EXTRA EQ/CABI&MIC. Zoom G2.1u

Types et paramètres d’effet

CONTROL

Module CONTROL

Sert aux réglages de pédale et vous permet de contrôler la fonction de la pédale commutateur et le réglage du niveau général s’appliquant à tous les patches.

RTM DESTINATION

Voir Tableau 4

Sélectionne le module de destination de la modulation qui est piloté par la pédale d’expression intégrée (voir Tableau 4).

Tableau 4

Réglage oF

VL

Destination de modulation

OFF

Volume

WU, Wd, WH, WL Module WAH/EFX (*)

GU, Gd, GH, GL Module DRIVE (*)

MU, Md, MH, ML Module MOD/SFX (*) dU, dd, dH, dL Module DELAY (*) rU, rd, rH, rL Module REVERB (*)

FS

Voir Tableau 5

Quand une pédale commutateur (FS01) est branchée à la prise [CONTROL IN], ce paramètre sélectionne la fonction pilotée par la pédale (voir Tableau 5). La fonction sélectionnée ici s’applique à tous les patches.

Tableau 5

Réglage bP tP bU rH dH dM

MASTER LEVEL

Règle le niveau général pour tous les patches.

Fonction

Bypass/Mute

Tap tempo

Banque supérieure

Rythmique on/off

Maintien (hold) du delay

Coupure (mute) du delay

0 – 98, 1.0

Le fonctionnement des modules marqués d’un (*) change comme suit, en fonction de la lettre de droite.

U

UP

Le paramètre est au minimum quand la pédale est totalement relevée et au maximum quand la pédale est totalement enfoncée.

D

DOWN

Le paramètre est au maximum quand la pédale est totalement relevée et au minimum quand la pédale est totalement enfoncée.

H

HIGH

Quand la pédale est totalement relevée, le paramètre a la valeur réglée dans le patch. Quand la pédale est totalement enfoncée, le paramètre est au maximum.

L

LOW

Quand la pédale est totalement relevée, le paramètre est au minimum. Quand elle est totalement enfoncée, le paramètre a la valeur réglée dans le patch.

"UP"

Valeur maximale

Valeur minimale

"DOWN"

Valeur maximale

Valeur minimale

"HIGH"

Valeur maximale

Valeur réglée dans le patch

"LOW"

Valeur réglée dans le patch

Valeur minimale

34 ZOOM G2.1u

Caractéristiques techniques

Types d’effet

Modules d’effet

Patches

54

Maximum de 9 modules simultanés

Zone utilisateur: 10 patches x 4 banques

Zone preset: 10 patches x 4 banques

Fréquence d’échantillonnage 96 kHz

Convertisseur A/N 24 bits, suréchantillonnage 64 fois

Convertisseur N/A

Traitement du signal

24 bits, suréchantillonnage 128 fois

Réponse en fréquence

Afficheur

32 bits

20 Hz – 40 kHz +1 dB -3 dB (sous une charge de 10 k

Ω

)

DEL 2 chiffres 7 segments

Diodes témoins de paramètres, diodes d’assignation de pédale

Entrée Jack 6,35 mm mono standard

Niveau d’entrée nominal

Impédance d’entrée

-20 dBm

1 méga

Ω

Sortie Jack 6,35 mm stéréo standard (à la fois pour ligne et casque)

Niveau de sortie maximal Ligne: +5 dBm (impédance de charge en sortie 10 k

Ω

ou plus)

Casque: 20 mW + 20 mW (sous charge de 32

Ω

)

Entrée de commande Pour FP01, FP02/FS01

Interface USB

Interface PC:

Fréq. d’échantillonnage:

Alimentation électrique

Adaptateur secteur

16 bits (configuration stéréo pour enregistrement/reproduction)

32 kHz; 44,1 kHz; 48 kHz

CC 9 V, 300 mA (moins sur fiche centrale) (AD-0006 ZOOM)

Piles

Dimensions

Poids

Options

Quatre piles R6 (taille AA) IEC,

Environ 7,5 heures de fonctionnement continu (piles alcalines)

165 mm (P) x 255 mm (L) x 79 mm (H)

1100 g (sans les piles)

Pédale d’expression FP02/ Pédale commutateur FS01

• 0 dBm = 0,775 Vrms

• Aspect et caractéristiques sont sujets à changement sans préavis .

Guide de dépannage

● Pas d’alimentation

Référez-vous à "Mise sous tension" en page 8.

● L’effet reverb ne fonctionne pas

Quand un pattern rythmique est reproduit, l’effet reverb n’est pas disponible. Stoppez d’abord le pattern rythmique (

→

p. 12).

● Haut niveau de bruit

L’adaptateur secteur ZOOM est-il utilisé? Veillez à n’utiliser qu’un adaptateur CC 9V, 300 mA avec le moins sur la broche centrale (AD-0006 ZOOM).

● L’autonomie des piles est faible

Utilisez-vous des piles au manganèse? L’emploi de piles alcalines est recommandé.

ZOOM G2.1u

35

Patterns pré-programmés (presets) de la G2.1u

N° Nom du pattern

Format de mesure

3

4

5

1

2

6

7

8beat_1

8beat_2

8beat_3

8shufle

16beat_1

16beat_2

16shufle

8

9

ROCK

HARD

10 METAL_1

11 METAL_2

12 THRASH

13 PUNK

14 DnB

15 FUNK_1

16 FUNK_2

17 HIPHOP

18 R'nR

19 POP_1

20 POP_2

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

4/4

N° Nom du pattern

Format de mesure

21 POP_3

22 DANCE_1

23 DANCE_2

24 DANCE_3

25 DANCE_4

26 3per4

27 6per8

28 5per4_1

29 5per4_2

30 LATIN

31 BALLAD_1

32 BALLAD_2

33 BLUES_1

34 BLUES_2

35 JAZZ_1

36 JAZZ_2

37 METRO_3

38 METRO_4

39 METRO_5

40 METRO

3/4

4/4

3/4

4/4

3/4

3/4

4/4

5/4

4/4

4/4

4/4

4/4

4/4

3/4

3/4

5/4

5/4

4/4

4/4

ZOOM CORPORATION

ITOHPIA Iwamotocho 2chome Bldg. 2F, 2-11-2, Iwamoto-cho,

Chiyoda-ku, Tokyo 101-0032, Japan

Site web: http://www.zoom.co.jp

G2.1u - 5003-1

ダイレクト

セッティング

G2.1u Patch List

Please use patches "for Live" when you use guitar amp, and use patches "for Recording"  when you connect your guitar directly to a recorder.

Name of patches for Live for Recording

RECTIFYING

A0

A1

A2

A7

LUSH LIFE

The Pie

SynthDaze

A3 C3

FENDER CLEAN

A4

A5

SANTANA

FUNK PLANET II

A6 C6

NUANCE DRIVE

C MAJOR HARMONY

A8 C8

ACOUSTIK

A9

B0

POWERED BY

C9 d0

BREATH YOU TAKE

B1 d1

B2

ORANGE CRUSH

B3

B4

B5

Mr. Fripp

AC CLEAN

BIG WALL

C0

C1

C2

C4

C5

C7 d2 d3 d4 d5

Descriptions Key effect Pedal setting

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)

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.

We have already started to call the sound of this 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)

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)

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. When you foot down the expression pedal and with the EFX module switched on, you can add a 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.

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 DRIVE

CHORUS

MS

CRUNCH

METAL

ZONE

FENDER

CLEAN

BG

CRUNCH

VOLUME

VOLUME

DRIVE

GAIN

WAH

FREQ

TREMOLO

RATE

WAH

FREQ

This patch is suitable for funky chording, and using the pedal-wah effect. We have arranged a clean sound which can be used for not only funk music but also any music style. You can create a funky groove by using brushing or single note cutting.

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 using expression pedal will enable the guitar players to adapt to virtually any musical situation.

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.

PHASER

OD1

PV DRIVE

With this patch selected, your electric guitar will start to sound like an acoustic electric guitar. You can use rich chorus sound when you foot down the expression pedal. 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.

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)

ACOUSTIC

SIM

PV DRIVE

This patch provides you with a clean sound with effective use of the compressor. Also with the delay effect set to synchronize with the 8th notes, you will get Andy Summers' signature sound for arpeggios. You can control delay mix by expression pedal. Referenced album: “Synchronicity” by the Police (1983)

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)

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)

JC CLEAN

FUZZ

FACE

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

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. In addition, you can create a pedal pitch effect that bends down 2 octaves.

BG DRIVE

WAH

FREQ

ST CHORUS

MIX

HPS

MIX

ST CHORUS

MIX

VOLUME

DELAY

MIX

DRIVE

GAIN

FLANGER

RATE

VOLUME

PEDAL PITCH

2oct DOWN

B6

B7

B9

VibroCrunch

1984 d6 d7

The SPY who loved me (or Spagetti Western)

B8 d8

HEAD LONG d9

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)

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. When you foot down the expression pedal and get the long delay effect on, it makes the best lead sound.

Referenced album: “1984” by Van Halen (1984)

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.

VIBRATO

MS DRIVE

FENDER

CLEAN

STEP

VIBRATO

RATE

DELAY(OFF)

MIX

SPRING

MIX

STEP

RATE

Setting recommendation on popular guitar amps

Marshall JCM-2000

In case of patches for Live （A0〜A9、b0〜b9 ）

EQUALISATION

4 6 OFF

DEEP

2

0

0 10

PRESEMCE

8 2

4 6

2

0 10

TREBLE

8

4 6 4

2

5

2 8

0

MIDDLE

10 0

2

REVERB CLASSIC GAIN

/ CHANNEL A

6 4 6 6 OFF 4

4

8 8 2 2 8 8 2

10 0 0 10 10 0

CHANNEL B CHANNEL

READ 1

READ 2

6

2 8

4 6

8

OFF

10 0 10

VOLUME

CLEAN

CRUNCH

2

4 6

2

0

GAIN

10

8

INPUT

In case of patches for Recording （C0〜C9、d0〜d9 ）

EQUALISATION REVERB

4 6

OFF

2

0

0 10

DEEP

PRESEMCE

8

4 6

2

0

0

TREBLE

10

8 2

4 6

1

0 10

MIDDLE

2 8

0

4

2

5

8

6

8 2 2

4 6

8

6

8

OFF

4

2

10 0 0 10 10

BASS GAIN

READ 1

READ 2

0

CLASSIC GAIN

/ CHANNEL A

6

2 8

4 6

8

OFF

10 0 10

VOLUME

CLEAN

CRUNCH

2

4 6

2

0

GAIN

10

8

INPUT

Fender TWIN Reverb

In case of patches for Live （A0〜A9、b0〜b9 ）

1 2

NORMAL

BRIGHT

OFF

6

5

4 3

2

8 9 10

VOLUME

9 8

10

8.5

7

6

TREBLE

9

7

6

10

5 4

3

5

1

MIDDLE

9

7

6

10

5 4

3

5

1

BASS

In case of patches for Recording （C0〜C9、d0〜d9 ）

1 2

NORMAL

BRIGHT

OFF

6

5

8 9 10

4 3

2

VOLUME

7

9

5 4

6

4.5

10

3

2

TREBLE

9

7

6

5

5

10

4

3

MIDDLE

1

9

7

6

10

5 4

3

5

1

BASS

Roland JC-120

In case of patches for Live （A0〜A9、b0〜b9 ）

HIGH

BRI VOLUME

5

CHANNEL-1

TREBLE

5

MIDDLE

5

LOW

OFF

0 10 0 10 0 10

BASS

5

0 10

In case of patches for Recording （C0〜C9、d0〜d9 ）

HIGH

BRI VOLUME

5

CHANNEL-1

TREBLE

5

MIDDLE

5

BASS

5

LOW

OFF

0 10 0 10 0 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.