Operation Manual

Thank you for selecting the ZOOM G1/G1X (hereafter simply called the "G1/G1X"). Please take the time to read this manual carefully to get the most out of this product and to ensure optimum performance and reliability. Keep this manual at hand for future reference.

Contents

SAFETY PRECAUTIONS / Usage Precautions..2 Terms Used in This Manual.. 3 Controls and Functions / Connections..4 Selecting a Patch..6 Using the Tuner..8 Using the Rhythm Function.10 Editing a Patch..12 Storing/Copying Patches.14 Changing the Way Patches Are Called Up..16 Using a Foot Switch or Pedal..16
Using the foot switch (FS01) (G1 only). 16 Using the expression pedal. 17
PATCH LEVEL. 19 COMP/EFX (Compressor/EFX) module.. 19 DRIVE module. 19 EQ module.. 21 ZNR/AMP (ZNR/Amp Simulator) module.. 21 MODULATION module. 22 DELAY module.. 23 REVERB module. 24
G1/G1X Preset Pattern. 25
Restoring Factory Defaults. 25 Special Features of G1X. 26
[PEDAL ASSIGN] key operation.. 26 Adjusting the expression pedal.. 26
Effect Types and Parameters..18
Linking Effects.. 18 Explanation of symbols. 18
Specifications.. 27 Troubleshooting. 27
ZOOM Corporation Reproduction of this manual, in whole or in part, by any means, is prohibited.
SAFETY PRECAUTIONS / Usage Precautions

SAFETY PRECAUTIONS

In this manual, symbols are used 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 extremely dangerous matters. If users ignore this symbol and handle the device the wrong way, serious injury or death could result. 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. High humidity or moisture Excessive dust or sand Excessive vibration or shock
Terms Used in This Manual
This section explains some important terms that are used throughout the G1/G1X documentation.

Handling

Never place objects lled with liquids, such as vases, on Warning the G1/G1X since this can cause electric shock. Do not place naked ame sources, such as lighted candles, on the G1/G1X since this can cause re. The G1/G1X is a precision instrument. Do not exert undue pressure on the keys and other controls. Also take Caution 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.
IN COMP/EFX DRIVE Effect module

MODULATION

REVERB

Warning

Caution
Please observe the following safety tips and precautions to ensure hazard-free use of the G1/G1X.
Connecting cables and input and output jacks
You should always turn off the power to the G1/G1X 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 G1/G1X.
As shown in the illustration above, the G1/G1X 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 such as DRIVE and MODULATION, the G1/G1X also provides a module for noise reduction and amp simulation (ZNR/AMP). Parameters such as effect intensity can be adjusted for each module individually, and modules can be switched on and off.
status of each effect module, about the effect type used in each module, and about effect parameter settings. The internal memory of the G1/G1X can store up to 80 patches.

Usage Precautions

Electrical interference
For safety considerations, the G1/G1X 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 G1/G1X, as the possibility of interference cannot be ruled out entirely. With any type of digital control device, the G1/G1X included, electromagnetic interference can cause malfunctioning and can corrupt or destroy data. Care should be taken to minimize the risk of damage.

Patch

In the G1/G1X, effect module combinations are stored and called up in units referred to as patches. A patch comprises information about the on/off

[Battery operation]

Use four conventional IEC R6 (size AA) batteries (alkaline). The G1/G1X 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 uid. While using the unit, the battery compartment cover should be closed.
Operating the G1/G1X on batteries 1. Turn the G1/G1X over and open the cover 2. Insert four fresh IEC R6 3. Close the cover of the
of the battery compartment on the bottom.
G1/G1X bottom view Cover Four IEC R6 (size AA) batteries

(size AA) batteries.

Polarity is opposite for two banks of two batteries each.
battery compartment. Push the cover in until the latch audibly snaps into place.

Cleaning

Use a soft, dry cloth to clean the G1/G1X. 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 nish or damage the surface.
Use four IEC R6 (size AA) batteries When the batteries are getting low, the indication "bt" appears on the display. When operating the G1/G1X on batteries, it is advisable to disconnect the guitar cable plug from the [INPUT] jack when not using the unit, to conserve battery power.

Environment

To prevent the risk of re, electric shock or malfunction, avoid using your G1/G1X in environments where it will be exposed to:

To adjust the rhythm volume, turn the [VALUE] knob.
When you turn the [VALUE] knob, the current setting (0 30) is shown for a time on the display.

Select rhythm mode

Set the Module selector to the "RHYTHM" position.
The number of the currently selected rhythm pattern (01 40) appears on the display. You cannot switch patches or adjust the master level.

Adjust the tempo

The rhythm pattern tempo can be adjusted in the range of BPM (beats per minute).
The rhythm function can also be used in play mode. In play mode, you cannot switch the rhythm pattern or adjust the rhythm volume and tempo.
To continuously change the rhythm tempo, hit the [BANK UPTAP] key once and then turn the [VALUE] knob while the tempo value is being shown on the display. To manually specify the tempo, hit the [BANK UPTAP] key at least twice in the desired interval.
The G1/G1X automatically detects the interval in which the key is pressed the second and subsequent times, and sets the tempo accordingly (tap tempo function). While the above steps are carried out, the current tempo value (40 250) is shown for a time on the display. For values in the range from 100 to 199, a dot is shown in the bottom right corner (after the second digit). For values of 200 and above, dots are shown after the first and second digits.
Start the rhythm function
To start the rhythm function, press the RHYTHM [R/P] key.
While the rhythm is playing, the reverb effect is disabled.

Select a rhythm pattern

The G1/G1X has 40 built-in rhythm patterns. For more information on pattern contents, see page 25.
Dot is shown Dots are shown

Tempo = 120 BPM

Tempo =240 BPM
To switch rhythm patterns, press one of the [W]/[Q] foot switches in rhythm mode.
With the G1, using the foot switch (FS01) to manually adjust the tempo is also possible ( p. 16). The G1X does not support use of a foot switch.
When you press both [W]/[Q] foot switches in rhythm mode, the G1/G1X switches to the bypass/mute condition ( p. 8). The rhythm function can also be used in this condition.

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 [VALUE] knob before pressing the [STORE] key again in step.
In play mode or edit mode, press the [STORE] key.
The bank and patch number are shown on the display as a flashing indication.
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.
Press the [STORE] key once more
When the store/copy process is completed, the G1/G1X returns to the previous mode, with the target patch being selected.
Specify the store/copy target patch number
To specify the store/copy target patch number, use the [W]/[Q] foot switches.
Select the store/copy target bank
To select the store/copy target bank, use the [BANK UPTAP] key.
Only a bank of the user area (A - d) can be selected as store/copy target bank. During the store/copy process, the foot switch (FS01) cannot be used to change banks.
Using a Foot Switch or Pedal
Changing the Way Patches Are Called Up
In normal operation, changing a patch in play mode of the G1/G1X will be active immediately. This means that the sound changes straight away when you make the selection. In some cases, such as when the new patch is at a memory location not adjacent to the current one, this method may not be ideal, because the sound will change in various ways as you switch through the patches. In such a case, you may want to change the patch selection method to "pre-select". In this mode, you first select the patch to use next, and then perform an additional step to activate the patch. To change G1/G1X operation to pre-select, perform the following steps. Turn power to the G1/G1X on while holding down the [Q] foot switch. The indication "PrE-SElEct" scrolls on the display during startup.
more, the G1 detects the interval and automatically adjusts the tempo accordingly (tap tempo function).

Edit mode

Control target
DELAY module REVERB module
The foot switch has no effect. HINT
In the section "Effect Types and Parameters" (page 19 24), a pedal symbol indicates which effect type/parameter is controlled by the pedal. When a module has been selected as control target, but the effect type currently selected for that module does not have a pedal symbol, the expression pedal has no effect.
Using the expression pedal
With the G1, an expression pedal (FP01/FP02) can be connected to the [CONTROL IN] jack and used as a volume pedal or for adjusting a certain parameter of an effect type in real time. With the G1X, the built-in expression pedal can be used in the same way. The function of the expression pedal can be selected and stored individually for each patch.

In play mode, use the [W]/[Q] foot switches to specify the patch to use next. You can use the [BANK UPTAP] key or a foot switch (FS01) connected to the [CONTROL IN] jack to switch only the bank (The G1X does not support use of a foot switch.) The new bank or patch number specified by the above step flashes on the display. The sound does not change yet.
When you have specified the patch to use, press both [W]/[Q] foot switches together. The patch change is accepted, the display changes from flashing to permanently lit, and the sound changes.
Store the patch as required. The expression pedal setting is stored for that patch. Select this patch in play mode, and operate the expression pedal. The respective parameter changes when you operate the pedal (pushing the pedal down has the same effect as increasing the value of the parameter). In the bypass condition, the expression pedal always functions as volume pedal, regardless of the setting made in step 4.
To use an expression pedal with the G1, plug the FP01 or FP02 into the [CONTROL IN] jack and turn on the power. Select the patch in which to use the expression pedal.
To return the G1/G1X to the normal patch selection method, simply turn power off and then on again. The patch selection method is automatically reset to conventional operation.
Set the Module selector to a position other than "PLAY" or "RHYTHM". The G1/G1X goes into edit mode. While holding down the [RHYTHM] key, use the [VALUE] knob to select the module to control with the expression pedal. Available settings are shown below.

Display Control target

Disabled Volume COMP/EFX module DRIVE module MODULATION module
The expression pedal operates also in edit mode. With the G1X, you can also use the [PEDAL ASSIGN] key on the top panel instead of the [RHYTHM] key and [VALUE] knob to select the module to be controlled by the pedal. For details, see page 26.
The G1 is equipped with a [CONTROL IN] jack that allows connection of an optional foot switch or expression pedal. This section explains how to use this capability.
Using the foot switch (FS01) (G1 only)
Simply connect the optional foot switch (FS01) to the [CONTROL IN] jack of the G1 and turn the unit on. This allows you to switch banks and specify the tempo for rhythm patterns with the foot switch.
Depending on the currently selected mode, the foot switch operates as follows.

Play mode

OF VP WP GP MP
Pressing the foot switch selects the next higher bank.

Rhythm mode

When you press the foot switch two times or
Effect Types and Parameters

Linking Effects

The patches of the G1/G1X consist of eight serially linked effect modules, as shown in the

Effect modules COMP/EFX

Compressor Auto Wah Booster Tremolo Phaser

PATCH LEVEL

PATCH LEVEL (Prm)
Determines the overall volume level of the patch.
illustration below. You can use all effect modules together or selectively set certain modules to on or off.
the patch level Setsoutput level arein the range from 2 98, 1.0. A setting of 80 corresponds to unity gain (input level and equal).
COMP/EFX (Compressor/EFX) module
This module comprises the effects that control the level dynamics such as compressor, and modulation effects such as tremolo and phaser.
Chorus Ensemble Flanger Step Pitch Shift Ping Pong Delay
FD Clean VX Clean HW Clean US Blues BG Crunch

AMP Sim.

Delay Tape Echo Analog Delay
Hall Room Spring Arena Tiled Room

COMP/EFX (Type&Prm)

Adjusts the COMP/EFX module effect type and intensity. Compressor
C 9 This is an MXR Dynacomp type compressor. It attenuates high-level signal components and boosts
low-level signal components, to keep the overall signal level within a certain range. Higher setting values result in higher sensitivity.

Effect types

A 9 This effect varies wah in accordance with picking intensity. Higher setting values result in higher

sensitivity.

Auto Wah
* Manufacturer names and product names mentioned in this listing are trademarks or registered trademarks of their respective owners. The names are used only to illustrate sonic characteristics and do not indicate any afliation with ZOOM CORPORATION. For some effect modules, you can select an effect type from several possible choices. For example, the MODULATION module comprises Chorus, Flanger, and other effect types. The REVERB module comprises Hall, Room, and other effect types from which you can choose one.

B1 T1 P1 R1

B 9 Booster
Raises signal level and creates a dynamic sound. Higher setting values result in higher gain. This effect periodically varies the volume. Higher setting values result in faster modulation rate.

T 9 Tremolo

Phaser
P 9 This effect produces sound with a pulsating character. Higher setting values result in faster modulation R 9 This effect produces a metallic ringing sound. Higher setting values result in higher modulation

frequency.

Ring Mod (Ring Modulator)

Explanation of symbols

Module selector
The Module selector symbol shows the position of the knob at which this module/parameter is called up.

Expression pedal

A [TAP] icon in the listing indicates a parameter that can be set with the [BANK UPTAP] key.

C 9 Combination of ZNR with amp simulator that recreates the sound of a combo amp with closed-back
cabinet. The right-digit value controls ZNR sensitivity.

Combo & ZNR

Flat Clean
Zoom original at clean sound.
Smooth, bright distortion sound.
B 9 Combination of ZNR with amp simulator that recreates the sound of a bright combo amp with openback cabinet. The right-digit value controls ZNR sensitivity.

Bright Combo & ZNR

Aco.Sim
This effect makes an electric guitar sound like an acoustic guitar.
S 9 Combination of ZNR with amp simulator that recreates the sound of a stack amp cabinet. The rightdigit value controls ZNR sensitivity.

Stack & ZNR

GAIN (Prm)
Sets the DRIVE module parameters. When TYPE is set to a distortion effect type Gain
Adjusts the gain (distortion intensity) for distortion effect types.
When TYPE is set to Aco.Sim TOP
Adjusts the characteristic string tone of acoustic guitar.
* Manufacturer names and product names mentioned in this listing 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 Types and Parameters Pitch Bend Pedal Position

MODULATION module

This module comprises effects such as chorus, pitch shifter, delay, etc. For this module, the two items MODULATION and RATE can be adjusted separately.
MODULATION (Type&Prm1)
Selects the MODULATION module effect type and controls parameter 1 at the same time. Chorus
This effect mixes a variable pitch-shifted

RATE (Prm2)

Controls parameter 2 of the MODULATION module. Rate
This effect allows using the expression B 9 pedal to change the pitch in real time. Right-digit setting values select the pitch change type caused by the expression pedal (see Table 1).

Prm2=1.0

Pedal fully depressed (maximum) +1 octave +2 octaves -100 cent -2 octaves -
Sets the initial value for the pitch shift amount (the value that is active when the pedal is at rest). The original sound/effect sound level balance also changes according to the parameter 1 setting.
Pedal fully depressed (maximum)

[Table1]

Prm2=0 Type&Prm1 Pedal fully raised

(minimum)

C 9 component to the original signal, resulting
in full-bodied resonating sound. Higher right-digit setting values result in higher effect sound mixing ratio.
Adjusts the modulation rate.

Ensemble

Tape Echo

A 9 This effect simulates an analog delay with a long delay time of up to 5000 ms. The right-digit setting
values control the mixing ratio of effect sound versus original sound and the feedback amount.

Analog Delay

HPS (Harmonized Pitch Shifter)
This is an intelligent pitch shifter that H 9 automatically generates major scale harmonies according to a preset key. Higher right-digit setting values increase the mixing ratio of effect sound versus original sound.

C D E F G A B

C O Key DO F O Species the tonic for the scale used for G O pitch shifting. The "o" symbol stands for #. AO
P 9 This is a ping-pong type delay where the delay sound alternates between left and right. The right-digit
setting values control the mixing ratio of effect sound versus original sound and the feedback amount.

Ping Pong Delay

TIME (Prm2)
Controls parameter 2 of the DELAY module. This parameter is common to all effect types.
Sets the delay time. In the millisecond range, the adjustment is performed in 10-ms steps (1
99, 1.0). Above 1 second, the adjustment is performed in 100-ms steps (1.1 5.0).

Vibrato

C V 9 This is an effect with automatic vibrato.
Higher right-digit setting values emphasize the vibrato intensity.
Adjusts the vibrato rate.
Restoring Factory Defaults

REVERB module

This module contains effects that simulate various reverb sounds. For this module, the two items REVERB and DECAY can be adjusted separately.

G1/G1X Preset Pattern

# Pattern Name 8beat 1 8beat 2 8beat 3 8shuffle 16beat 1 16beat 2 16shuffle ROCK HARD METAL 1 METAL 2 THRASH PUNK DnB TimSig 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 # Pattern Name FUNK 1 FUNK 2 HIPHOP R'nR POP 1 POP 2 POP 3 DANCE 1 DANCE 2 DANCE 3 DANCE 4 3per4 6per8 5perTimSig 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 3/4 3/4 # Pattern Name 5perLATIN BALLAD 1 BALLAD 2 BLUES 1 BLUES 2 JAZZ 1 JAZZ 2 METRO 3 METRO 4 METRO 5 METRO TimSig 5/4 4/4 4/4 3/4 4/4 3/4 4/4 3/4 3/4 4/4 5/4

REVERB (Type&Prm1)

Selects the REVERB module effect type and controls parameter 1 at the same time.

H1 R1 S1 A1 T1

H 9 This reverb effect simulates the acoustics of a concert hall. Higher right-digit setting values increase
the mixing ratio of effect sound versus original sound.
R 9 This reverb effect simulates the acoustics of a room. Higher right-digit setting values increase the
mixing ratio of effect sound versus original sound.
S 9 This effect simulates a spring-type reverb. Higher right-digit setting values increase the mixing ratio of
effect sound versus original sound.

Spring

A 9 This reverb effect simulates the acoustics of a large venue such as a sports arena. Higher right-digit
setting values increase the mixing ratio of effect sound versus original sound.
T 9 This reverb effect simulates the acoustics of a tiled room. Higher right-digit setting values increase the

Tiled Room

DECAY (Prm2)
Controls parameter 2 of the REVERB module. This parameter is common to all effect types.
Adjusts the decay duration.
In the factory default condition, the patches of the user area (A0 d9) of the G1/G1X 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).
Turn the G1/G1X on while holding down the [STORE] key. The indication "AL" appears on the display.
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. 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.
To carry out the All Initialize function, press the [STORE] key once more.

Special Features of G1X

This section explains features and operating steps that are unique to the G1X. Effect types Effect modules Patch memory

Specifications

54 max. 8 simultaneous modules User area: 10 patches x 4 banks = 40 Preset area: 10 patches x 4 banks = 40 Total 80 patches 96 kHz 24 bit, 128 times oversampling 24 bit, 128 times oversampling 32 bit 20 Hz 40 kHz +1.0 dB -4.0 dB (10-kilohm load) 2-digit 7-segment LED Standard mono phone jack -20 dBm 470 kilohms Standard stereo phone jack (doubles as line/headphone jack) Line +3 dBm (output load impedance of 10 kilohms or more) Phones 20 mW + 20 mW (into 32-ohm load) For FP02/FP01 or FS01 (G1 only) 9 V DC, 300 mA (center minus plug) (ZOOM AD-0006) G1/G1X Four IEC R6 (size AA) batteries, approx. 12 hours continuous operation (alkaline batteries) Gmm (D) x 136 mm (W) x 52 mm (H) G1X 155 mm (D) x 234 mm (W) x 52 mm (H) Gg (without batteries) G1X 600 g (without batteries) Expression pedal FP01/FP02 or Foot switch FS01 (G1 only)
[PEDAL ASSIGN] key operation
The top panel of the G1X has a [PEDAL ASSIGN] key. Besides the method described on page 17, the module to be controlled by the pedal can be selected with this key.
Adjusting the expression pedal
The expression pedal of the G1X can be readjusted as necessary. If the effect change seems insufficient when pushing the pedal down, or if the volume or tone changes excessively even when the pedal is only lightly pushed, adjust the pedal as follows. Sampling frequency A/D converter D/A converter Signal processing Frequency response Display Input Rated input level Input impedance Output Maximum output level
1. In play mode or edit mode, press the
[PEDAL ASSIGN] key to select the control target module. The module currently selected as control target is indicated by the row of LEDs above the [PEDAL ASSIGN] key.

All out

Pedal is inactive Volume COMP/EFX module DRIVE module MODULATION module DELAY module REVERB module
Hold down the [PEDAL ASSIGN] key while turning power to the G1X on. The indication "dn" appears on the display. Fully raise the expression pedal and press the [STORE] key. The indication "UP" appears on the display. Push the expression pedal fully down and release it.
Control input Power requirements AC adapter Batteries Dimensions Weight Options

Aggressive screaming sound modeled on the Peavey 5150. Pushing the pedal down shifts the pitch upwards by up to one PV Drive octave, heightening the aggressive character even more. A combination of Hiwatt Custom 100 simulation and Ensemble gives a spacious, beautiful sound with a clear presence. Great HW Clean for cutting and arpeggio. Bluesy drive sound that faithfully brings out picking nuances. Pushing the pedal down gives that hot drive feeling ideal for US Blues guitar solos. Clean sound with a dash of Phaser. Try it and lead your band with some groovy cutting.
Automat Good Vibe Wah Lead Duet in G Jetter Aco.Sim Hot Box AC30TBX 5150 TwinReverb
Combination of Marshall 1959 and Auto Wah results in bold auto wah sound with a distinctive touch, great for a wide range of Auto Wah extravagant effects. Clean sound with a shimmering blend of Tremolo and Vibrato. Deep reverb creates a fantastic universe of sound.
Michael Schenker style half-closed wah pedal sound. By pushing the pedal down, you can get dynamic wah in the fashion of Guv'nor Zakk Wylde. Flamboyant lead tone based on a combination of HPS (Harmonized Pitch Shifter) and Lead. Moving the pedal controls the HPS Lead mixing ratio. Typical Flanger jet sound. Play the low-end strings, and make a jet plane take off from your amp. Experience the king of hard Flanger rock sounds. Turn your guitar into an acoustic instrument at the touch of a key. Even if heavy rock is your thing, why not try that gorgeous Aco.Sim acoustic tone once in a while. This sound is modeled on the Matchless foot type preamp. The supple tone with rich harmonics will make you want to go on Hot Box playing for ever. This sound is modeled on the VOX AC30TBX. Class A drive ensures excellent response and yields a clean tone. That realistic VX Clean feeling of chords pouring out of the speakers is hard to get with any other amp. Many guitarists love the Peavey 5150 for its distinct and detailed distortion even at high gain. Power chords, speedy riffs, PV Drive technical solos all will benefit from this high-gain sound. Typical surf rock sound of the Fender TwinReverb ('65 model), with Tremolo and Reverb creating that pulsating tone. Ride the FD Clean surf on a cascade of phrases. This original ZOOM creation features ultra-powerful distortion, for aggressive metal sound that will set your spirit on fire.

ARTIST

Kurt Clean ZZ Drive Rage Riff Angus Lead El Rayo Clean Anthem Who Bleed Steve Lukather Joe Walsh MilkyWay
Nirvana's much missed genius, Kurt Cobain loved this clean sound with its interweaving modulation, as can be heard for Chorus example on "Come As You Are". The hot crunch sound of Billy F. Gibbons from the hard Boogie band ZZ Top. Sling your guitar low and try the patch for BG Crunch intense backing or slide play. This patch simulates the heavy drive sound of Rage Against The Machine guitarist Tom Morello. Operate the pedal to get that BG Drive tricky "octave-up sound". Straight rock sound as played by Angus Young of AC/DC. Combination of Marshall 1959 simulation and Delay produces a MS #1959 rugged tone that still blends well with an ensemble. David Lindley, guitarist of the band El Rayo-X uses this clean chorus sound. Great for reggae rhythms or arpeggios. Lindley FD Clean prefers lipstick type pickups, but this patch will also work fine with single-coils or humbuckers. Vintage rock ballad sound a la Pearl Jam. Whether chord stroke with a stack amp or playing lead with front-mounted pickups, MS #1959 this tone will give a great match. Clean sound with superb rock feel in the vein of Pete Townshend of the Who. It's bound to get you excited, but better not smash HW Clean up your guitar and amps. TOTO's super guitarist Steve Lukather is famous for this lead drive sound which is effective yet smooth.
The Eagles guitarist Joe Walsh introduced this crunch sound characterized by prominent phaser in "Hotel California". Go for it Phaser and recreate a seminal moment in rock. Ping Pong Delay and Phaser produce a sparkling clean sound. Freely control the delay mix with the pedal. Try it with tension Phaser chords and arpeggios. This patch simulates the sound of a dulcimer which is regarded as one of the ancestors of the piano. The pedal lets you adjust Pitch Shift the pitch shift mixing ratio. Combination of Tremolo and Step creates a dramatic pulsating sound that makes even simple guitar phrases stand out from the Step crowd. Freely tailor the Step Rate with the pedal, for enhanced effectiveness.

Shimmer TremoStep

The preset area of banks 0 - 3 contains the same patches as A - d.
The ZNR value may need to be adjusted depending on the guitar and amplier.
Manufacturer names and product names mentioned in this patch list are trademarks or registered trademarks of their respective owners. These names as well as artist's names are used only to illustrate sonic characteristics and do not indicate any afliation with ZOOM CORPORATION. G1/G1X-PatchList-E-1

Combination of Marshall 1959 and Auto Wah results in bold auto wah sound with a distinctive touch, great for a wide range of Auto Wah extravagant effects. Clean sound with a shimmering blend of Tremolo and Vibrato. Deep reverb creates a fantastic universe of sound.
Michael Schenker style half-closed wah pedal sound. By pushing the pedal down, you can get dynamic wah in the fashion of Guv'nor Zakk Wylde. Flamboyant lead tone based on a combination of HPS (Harmonized Pitch Shifter) and Lead. Moving the pedal controls the HPS Lead mixing ratio. Typical Flanger jet sound. Play the low-end strings, and make a jet plane take off from your amp. Experience the king of hard Flanger rock sounds. Turn your guitar into an acoustic instrument at the touch of a key. Even if heavy rock is your thing, why not try that gorgeous Aco.Sim acoustic tone once in a while. This sound is modeled on the Matchless foot type preamp. The supple tone with rich harmonics will make you want to go on Hot Box playing for ever. This sound is modeled on the VOX AC30TBX. Class A drive ensures excellent response and yields a clean tone. That realistic VX Clean feeling of chords pouring out of the speakers is hard to get with any other amp. Many guitarists love the Peavey 5150 for its distinct and detailed distortion even at high gain. Power chords, speedy riffs, PV Drive technical solos all will benefit from this high-gain sound. Typical surf rock sound of the Fender TwinReverb ('65 model), with Tremolo and Reverb creating that pulsating tone. Ride the FD Clean surf on a cascade of phrases. This original ZOOM creation features ultra-powerful distortion, for aggressive metal sound that will set your spirit on fire.

4 b 3 C 4 d 7

ExtremeDS RAT Fuzz Face OD-1 DIEZEL MARKIII Page Crunch Beck Oct Cream Drive Breathe Van Ampen Adrian Kirk Lead Santana
Simulation of the PROCO RAT famous for its edgy distortion sound. First made popular by Jeff Beck in the late seventies, this RAT effect is behind a lot of rock sounds out there. Powerful distortion that stays well defined. This patch is modeled on the Fuzz Face that made rock history with its wild yet smooth sound. A favorite of many great Fuzz Face guitarists. Simulation of the Boss OD-1 that produces natural, rich overdrive. Enjoy its great sound without having to pay a premium price Overdrive for a vintage unit on the second-hand market. Simulation of the Diezel Herbert amp that is creating a new standard for loud music. Make your sound hit as hard as never DZ Drive before. This patch is modeled on the Mesa Boogie Mark III, an amp noted for its powerful midrange suitable for many genres. BG Crunch Particularly good for playing fusion phrases on a hollow-body guitar. The simple Marshall drive sound used by Jimmy Page of early Led Zeppelin. Use a Telecaster or Les Paul and recreate "Good MS #1959 Times Bad Times". Jeff Beck's favorite drive tone with a one-octave lower component. Try it out and hear yourself irresistibly drawn towards Mono Pitch playing "Led Boots". This patch is modeled on "Crossroads" by the Cream which features one of the greatest rock solos ever. Ideal crunch tone for Hot Box playing blues rock with a single-coil pickup or a humbucker. From Pink Floyd's 1973 smash album Dark Side of The Moon, we have selected the song "Breathe". The fat Clean + Ensemble Ensemble sound faithfully reproduces what David Gilmour did at the time. Signature tone of Eddie Van Halen, the revolutionary of the guitar world. Use it to play phrases full of technical ideas.

Unique lead sound as created by Adrian Belew in his song "Big Electric Cat". The addition of high octaves to the original sound Slow Attack is the expression of a distinctive sonic outlook. This mysterious sound matches any guitar. High gain sound as employed by Metallica's Kirk Hammett in the ending solo of their hit song "One". Shake your hair, get wild ExtremeDS and emotional, and let fly with your own performance. Passionate crunch sound played by Carlos Santana. Choking up with soul is what it's all about.

ARTIST

Kurt Clean ZZ Drive Rage Riff Angus Lead El Rayo Clean Anthem Who Bleed Steve Lukather Joe Walsh MilkyWay
Nirvana's much missed genius, Kurt Cobain loved this clean sound with its interweaving modulation, as can be heard for Chorus example on "Come As You Are". The hot crunch sound of Billy F. Gibbons from the hard Boogie band ZZ Top. Sling your guitar low and try the patch for BG Crunch intense backing or slide play. This patch simulates the heavy drive sound of Rage Against The Machine guitarist Tom Morello. Operate the pedal to get that BG Drive tricky "octave-up sound". Straight rock sound as played by Angus Young of AC/DC. Combination of Marshall 1959 simulation and Delay produces a MS #1959 rugged tone that still blends well with an ensemble. David Lindley, guitarist of the band El Rayo-X uses this clean chorus sound. Great for reggae rhythms or arpeggios. Lindley FD Clean prefers lipstick type pickups, but this patch will also work fine with single-coils or humbuckers. Vintage rock ballad sound a la Pearl Jam. Whether chord stroke with a stack amp or playing lead with front-mounted pickups, MS #1959 this tone will give a great match. Clean sound with superb rock feel in the vein of Pete Townshend of the Who. It's bound to get you excited, but better not smash HW Clean up your guitar and amps. TOTO's super guitarist Steve Lukather is famous for this lead drive sound which is effective yet smooth.
The Eagles guitarist Joe Walsh introduced this crunch sound characterized by prominent phaser in "Hotel California". Go for it Phaser and recreate a seminal moment in rock. Ping Pong Delay and Phaser produce a sparkling clean sound. Freely control the delay mix with the pedal. Try it with tension Phaser chords and arpeggios. This patch simulates the sound of a dulcimer which is regarded as one of the ancestors of the piano. The pedal lets you adjust Pitch Shift the pitch shift mixing ratio. Combination of Tremolo and Step creates a dramatic pulsating sound that makes even simple guitar phrases stand out from the Step crowd. Freely tailor the Step Rate with the pedal, for enhanced effectiveness.

Shimmer TremoStep

The preset area of banks 0 - 3 contains the same patches as A - d.
The ZNR value may need to be adjusted depending on the guitar and amplier.
Manufacturer names and product names mentioned in this patch list are trademarks or registered trademarks of their respective owners. These names as well as artist's names are used only to illustrate sonic characteristics and do not indicate any afliation with ZOOM CORPORATION. G1/G1X-PatchList-E-1