (after EQ/EXTRA EQ module).
1–5
Selects the frequency band that is
boosted.
A pedal icon (
) in the listing indicates a parameter that can be controlled with the expression
pedal (FP01/FP02).
Specify the respective module as modulation target for the expression pedal (→ p. 19), and then
select the respective effect type of the module. The parameter can then be controlled in real time
with a connected expression pedal.
-10 – -1, 1 – 10
Adjusts the effect sensitivity.
TONE
0 – 10
Adjusts the sound quality.
TAP
DEPTH
0 – 98, 1.0
HOLD
A foot switch icon (
) in the listing indicates an effect type for which hold can be turned
on and off with the foot switch (FS01).
Set the foot switch function to "dH" (delay hold) (→ p. 18) for the respective patch. When this patch
is then selected in play mode, the hold function can be switched on and off by pressing the foot
switch.
22
Adjusts the modulation depth.
ZOOM G2
LEVEL
2 – 98, 1.0
Adjusts the signal level after
passing the module.
RATE
0 – 50
TAP Adjusts the effect rate.
u0 – u9, d0 –
d9, t0 – t9
Allows selection of the modulation
waveform. Available settings are "u"
(rising sawtooth), "d" (falling sawtooth),
and "t" (triangular). Higher setting
values result in more clipping of wave
peaks, which reinforces the effect.
WAVE
PHASER
PH PH
This effect produces sound with a pulsating character.
POSITION
Hold
Adjusts the resonance of the sound.
TREMOLO
TR tr
This effect periodically varies the volume.
Tap
A [TAP] key icon (
) in the listing indicates a parameter that can be set by hitting the [TAP]
key.
In edit mode, when the respective module/effect type is selected, repeatedly hitting the [TAP] key
will set the parameter according to the key press interval (modulation cycle, delay time, etc.).
In play mode, if the DELAY module is ON for the currently selected patch, repeatedly hitting the
[TAP] key will temporarily change the parameter.
RESONANCE 0 – 10
BOOSTER
BS bS
Raises signal gain and creates a dynamic sound.
RANGE
Expression pedal
SENSE
bF, AF
Selects the connection position of the
WAH/EFX module. Available settings
are "bF" (before DRIVE module) and
"AF" (after EQ/EXTRA EQ module).
ZOOM G2
RATE
0 – 50
TAP Adjusts the modulation rate.
COLOR
1–4
Adjusts the type of sound.
23
Effect Types and Parameters
Effect Types and Parameters
RING MODULATOR
RG rG
This effect produces a metallic ringing sound. Adjusting the FREQUENCY parameter results in a drastic
change of sound character.
POSITION
FREQUENCY
bF, AF
Selects the connection position of the
WAH/EFX module. Available settings
are "bF" (before DRIVE module) and
"AF" (after EQ/EXTRA EQ module).
1 – 50
Adjusts the frequency that is used
for modulation.
MIX
POSITION
TIME
bF, AF
1 – 50
Adjusts the level of the effect sound
mixed to the original sound.
Adjusts the attack time.
CURVE
0 – 10
Adjusts the attack volume change curve.
PEDAL VX
PV PV
Simulates a vintage pedal wah sound.
POSITION
Selects the connection position of the
WAH/EFX module. Available settings
are "bF" (before DRIVE module) and
"AF" (after EQ/EXTRA EQ module).
PB
1 – 50
Adjusts the frequency that is
emphasized. When no expression
pedal is used, the effect is the
same as with a half-raised pedal.
LEVEL
2 – 98, 1.0
Adjusts the signal level after passing the
module.
PEDAL BABY
Simulates a vintage pedal wah sound.
Selects the connection position of the
WAH/EFX module. Available settings
are "bF" (before DRIVE module) and
"AF" (after EQ/EXTRA EQ module).
1 – 50
Adjusts the frequency that is
emphasized. When no expression
pedal is used, the effect is the
same as with a half-raised pedal.
LEVEL
2 – 98, 1.0
Adjusts the signal level after passing the
module.
ZNR (ZOOM Noise Reduction) module
This module serves for reducing noise during playing pauses. It offers a choice between
noise reduction (reduction of noise components) and noise gate (muting during pauses).
NR nr
ZNR (ZOOM Noise Reduction)
ZOOM original noise reduction which reduces noise in playing pauses without affecting the overall tone.
Gt
DG
dG
JC CLEAN
JC JC
Clean sound of Roland JC series with built-in chorus
which gives a wide, clear tone.
MS CRUNCH
MC MC
Big sound of a Marshall stack running between
clean and crunch
US BLUES
BL bL
Crunch sound of a Fender Tweed Deluxe '53
BG CRUNCH
BC bC
Fat sound of the Mesa Boogie MkIII combo amp
MS DRIVE
MD Md
The High gain sound of a Marshall JCM2000-driven
stack
BG DRIVE
BG bG
High gain sound of Mesa Boogie Dual Rectifier amp
channel 2 (vintage mode).
PV
PV DRIVE
The high gain sound of the classic Peavey 5150
GUV'NOR distortion
GV GV
Simulation of the Guv'nor distortion effect from
Marshall.
FF
FUZZ FACE
EXTREME DISTORTION
ED Ed
Intense super-high gain distortion
GATE
This is a noise gate which cuts off the sound during playing pauses.
GAIN
0 – 98, 1.0
HOT BOX
HB Hb
Simulation of the drive channel of a Hot Box tube
amp.
METAL ZONE
MT Mt
Simulation of the classic Boss Metal Zone pedal
famous for long sustain and midrange
DIGI FUZZ (digital fuzz)
DF dF
High gain fuzz attack
TONE
0 – 10
Adjusts the sound quality.
LEVEL
2 – 98, 1.0
Adjusts the signal level after passing the
module.
* Manufacturer names and product names mentioned in this table are trademarks or registered trademarks of their respective
owners. The names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION.
ACOUSTIC
AC AC
This effect makes an electric guitar sound like an acoustic guitar.
TOP
0 – 10
Adjusts the special string tone
that is characteristic for an
acoustic guitar.
DIRTY GATE
This is a vintage type gate with special closing characteristics.
OVERDRIVE
OD Od
Simulation of the classic Boss OD-1 overdrive
pedal
All above effect types have the same parameters.
Adjusts the distortion intensity.
ZNR
GT
CLASS A CLEAN
CA CA
Clean sound of the Vox AC-30 combo amp,
operating in Class-A
Simulation of the original classic British fuzz pedal
FREQUENCY
bF, AF
FD CLEAN
FC FC
The rich, clean sound of a classic 1965 Fender Twin
Reverb
FF
Pb
POSITION
This module provides 16 types of distortion and an acoustic simulator. Each effect type of
the module has two modeling algorithms (for live performance and direct recording).
These algorithms are switched automatically according to the on/off condition of the
CABINET & MIC effect (→ p. 21).
PV
FREQUENCY
bF, AF
DRIVE module
0 – 98, 1.0
SLOW ATTACK
SL SL
This effect reduces the attack rate of the sound, resulting in a violin playing style sound.
Selects the connection position of the
WAH/EFX module. Available settings
are "bF" (before DRIVE module) and
"AF" (after EQ/EXTRA EQ module).
DRIVE
BODY
0 – 10
Adjusts the degree of body resonance.
LEVEL
2 – 98, 1.0
Adjusts the signal level after passing the
module.
All above effect types have the same parameters.
THRESHOLD
1 – 16
Adjusts the sensitivity. For maximum noise reduction, set the value as high as possible without causing the sound to decay
unnaturally.
24
ZOOM G2
ZOOM G2
25
Effect Types and Parameters
Effect Types and Parameters
FLANGER
FL FL
This effect produces a resonating and strongly undulating sound.
EQ
EQ (Equalizer) module
Allows adjusting the three main bands (BASS, MIDDLE, TREBLE) of the six-band equalizer.
BASS
±12
MIDDLE
160Hz
Adjusts the low frequency range level.
±12
800Hz
Adjusts the mid frequency range level.
TREBLE
±12
3.2kHz
Adjusts the high frequency range level.
EXTRA EQ/CABI&MIC
This module allows adjusting the three remaining bands of the six-band equalizer. In
addition, the module contains a cabinet simulator that produces sound suitable for direct
recording on a MTR or for reproduction via headphones or a studio monitor.
EXTRA EQ
ET Et
Adjusts the three remaining bands of the six-band equalizer. The HARMONICS control allows adjustment of
the harmonics frequency range level.
±12
PRESENCE
400Hz
Adjusts the mid-low frequency range
level.
±12
6.4kHz
Adjusts the extremely high frequency
range level.
HARMONICS ±12
12kHz
Adjusts the harmonics frequency range
level.
CABINET & MIC
CB Cb
This effect type simulates amplifier cabinet sound and mic directional characteristics, suitable for direct
recording on a multi-track recorder. The cabinet characteristics are automatically set either to Combo (12" x
1, 12" x 2) or to Stack (12" x 4), depending on the selected drive type. The on/off condition of this effect in
turn automatically switches the modeling algorithm of the DRIVE module (→ p. 21).
MIC TYPE
MIC POSITION 0 – 2
dy, Co
Selects the mic type. "dy" simulates the
frequency response of a dynamic mic
and "Co" simulates the frequency
response of a condenser mic.
0 – 98, 1.0
Adjusts the modulation depth.
Lets you select different microphone
characteristics according to sound
pickup position. The following settings
are available.
0: Mic pointed at speaker center
1: Mic pointed halfway between speaker
edge and center
2: Mic pointed at speaker edge
-12 – -1, dt,
1 – 12, 24
Adjusts the pitch shift amount in
semitones. Selecting "dt" gives a
detuning effect.
Comprises modulation and delay effects such as chorus, pitch shifter, delay, and echo.
CHORUS
This effect mixes a variable pitch-shifted component to the original signal, resulting in full-bodied resonating sound.
CH
COLOR
See Table 1
0 – 98, 1.0
1 – 50
Adjusts the modulation rate.
Adjusts the modulation depth.
MIX
DEPTH
Adjusts the level of the effect sound
mixed to the original sound.
0 – 98, 1.0
Adjusts the modulation depth.
26
1 – 99,
1.0 – 2.0
Adjusts the delay time. In the
range from 10 – 990 ms, the
adjustment is made in 10-ms
steps (1 – 99). For 1 second and
above, the adjustment is made in
100-ms steps (1.0 – 2.0).
TIME
RATE
1 – 50
Adjusts the modulation rate.
Adjusts the sound quality.
MIX
0 – 98, 1.0
Adjusts the level of the effect
sound mixed to the original sound.
MODE
UP, dn
TONE
0 – 10
MIX
RATE
0 – 50
TAP Adjusts the modulation rate.
0 – 98, 1.0
Adjusts the level of the effect
sound mixed to the original
sound.
ZOOM G2
MIX
0 – 98, 1.0
Adjusts the level of the effect sound
mixed to the original sound.
RATE
0 – 50
TAP Adjusts the modulation rate.
RESONANCE 0 – 10
Adjusts the modulation resonance
intensity.
DL dL
DELAY
This is a delay with a maximum setting of 2000 ms.
TAP
0 – 98, 1.0
0 – 10
0 – 98, 1.0
STEREO CHORUS
SC SC
This is a stereo chorus with clear sound.
DEPTH
TONE
STEP
ST St
Special effect that changes the sound in a staircase pattern.
Adjusts the modulation depth.
RATE
1 – 10
Adjusts the modulation resonance
intensity.
Selects the type pitch change type
Selects the direction of the pitch change.
Adjusts the sound quality.
effected by the pedal.
Table 1
Pedal minimum value
Pedal maximum value COLOR MODE
Pedal minimum value
Pedal maximum value
COLOR MODE
UP
-100 cent
Original sound only
UP -1 octave + DRY
+1 octave + DRY
1
5
-100 cent
-1 octave + DRY
dn Original sound only
dn +1 octave + DRY
DOUBLING
Detune + DRY
500 cent + DRY
UP
UP -700 cent + DRY
2
6
Detune + DRY
DOUBLING
500 cent + DRY
-700 cent + DRY
dn
dn
0 cent
+1 octave
-∞ (0 Hz) + DRY
+1 octave
UP
UP
3
7
+1 octave
0 cent
+1 octave
-∞ (0 Hz) + DRY
dn
dn
0 cent
-2 octaves
-∞ (0 Hz) + DRY
+1 octave + DRY
UP
UP
4
8
-2 octaves
0 cent
-∞ (0 Hz) + DRY
dn
dn +1 octave + DRY
DEPTH
MOD/SFX(Modulation/SFX) module
0 – 98, 1.0
TAP Adjusts the modulation rate.
RESONANCE -10 – -1, 0,
PEDAL PITCH
PP PP
This effect allows using a pedal to shift the pitch in real time.
Adjusts the modulation depth.
DEPTH
0 – 50
VB Vb
VIBRATO
Effect with automatic vibrato.
MOD/SFX
CH
RATE
PITCH SHIFTER
PT Pt
This effect shifts the pitch of the original sound up or down.
SHIFT
EXTRA EQ/CABINET & MIC module
LO MID
DEPTH
ZOOM G2
FEEDBACK
0 – 98, 1.0
Adjusts the feedback amount.
MIX
0 – 98, 1.0
Adjusts the level of the effect
sound mixed to the original
sound.
27
Effect Types and Parameters
Effect Types and Parameters
TAPE ECHO
TE tE
This effect simulates a tape echo.
1 – 99,
1.0 – 2.0
TAP Adjusts the delay time. In the range
from 10 – 990 ms, the adjustment is
made in 10-ms steps (1 – 99). For 1
second and above, the adjustment is
made in 100-ms steps (1.0 – 2.0).
TIME
DELAY
DELAY module
FEEDBACK
0 – 98, 1.0
Adjusts the feedback amount.
MIX
0 – 98, 1.0
Adjusts the level of the effect
sound mixed to the original
sound.
DYNAMIC DELAY
DD dd
This is a dynamic delay where the effect volume changes depending on the input signal level. With positive
settings, the effect volume increases at higher input signal levels. With negative settings, the effect volume
increases at lower input signal levels.
1 – 99,
1.0 – 2.0
TAP Adjusts the delay time. In the range
from 10 – 990 ms, the adjustment is
made in 10-ms steps (1 – 99). For 1
second and above, the adjustment is
made in 100-ms steps (1.0 – 2.0).
TIME
DF
AMOUNT
0 – 10
Adjusts the level of the effect
sound mixed to the original sound
SENSE
-10 – -1, 1 – 10
Adjusts the effect sensitivity.
DEPTH
0 – 98, 1.0
Adjusts the modulation depth.
RATE
0 – 50
TAP Adjusts the modulation rate.
SENSE
-10 – -1, 1 – 10
Adjusts the effect sensitivity.
MONO PITCH SHIFTER
MP MP
This is a monophonic pitch shifter with low sound modulation, suitable for single-note playing.
-12 – -1, dt,
1 – 12, 24
Adjusts the pitch shift amount in
semitones. Selecting "dt" gives a
detuning effect.
SHIFT
TONE
0 – 10
Adjusts the sound quality.
MIX
0 – 98, 1.0
Adjusts the level of the effect sound
mixed to the original sound.
-6, -5, -4, -3,
KEY
C, Co, d...b
-m, m, 3, 4, 5, 6
Determines the interval for the pitch
Determines the tonic for the scale used
shifted sound (see Table 2).
for pitch shifting (see Table 3).
Table 2
Setting Type of scale
Interval
Setting Type of scale
Interval
Sixth down
Third up
-6
3
Fifth down
Fourth up
-5
4
Major scale
Major scale
Fourth down
Fifth up
-4
5
Third down
Sixth up
-3
6
Third down
-m
Minor scale
Third up
m
SCALE
This is a delay module which allows long delay times and use of the hold function.
DELAY
HOLD This is a delay with a maximum setting of 5000 ms.
Pd
PINGPONG DELAY
PD
HOLD This is a ping-pong type delay where the delay sound alternates between left and right.
EC
ECHO
EC
HOLD This is a warm sounding long delay of up to 5000 ms duration.
These three effect types have the same parameters.
1 – 99,
1.0 – 5.0
TAP Adjusts the delay time. In the
range from 10 – 990 ms, the
adjustment is made in 10-ms
steps (1 – 99). For 1 second and
above, the adjustment is made in
100-ms steps (1.0 – 5.0).
TIME
MIX
Table 3
Setting Tonic
C
C
C#
Co
D
d
D#
do
E
E
F
F
ZOOM G2
Adjusts the feedback amount.
MIX
0 – 98, 1.0
Adjusts the level of the effect
sound mixed to the original
sound.
This module comprises various reverb functions such as hall reverb, early reflection, and
multi-tap delay.
HALL
HL HL
This reverb simulates the acoustics of a concert hall.
ROOM
RM rM
This reverb simulates the acoustics of a room.
SPRING
SP SP
This effect simulates a spring-type reverb.
The above three effect types have the same parameters.
DECAY
ER
1 – 30
TONE
0 – 10
Adjusts the sound quality.
MIX
0 – 98, 1.0
Adjusts the level of the effect sound
mixed to the original sound.
Er
EARLY REFLECTION
This effect isolates only the early reflection components of the reverb.
DECAY
Setting Tonic
F#
Fo
G
G
G#
Go
A
A
A#
Ao
B
b
0 – 98, 1.0
REVERB module
0 – 98, 1.0
Adjusts the level of the effect sound
mixed to the original sound.
FEEDBACK
REVERB
Adjusts the duration of the reverb.
HP
HARMONIZED PITCH SHIFTER
This is an intelligent pitch shifter that automatically generates harmonies according to a preset key and
scale.
28
dL
dF
DYNAMIC FLANGER
This is a dynamic flanger where the effect volume changes depending on the input signal level. With positive
settings, the effect volume increases at higher input signal levels. With negative settings, the effect volume
increases at lower input signal levels.
HP
DL
1 – 30
Adjusts the duration of the reverb.
SHAPE
±10
Adjusts the envelope of the effect sound.
In the negative range, the envelope is
reversed. At 0, the effect is a gate reverb.
In the positive range, the envelope is a
decay-type envelope.
MIX
0 – 98, 1.0
Adjusts the mixing ratio of
original sound and effect sound.
MULTI TAP DELAY
MD Md
This effect produces several delay components with different delay times.
1 – 99,
1.0 – 3.0
TAP Adjusts the delay time. In the
range from 10 – 990 ms, the
adjustment is made in 10-ms
steps (1 – 99). For 1 second and
above, the adjustment is made in
100-ms steps (1.0 – 3.0).
TIME
ZOOM G2
PATTERN
1–8
Selects the combination pattern for the
taps. The selection ranges from
rhythmical to random patterns.
MIX
0 – 98, 1.0
Adjusts the mixing ratio of
original sound and effect sound.
29
Effect Types and Parameters
Specifications
CONTROL
CONTROL module
Serves for making pedal settings and lets you control the foot switch function and master
level setting applying to all patches.
RTM DESTINATION See Table 4
When an expression pedal (FP01/FP02)
is connected to the [CONTROL IN]
jack, this selects the modulation target
module for the RTM function (See Table
4).
Table 4
Setting
oF
VL
WU, Wd, WH, WL
GU, Gd, GH, GL
MU, Md, MH, ML
dU, dd, dH, dL
rU, rd, rH, rL
FS
Modulation target
OFF
Volume
WAH/EFX module (*)
DRIVE module (*)
MOD/SFX module (*)
DELAY module (*)
REVERB module (*)
The operation of modules denoted by (*)
changes as follows, according to the letter at
right.
U UP
The parameter is at minimum when the pedal is
fully raised and at maximum when the pedal is fully
pushed down.
MASTER LEVEL 0 – 98, 1.0
See Table 5
When a foot switch (FS01) is connected
to the [CONTROL IN] jack, this selects
the function that can be operated with
the foot switch (See Table 5). The
function selected here applies to all
patches.
Table 5
Setting
bP
tP
bU
rH
dH
dM
Adjusts the master level for all patches.
Function
Bypass/Mute
Tap tempo
Bank up
Rhythm function on/off
Delay hold
Delay mute
Control input
Power requirements
AC adapter
Batteries
"UP"
Maximum value
Dimensions
Weight
Options
Minimum value
L LOW
When the pedal is fully raised, the parameter is at
minimum. When the pedal is fully pushed down,
the parameter is at the value set in the patch.
30
54
Max. 9 simultaneous modules
User area: 10 patches x 4 banks
Preset area: 10 patches x 4 banks
96 kHz
24 bit, 64 times oversampling
24 bit, 128 times oversampling
32 bit
20 Hz – 40 kHz +1 dB -3 dB (with 10 kilohms load)
2-digit 7-segment LED
Parameter LEDs
Standard mono phone jack
-20 dBm
1 megohm
Standard stereo phone jack (doubles as line and headphone jack)
Line: +5 dBm (output load impedance 10 kilohms or more)
Phones: 20 mW + 20 mW (into 32 ohms load)
For FP02/FS01
9 V DC, 300 mA (center minus plug) (ZOOM AD-0006)
Four IEC R6 (size AA) batteries,
Approx. 7.5 hours continuous operation (alkaline batteries)
162 mm (D) x 156 mm (W) x 65 mm (H)
700 g (without batteries)
Expression pedal FP02/ Foot switch FS01
"DOWN"
• 0 dBm = 0.775 Vrms
• Design and specifications subject to change without notice.
Minimum value
Troubleshooting
"HIGH"
Maximum value
H HIGH
When the pedal is fully raised, the parameter is at
the value set in the patch. When the pedal is fully
pushed down, the parameter is at maximum.
Sampling frequency
A/D converter
D/A converter
Signal processing
Frequency response
Display
Input
Rated input level
Input impedance
Output
Maximum output level
Maximum value
D DOWN
The parameter is at maximum when the pedal is
fully raised and at minimum when the pedal is fully
pushed down.
Effect types
Effect modules
Patches
● No power
Refer to "Turn power on" on page 8.
Value set in patch
● Reverb effect does not operate
"LOW"
While a rhythm pattern is playing, the reverb effect is not available. Stop the rhythm pattern first
(→ p. 12).
● High level of noise
Is ZOOM AC adapter being used? Be sure to use only adapter for 9 V DC, 300 mA with center
minus plug (ZOOM AD-0006).
● Battery life is short
Are manganese batteries being used? The use of alkaline batteries is recommended.
Value set in patch
Minimum value
ZOOM G2
ZOOM G2
31
G2 Preset Pattern
TimSig
#
1
#
8beat_1
PatternName
4/4
21
POP_3
PatternName
TimSig
4/4
2
8beat_2
4/4
22
DANCE_1
4/4
3
8beat_3
4/4
23
DANCE_2
4/4
4
8shufle
4/4
24
DANCE_3
4/4
5
16beat_1
4/4
25
DANCE_4
4/4
6
16beat_2
4/4
26
3per4
3/4
7
16shufle
4/4
27
6per8
3/4
8
ROCK
4/4
28
5per4_1
5/4
9
HARD
4/4
29
5per4_2
5/4
10
METAL_1
4/4
30
LATIN
4/4
11
METAL_2
4/4
31
BALLAD_1
4/4
12
THRASH
4/4
32
BALLAD_2
3/4
13
PUNK
4/4
33
BLUES_1
4/4
14
DnB
4/4
34
BLUES_2
3/4
15
FUNK_1
4/4
35
JAZZ_1
4/4
16
FUNK_2
4/4
36
JAZZ_2
3/4
17
HIPHOP
4/4
37
METRO_3
3/4
18
R'nR
4/4
38
METRO_4
4/4
19
POP_1
4/4
39
METRO_5
5/4
20
POP_2
4/4
40
METRO
ZOOM CORPORATION
ITOHPIA Iwamotocho 2chome Bldg. 2F, 2-11-2, Iwamoto-cho,
Chiyoda-ku, Tokyo 101-0032, Japan
Web Site: http://www.zoom.co.jp
G2 - 5000-2
C7
C MAJOR HARMONY
A8
A9
B0
C9
With this patch selected, your electric guitar will start to sound like an acoustic electric guitar. We would recommend you
to combine this patch with the single-coil type front pick-up. You can also use this patch actively to create the clean
ensemble effect.
ACOUSTIC
SIM
Even if you are the type of guitar player who is proud of wailing solos, you may sometimes want to use thrash power
chords (with some muting-technique on the bridge). The distorted sound of this patch provides the best playability for
that purpose.
Referenced album: “Dookie” by Green Day (1994)
PV DRIVE
This patch provides you with a clean sound with effective use of the compressor. If you add the delay effect with delay
time set to synchronize with the 8th notes, you will get Andy Summers’ signature sound for arpeggios.
Referenced album: “Synchronicity” by the Police (1983)
JC CLEAN
Many people through the years have favored Carlos Santana’s guitar sound. This patch is modeled specifically after his
wailing lead sound with sweet distortion. Any of his hits like “Black Magic Woman”, “Europe” or “Adouma” will sound
pleasant if you make use of this patch.
Referenced album: “Amigos” (1976) and “Shaman” (2002) by Santana
BG
CRUNCH
This patch provides the jet sound from the good old days created by the combination of the edgy vintage distortion stomp
box and the flanger. We have rearranged that sound to give a hybrid tone that is retro sounding and refreshing at the
same time by combining the dry distortion, flanging jet-effect and lush reverb.
Referenced album: “Barracuda” by Heart (1972)
GUV'NOR
This patch is modeled after the classical Brit clean sound of the VOX AC series guitar amps operated in the class A
without the negative feedback. The sound of those amps became enormously popular in the British musical industry of
the 1960s, continued through many famous British groups in the 1970s and has remained popular to this day.
Referenced album: “1962-1966…Red Album” by the Beatles
CLASS A
CLEAN
BREATH YOU TAKE
B1
d1
SANTANA
B2
d2
ORANGE CRUSH
B3
d3
AC CLEAN
B4
d4
BIG WALL
B5
d5
BG DRIVE
d6
This patch is modeled after the sound that utilizes the so-called Leslie effect for its vibrato-like character and it is popular
among the American blues-rock players like the late S.R.V. It is suitable for crisp rhythm playing or the dynamic chording.
Referenced album: “Texas Flood” by Stevie Ray Vaughan (1983)
VIBRATO
d7
Recently E.V.H. is known as the user of the 5150 amps but in the past he used to create that big crunchy sound with his
specially modified Marshall amp. This patch is the consummate simulation of that E.V.H. sound from his early years. The
name of this patch is, of course, borrowed from that greatest album of V. H. with David Lee Roth.
Referenced album: “1984” by Van Halen (1984)
MS DRIVE
1984
B7
The SPY who loved me (or Spagetti Western)
B8
d8
HEAD LONG
B9
d9
The sound will remind you of the soundtracks of the James Bond series or Spaghetti Western movies.
Referenced album: The soundtracks from “007, Dr. No” (1962)
This sound is ZOOM’S original that became a favorite of the guitarist Brian May. The patch has a very strong character
but you can hear how it is effectively used in his actual recordings. If you are big-fan of Brian May, you may also want to
try the sound with the “step” turned “off” and the “delay” turned “on”. You will be transported to the world of
“Brighton Rock” with that incredible guitar orchestration. With the additional use of the HPS set to the minor 3rd in the
key of E, you will be able to perfect the simulation!!
Referenced album: “Innuendo” by Queen (1991)
Note 1 : The default patches stored in the pre-set area from the bank No. 0 to No. 3 are the same as those stored in the banks from A to d.
Note 2 : We recommend you to adjust the parameter for the noise reduction according to your guitars and amps.
INPUT
DEEP
10
PRESEMCE
0
8
1
2
10
0
TREBLE
2 8
58
2
10 0
FENDER
CLEAN
STEP
4
6
46
OFF
8 2
010
10
6
8
2
010
0
MIDDLE VOLUMEBASS
OFF
8
4
4
6
6
10
10
0
8
VOLUME
6
2
2
10
0
GAIN
CHANNEL BCHANNEL
4
OFF
28
2
READ
TONE
1 SHIFT
READ 2
0
GAIN
CLEAN
CRUNCH
8
10
INPUT
OFF
8.5
VOLUME
654
5
654
TREBLE
5
MIDDLE
1
2
BASS
543
BRIGHT
NORMAL
OFF
54
654
4.5
VOLUME
5
654
987
98
987
543
BRIGHT
876
2
9
1
In case of patches for Recording(C0∼C9、
d0∼d9 )
876
In case of patches for Live(A0∼A9、
b0∼b9 )
TREBLE
5
MIDDLE
BASS
Roland JC-120
In case of patches for Live(A0∼A9、
b0∼b9 )
LOW
BRI
In case of patches for Recording(C0∼C9、
d0∼d9 )
CHANNEL-1
VOLUME
TREBLE
MIDDLE
BASS
5
5
5
5
OFF
5
0
This powerful sound is the result of the deepest distortion ever created by any multi-effect pedals. The overwhelming
presence of the power chords in lower registers and the smooth responses to the tapping technique will be favored by the
connoisseurs of the high-gain sound.
VibroCrunch
B6
OD1
C8
d0
GAIN
CLEAN
CRUNCH
0
0
2
46
Fender TWIN Reverb
HIGH
PV DRIVE
POWERED BY
VOLUME
10
8
CLASSIC GAIN / CHANNEL A
REVERB
4
6
CHANNEL-1
This patch provides a mild lead sound accompanied by the harmonies based on the C major scale and makes our G2 the
world’s first effective device in the class that features the HPS (harmonized pitch shifter) function. You can select the key
and the scale according to the phrase you play.
ACOUSTIK
GAIN
CHANNEL BCHANNEL
READ
TONE
1 SHIFT
READ 2
0
0
2
4
6
321
A7
This patch is the simulation of the legendary tone of the BOSS OD-1 that is considered the de-facto standard for the
overdrive stomp box. The patch can provide high playability and retains the nuances of the guitarists’ touches. The
addition of the chorus effect will enable the guitar players to adapt to virtually any musical situations.
10
0
8
4
6
321
NUANCE DRIVE
10
0
2
2
4
OFF
21
C6
PHASER
10
8
6
3
A6
This patch is suitable for the funky chordiing. The most popular effects for the funk guitar sound are the wah-wah pedals
but here we have chosen the phase shifter to create a unique feel. We have also refreshed the flavor of this vintage
stomp box sound to fit more modern styles.
Referenced album: “Ship Ahoy” by O’Jays (1973)
010
0
28
2
4
OFF
21
FUNK PLANET
FUZZ
FACE
8
6
321
C5
10
MIDDLE VOLUMEBASS
NORMAL
This wildly fat sound with infinite sustain is modeled truthfully after the sound created by the combination of MXR’s Dyna
Comp and Dallas’ Fuzz Face. Designed for using your guitar’s front pick-up.
Referenced album: “In The Court Of The Crimson King” by King Crimson (1969)
010
8
2
4
6
321
A5
FENDER
CLEAN
10 0
8 2
654
Mr. Fripp
This patch is a straightforward modeling of the sound of that black-face Fender Twin Reverb and provides a clean sound
that is indispensable for the ensemble. With the EFX module switched on, you can add that unique tremolo effect to get
that retro-sound instantly. We have selected a room ambience as default to make this patch suitable for current musical
style but, of course, you can replace it with the spring reverb simulation.
TREBLE
48
2
7
C4
METAL
ZONE
PRESEMCE
0
2 8
21
A4
We took advantage of a newly developed fast tracking pitch shift algorithm and created this simulated synthesizer sound.
We hope you will come up with great solos using this sound reminiscent of Jan Hammer’s exciting trades with Jeff Beck.
Referenced album: “Wired” by Jeff Beck (1976)
DEEP
10
0
5
2
OFF 4
6
987
FENDER CLEAN
MS
CRUNCH
8
46
987
C3
We have already started to call this sound of the UK rock band “traditional”. This patch is modeled after the punchy
sound of the overdriven JCM 800 amplifier and thus it is suitable also for the hard plucking of modern punk rock guitar
style. This is the sound of Humble Pie in later years with Dave Clemson as its guitar player.
Referenced album: “Smokin’” by Humble Pie (1972)
10
2
2
4
OFF
6
10
A3
0
8
46
EQUALISATION
CLASSIC GAIN / CHANNEL A
REVERB
4
6
1
SynthDaze
0
2
4
6
876
C2
A2
CHORUS
4
6
10 9
The Pie
EQUALISATION
4
OFF
32
A1
In case of patches for Recording(C0∼C9、
d0∼d9 )
In case of patches for Live(A0∼A9、
b0∼b9 )
10
C1
This sound features the high-quality sound of our G2’s signal processing technology with a clean and lush chorus plus
delay patch. Try to use it for accompaniments in pop music, or solo music with your favorite guitar.
LUSH LIFE
BG DRIVE
10
C0
Marshall JCM-2000
10 9
A0
This patch is modeled after the powerful sound which uses the silicone rectifier section of that popular amplifier. You
may want to play riffs and solos with this sound valued by heavy rock guitarists.
Referenced album: "Hybrid Theory" by Linkin Park (2001)
Key effect
10
RECTIFYING
Descriptions
10
Name of patches
for Live
for Recording
Setting recommendation on popular guitar amps
Please use patches "for Live" when you use guitar amp, and use patches "for Recording"
when you connect your guitar directly to a recorder.
10
G2 Patch List
10
0
5
10
0
HIGH
LOW
5
10
0
10
BRI
VOLUME
TREBLE
MIDDLE
BASS
5
5
5
5
OFF
0
0
10
0
10
10
0
0~3
10
0
10
When you use guitar amp for recording patches, not only intended modeling sound will not existing,
but also you hear harsh-sounding sometimes. Please adjust guitar amp setting as above reference.
Introduction for newly developed effects
Early Reflection
Early Reflection is the component of the reverb sound that reaches to the listener first
after the original sound has bounced off the wall. The reverb sound consists of this
early reflection and the late reflection, and the former characterizes the size of the
room. The early reflection effect extracted from the whole reverb sound has been
quite popular among the rack-mounted signal processors but we have arranged this
effect on the G series especially for the guitar. To get the most popular type of this
effect, you can set the “SHAPE” parameter to the plus value (decaying effect) and
adjust the “DECAY” parameter to decide the size of the simulated room. If you
would like a wild effect, set the “SHAPE” parameter to the extreme minus value and
you will get the special effect that sounds like the tape machine played in reverse.
EXTRA EQ
In addition to the frequency ranges of 160Hz, 800Hz and 3.2kHz (LOW, MID and
TREBLE respectively,) controlled by the normal EQ module, you can boost or cut the
ranges of 400Hz, 6.4kHz and 12kHz using the LOW MID, PRESENCE and HARMONICS
controls respectively in the EXTRA EQ module. These frequency ranges are rarely
controllable with other effect devices made for guitars. With “PRESENCE” you can
adjust the high frequency range that affects the projection of the sound and with
“HARMONICS” you can tweak the overtone contained in the clipped sound. The
overdriven sound of tube amplifiers is rich in overtone and this EXTRA EQ module is
indispensable for the simulation of this aspect of the sound.
Multi Tap Delay
With this effect, you can utilize up to eight independent delay lines whose delay
times can be set separately to make rhythmical patterns. We also provided eight
practical settings ranging from the constant rhythmic pattern to the random one. Try
pattern 2 for example: the played notes are fed back like rhythmical patterns that will
inspire you to come up with various phrases one after another. You could apply this
effect to your solo performances as something different from the sound-on-sound
effect. This effect is programmed as a stereo ping-pong delay and thus we strongly
recommend you to try it using headphones. The delay time can be set to 3 sec.
maximum.
Dynamic Delay/Dynamic Flanger
This is the so-called ducking effect: the mix balance of the dry signal and the effect
signal of a delay or a flanger is controlled by the envelope of the original signal of the
guitar.
In the Dynamic Delay section, you can set the “SENSE” parameter to the minus value
to get the ducking delay effect: the feedback component in the delayed signal is not
put out while there is an input signal and the feedback component arises as soon as
the input signal is muted. This effect is very handy when, for example, you play fast
phrases on the guitar and the feedback component gets in the way. On the other
hand, you can set the “SENSE” parameter to the plus value and you will have the
feedback component while you are playing the guitar and you can cut off the
feedback as soon as you mute the guitar, which should be very handy in the break of
a song where you want to mute all of the sound.
The same thing goes with the “Dynamic Flanger”: you can set the “SENSE”
parameter to the minus value and you will get no flanging effect while the input
signal is high and you will get flanging effect when you lower the signal level of the
input. You can get a unique effect like a long note that is completely dry at the
beginning and then the flanging effect is gradually added as the signal level of the
note decreases. On the other hand, you can have the flanging effect only when you
play loud if you set the “SENSE” parameter to the plus value. This effect works great
when you want to embellish the accents in your arpeggios and riffs or to add a
hidden flavor to your lead guitar sound.
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.
Modeling Description
MESA/BOOGIE Mark III
… Reference for drive effect types and its original models.
EFFECT TYPE : BC CRUNCH
bC
bC
The origin of the MESA/BOOGIE amplifier was the modified Fender Princeton. Randall
Smith, an amp tech in San Francisco, souped up those small guitar amps to put out 100w
power and sold them. The first model was called “Mark I”. Carlos Santana tried one and
said, “Shit man, that little thing really Boogies! “ -which gave the amplifier the brand name
“BOOGIE.”
The second model “Mark II” had lead and rhythm channels and a 4-band equalizer to give
wider variety to the guitar tone. The special feature of this model was an accomplished
simul- power circuitry (the operation could be switched between class A and class AB). The
power amplifier section had six power tubes. When the class A operation is selected, two
EL34 power tubes are activated and the amp puts out a really smooth sound. When the
class AB operation is selected, these two EL34s and other four 6L6GC power tubes are all
activated and the amplifier puts out its full potential power.
Until the model Mark II, MESA/BOOGIE amps were quite expensive, hand-made amplifiers,
but the next model “Mark III” was more affordable. It has one 10” loudspeaker and 60w
output power but retains all of the classic BOOGIE features; simul-power circuitry, the
graphic EQ, and three (Rhythm1, Rhythm2 and Lead) separate channels. With this Zoom G
series, you can select the modeling of the combo type of this “Mark III.”
MESA/BOOGIE Dual Rectifier
EFFECT TYPE : BG DRIVE
BG
bG
The “Rectifier” model has the improved simul-power circuitry (see the “Mark III” section)
and the increased gain in the preamp section. This amp puts out 100w power and has five
12AX7 tubes for the pre-amp and four 6L6GC tubes for the power-amp. As opposed to the
“Mark” series, the Rectifier has its tone control circuit after the volume circuit for better
effect on the sound.
Since this amp had been introduced, the brand image of
MESA/BOOGIE has changed from being the premiere amp manufacturer for fusion music to
that for heavy metal music.
The most prominent feature of this amp is its rectifier circuitry after which it was named.
The “Dual Rectifier” employs, as its name suggests, two different rectifier circuits: one uses
silicon diodes and another uses tubes. When the diodes are selected, the amp gives you
tight and highly powerful sound. When the tube rectifier circuit is selected, you will get a
warmer sound. This program is modeled after the combination of a four-12” BOOGIE
cabinet and the Dual Rectifier head using the vintage channel and the silicon-diode rectifier
circuit.
Roland JAZZ CHORUS
EFFECT TYPE : JC CREAN
JC
JC
Simply put, the Roland “JC-120” is the most familiar guitar amplifier among both
professionals and amateurs. Released in 1975 from Roland, this amp became known as
“portable”, “loud” and “almost trouble-free” (which are the very characteristics Japanese
products are known for!). You are pretty sure to find one in any live houses or studios all
over the world. The key to that sound of “JC-120” is its unique chorus effect: the slightly
delayed vibrato sound comes from one of two 12” loudspeakers and the dry sound from
another and both sounds are combined in the air, which creates that distinctive spacey
mood. This effect became very popular which is why Roland decided to release the chorus
circuit independently as the “CE-1” pedal. Incidentally, the chorus effect on the G series is
modeled after its follower “CE-2”. Another unique feature of JC-120 is its “Bright” switch.
This function is not included in this modeling program but you can approximate the effect of
this switch by tweaking the “Harmonics” parameter in the “Extra EQ” section.
VOX AC30/6TB
EFFECT TYPE : CLASS A CLEAN
CA
CA
The long history of the VOX company harks back to the foundation of “Jennings Musical
Instruments” (JMI) in 1958. Originally, this company made amplifiers with 10-15w output
power but the musical trend required more powerful amplification, which resulted in the
birth of the revered “AC30” guitar amp. The very original AC30 had two Celestion 12”
loudspeakers using alnico magnets, EF86 pre-tubes, EL84 power-tubes and a GZ34 rectifier
tube. The Shadows and the Beatles used this model and their influence helped this amp
become popular among many guitarists. Later, as the musical trend required amplifiers with
even more gain, the company developed an add-on device called “Top Boost Unit”. The
“AC30-6TB”, which this program in our G series is modeled after, is the later version of the
AC30 with an integrated “Top Boost Unit”. After the JMI had sold the VOX brand, the sales
of the amplifier regrettably began to decline. However, the KORG Inc. acquired the VOX
name recently and rejuvenated the brand by starting to manufacture truthful reissue models.
In this G series, the program is modeled after the sound using the Hi input of the normal
channel that will give you that clean guitar sound of the Beatles and the Shadows, which
are the best examples of the distortion-free sound of the class-A operated amplifiers.
Fender Tweed Deluxe '53
EFFECT TYPE : US BLUES
bL
bL
The very first Fender amplifier was developed by Leo Fender and his trusty partner, the
engineer Doc Kaufman in 1945-46. Actually, the earliest models were not made under the
“Fender” brand but the “K&F Manufacturing Corporation” named after the Initials of the
two. The first amplifier using the “Fender” brand was the “Model 26” in 1947. In 1949,
the entry models called “Champion 400/600” series followed. The so-called “Tweed Amps”
covered literally with tweeds all over were developed during the 1950s and the 1960s. In
these years, the company put out various tweed models like the “Bassman” or the
“Bandmaster”. The program of this G series is modeled after, among others, the most
representative “Tweed Deluxe” aka the “Wide Panel” from 1953. This amplifier has a
12AY7 and a 2AX7 pre-tubes, two 6V6GT power-tubes, a 5Y3GT rectifier tube and a 12”
Jensen loudspeaker and its output power is 10w. Recently the original amplifier is priced
quite highly and is very difficult to find in good condition. This amp has two inputs but one
is the input for a microphone. It has just one tone knob for treble control. Therefore, it is
advisable to use this program on the G series with a flat tone setting except for the treble
parameter so that you can enjoy the characteristic sound in the lower registers and the
unique sound in the higher registers of the original Fender amp.
Fender Twin Reverb '65
EFFECT TYPE : FD CLEAN
FC
FC
In the later half of 1965, a reverb unit was added to the “Twin” amp, which was the birth of
the “Twin Reverb” model. In 1965, Fender company was sold to CBS because of Leo
Fender’s health problem. The program on this G series is modeled after the pre-CBS “Twin
Reverb” from 1965 aka “Black Panel”. This amp has four 7025 (12AX7), a 12AX7 and two
12AT7 pre-tubes, four 6L6GC power-tubes and silicon diodes for the rectifier circuit. The
diode rectifier is believed to give a tighter sound to the amplifier than the tube rectifier does,
which should be the key to the characteristic glittering sound of this “Twin Reverb”. This
guitar amplifier has two 12” loudspeakers by Jensen and pus out 80w power. On the
program in this G series, you can have the sound with the “Bright” switch on by tweaking
the “Harmonics” parameter in the “EXTRA EQ” section. When you turn the reverb effect
on, you will get that “Twin Reverb” sound you have been longing for.
PEAVEY 5150 STACK
EFFECT TYPE : PV DRIVE
Pv
Pv
The “5150” and the “5150 MkII” were very famous guitar amplifiers originally developed as
the signature models for Eddie Van Halen. Unfortunately, he doesn’t use it anymore
because of the expiration of the endorsement contract. The program on this G series is
modeled after the first version of the “5150”. This amplifier has two (Rhythm and Lead)
channels and puts out 120w power using five 12AX7 pre-tubes and four 6L6GC powertubes. The rectifier circuit employs silicon diodes. The uniqueness of the sound of this
amplifier is characterized by its sharp attack, deep and smooth tone, fine distortion and fat
and clinging low registers. The program is modeled after the combination of the Lead
channel of the 5150 head and a “5150SL”, a four-12” cabinet. Just crank up the gain and
play one of Van Halen’s hit “Top Of The World”!
Marshall JCM2000
EFFECT TYPE : MS DRIVE
MD
Md
“JCM2000” is based on the reputed “Plexi” amp (aka Old Marshall) whose rich overtones
and powerful sound were legendary. It has very flexible sound and can produce the
traditional Marshall sound, modern heavy metal sound or sounds suitable for any musical
genre. It has the modern Marshall’s standard circuit with four ECC83 pre-tubes and four
EL34 power-tubes. It is an all-tube amplifier that can produce clean or heavily distorted
sound and you can use it in all kinds of music. The sound is rather grainy but the response
is fast and the guitar sound cuts through very well. “JCM2000” series has two different
models: the TSL and the DSL. The program on the G series is modeled after the simply
designed “DSL-100”. As with the modeling of the “JCM800”, we combined the head with
a “1960A” cabinet and used the Lead channel that has more distortion.
Marshall JCM800
EFFECT TYPE : MS CRUNCH
MC
MC
Marshall has continued to produce great amplifiers for up-to-date musical trends in
cooperation with the musicians. This brand started with its “JTM- 45 (stands for Jim&Terry
Marshall)” in 1962 and now its products are indispensable items in the modern Rock scene.
Marshall seems to have been experimenting with different circuit designs of amplifiers but
1981 was the most prolific year for the brand because it released many new models like the
“1959” and “1987” with four inputs, “2203” and “2204” with master volumes. In 1983,
Marshall added the “2210” and “2205” with two (Normal and Boost) channels as well as
effect send/return connectors to its lineup. These models also carried the collective
designation “JCM (stands for Jim&Charles Marshall) 800”. They had three ECC83 pre-tubes
and four EL34 power-tubes. The tone control circuit was placed after the pre-amp section
and this design seems to have become the standard for the modern Marshall amplifiers.
For the modeling on this G series, we selected the “2203” with a master volume and it is
quite easy to get the distortion. By today’s standards, the amplifier’s distortion is rather
moderate, but the sound is very fat, the low-end is quite tight and, above all, the sound cuts
through very well. When higher gain is required, this amplifier is often combined with
overdrive or booster pedals. For the modeling, we used the head with a “1960A” cabinet
that has four 12” loudspeakers and works very well with the “2203”.
BOSS OD-1
EFFECT TYPE : OVERDRIVE
od
Od
The “OD-1” released by BOSS in 1977 was originally developed for the simulation of the
natural overdrive sound of tube amplifiers, but this stomp box turned out to be popular as
the booster unit to connect to the input of the real tube amplifier to get tighter and more
punchy sound with the increased gain. The “OD-1” employs the asymmetrical “clipper”
section in its circuit design that uses three diodes to create the overdrive sound that is mild
and rich in nuances. The pedal had been in production from 1977 to 1985, but now it is
unexpectedly difficult to even find a used one. And if you could locate one, it would be
astonishingly expensive. There have been many stomp boxes known as overdrive units. The
most famous one is probably the “Tube Screamer” but we chose this very original overdrive
pedal “OD-1”. If you are lucky enough to use the real “OD-1”, we invite you to try blind
test to turn off all of the effect module except the “OD-1” on the G series and compare the
sound of the modeling and that of the real one. We think that you will not hear any
difference.
BOSS MT-2
EFFECT TYPE : METAL ZONE
MT
Mt
The “MT-2” (“METAL ZONE”) has the strongest distortion. Its unique distortion sound has
very fat mid to low range and it has a parametric EQ in addition to the Hi and Low EQs,
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, the Strat or the 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; a truly a long-seller!
Dallas-Arbiter FUZZ FACE
EFFECT TYPE : FUZZ FACE
FF
FF
“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 is also famous as legendary
guitarist Jimi Hendrix’s favorite gear. He combined this “FUZZ FACE” with his Marshall
amps because it was hard to get distorted sound from them at that time, and created avantgarde tones. The heavy and fat low end and the fuzz sound with long sustain are the
characteristics of this effective device. The earliest model used two PNP germanium
transistors and was very different in sound from the later models using silicon transistors.
The theory of creating distorted sound is simple. Have you tried to connect the guitar to a
microphone input on your radio cassette recorder to emulate that sound? You cannot go
too wrong if you think that the circuitry of this device is similar to that. The program on this
G series is modeled after this earliest version most satisfactorily.
Marshall Guv'nor
EFFECT TYPE : GUV'NOR
GV
GV
The initial sales talk for this serious distortion pedal “Guv’nor” bearing the Marshall brand
was that you could get the distortion sound of the Marshall amps with this small stomp box.
Depending on which guitar 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. The program on this G series is modeled after
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 getting dullish. As you raise the value, the sound will get
sweeter and clearer.
MATCHLESS HOT BOX
EFFECT TYPE : HOT BOX
Hb
Hb
The “HOT BOX” was released as a pedal preamp bearing the MATCHLESS brand. It uses
two 12AX7A tubes for the truthful reproduction of the sound of the “MATCHLESS” guitar
amplifiers. It has the compressed sound and the quick response, which are distinctive
characteristics of tube amps. Its sound is fat and cuts through very well, too. Even if you
crank up the gain to get a distorted sound, you will retain the nuances of the original guitar
sound. Although it is categorized as preamp, the ideal way to get the best possible sound is
to connect it, like usual stomp boxes, to the input of your guitar amp. Its design is also
attractive: the case 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 the
“MATCHLESS” amps regardless of the guitar amplifier you connect it to.
ZOOM Extreme Distortion
EFFECT TYPE : EXTREME DISTORTION
Ed
Ed
This distortion program is developed especially for the G series. We deliberately made use
of the characteristics of digital devices and even emphasized the edge of the digital sound to
get the distortion to the maximum. The “TM-01” (Tri Metal) was the pedal that had the
deepest distortion sound among the stomp boxes from ZOOM but was discontinued. It had
as much as three diode-clipping stages and had very high gain. The “Extreme Distortion” is
programmed to get the gain even higher. It raises the signal level to the maximum at the
input stage and gets the wild distortion sound at the clipping stage. In fact, you won’t
change the distortion rate even if you lower the volume on your guitar! Its distortion is that
deep. Contrary to the usual distortion effects whose sound gets thinner as you raise the
gain, this “Extreme Distortion” won’t lose the fatness and tightness of the sound.
ZOOM Digital Fuzz
EFFECT TYPE : DIGI FUZZ
DF
dF
Forty years ago, my fellow guitar player used to crank up his amp trying to distort his guitar
sound and make other guys of the band virtually deaf at the end of the rehearsal. When it
was difficult to get the distorted sound out of the amplifiers like in those days, some guys
made cuts in the cone loudspeakers to make the sound distorted, which was the origin of
the sound of fuzz effects. The fuzz pedals were developed to reproduce that distortion-like
sound. In other words, the trick of fuzz effect is to simulate the dirty distortion and that
“broken” feel. This “Digital Fuzz” has the very effect described above. Its drastic
distortion, relentless cut-offs and noises in the decay are the characteristics that one could
simply describe as “broken”. Its fat and tight sound can be seriously recommended for the
fuzz maniacs to try. This is literally the Digital Dirty Fuzz that is only possible in the digital
domain (are you brave enough to make cuts in your loudspeakers?).
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