Zoom G1X, size: 1.5 MB
Zoom G1X Supplemental Manual
Zoom G1XN Supplemental Manual
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Zoom G1X manual (user guide) is ready to download for free.
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User reviews and opinions
|dtsig||10:11am on Thursday, October 7th, 2010|
|Great Way to Experiment with Effects The Zoom G1x guitar effects pedal include practically every standard guitar effect you could want.|
|Jannis6622||12:48pm on Thursday, August 26th, 2010|
|an invaluable piece of technology for the guitarist. i used to own zooms earlier version of this pedal & it was amazing then!|
|drahnier||6:23am on Saturday, April 24th, 2010|
|I have been playing the guitar for around about 4 years now, and have owned several guitar effects pedals, this one although very good.|
|Alfonso||8:55am on Friday, April 2nd, 2010|
|an invaluable piece of technology for the guitarist. i used to own zooms earlier version of this pedal & it was amazing then!|
Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.
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
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.
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.
To prevent the risk of re, electric shock or malfunction, avoid using your G1/G1X in environments where it will be exposed to:
Extreme temperatures Heat sources such as radiators or stoves
Please keep this manual in a convenient place for future reference.
Press latch to release and then lift the cover.
Controls and Functions / Connections
This section describes the names and functions of all parts of the G1 and G1X. Functions that are special to the G1X are explained on page 26. Please also refer to that section.
This knob allows changing the level of effect parameters or of the overall patch.
Switches between play mode, edit mode, and rhythm mode. In edit mode, the knob selects the module for operation.
Top Panel (G1X)
Expression pedal (G1X only)
Can be used as a volume pedal or as a real-time controller for effect parameters. (For details, see page 26.)
Serves for storing edited patches in memory.
RHYTHM [R/P] key
In play mode and rhythm mode, this key serves to start and stop the rhythm pattern. In edit mode, the key serves to select the module to control with the pedal.
[PEDAL ASSIGN] key (G1X only)
Serves to select the module to assign to the built-in expression pedal.
Shows patch numbers, setting values, and other information for operating the G1/G1X.
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.
[BANK UPTAP] key
In play mode, the key switches to the next higher bank. In other modes, the key lets you manually specify the rhythm pattern tempo and other parameters related to timing and cycle.
[W]/[Q] foot switches
These switches are used for selecting patches, controlling the tuner, and other functions.
Rear Panel (G1)
Differences between G1X and G1
G1X special features that differ from G1: Equipped with expression pedal as standard feature ( p. 26) [PEDAL ASSIGN] key on top panel allows selection of module to be controlled with expression pedal ( p. 26) No [CONTROL IN] jack on rear panel; optional foot switch (FS01) or expression pedal (FP01/FP02) cannot be used.
Serves for connecting the guitar. When operating the G1/G1X on batteries, inserting the guitar cable plug into this jack will turn the unit on.
This stereo phone jack serves for connection to the guitar amplifier. 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.
[DC IN] 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.
[CONTROL IN] jack (G1 only)
FS01 Guitar amplifiers FP01/FP02
Serves for connection of the optional foot switch (FS01) or expression pedal (FP01/FP02).
Selecting a Patch
To try out the various effects of the G1/G1X, we recommend that you simply play your instrument while switching patches.
Turn power on
When using the G1/G1X on batteries, plug a shielded cable with mono phone plug into the [INPUT] jack on the rear panel of the G1/G1X. When using the G1/G1X with the AC adapter, plug the adapter into the outlet and plug the cable from the adapter into the [DC IN] jack on the G1/G1X. Turn the guitar amplifier on and adjust the volume to a suitable position.
Adjust the master level
To adjust the master level in play mode, you can use the [VALUE] knob.
When you turn the [VALUE] knob, the master level setting is shown for a time on the display.
The master level setting range is 0 98, 1.0. It will be reset to 80 when the unit is turned off and then on again.
Set the G1/G1X to play mode
If the Module selector is set to a position other than "PLAY", set it to "PLAY".
The currently selected bank and patch number are shown on the display.
When using headphones, this knob adjusts the listening volume.
Bank name Patch number
Immediately after turning the G1/G1X 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.
Pressing the [W] foot switch calls up the next lower patch, and pressing the [Q] foot switch calls up the next higher patch. Repeatedly pressing one foot switch cycles through patches in the order A0 A9. d0 d09. A0, or the reverse order.
Directly selecting a bank
To select the banks A - d, 0 - 3 directly, use the [BANK UPTAP] key.
Each push of the key switches to the next higher bank.
With the G1, using the foot switch (FS01) to switch banks is also possible ( p. 16).
Using the Tuner
The G1/G1X 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 G1/G1X tuner.
Turn the [VALUE] knob.
Switch to bypass or mute
Setting the G1/G1X to the bypass state
In play mode or rhythm mode ( p. 10), press both [W]/[Q] foot switches together briefly and release.
When you turn the [VALUE] knob in the bypass/mute condition, the current reference pitch is shown for a time on the display. The default setting is 40 (center A = 440 Hz).
While the reference pitch is shown, turn the [VALUE] knob to adjust the value in the range from 35 - 45 (center A = 435 to 445 Hz).
Setting the G1/G1X to the mute state
In play mode or rhythm mode ( p. 10), press both [W]/[Q] foot switches together and hold for at least 1 second.
The bypass or mute condition cannot be activated when the unit is in edit mode.
Patch change at bypass/mute
When you press both [Q]/[W] foot switches together while playing your instrument, the sound may change momentarily just before the bypass/mute condition is activated. This is because the G1/G1X 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 behavior is not a defect. It is due to the very high speed at which the G1/G1X 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.
Shortly after you release the [VALUE] knob, the display indication will revert to the previous condition.
When you turn the G1/G1X off and on again, the reference pitch setting will be reset to 40 (center A = 440 Hz).
Return to play mode
Press one of the [W]/[Q] foot switches.
Tune your instrument
Play the open string to tune, and adjust the pitch.
The right side of the display shows a symbol that indicates by how much the tuning is off.
Pitch is high
Pitch is correct Pitch is low
Tune the other strings in the same way.
Indication turns faster the more the pitch is off
The left side of the display shows the note which is closest to the current pitch.
Using the Rhythm Function
Adjust the rhythm volume
The G1/G1X has a built-in rhythm function that plays realistic drum sounds in various patterns. The rhythm function is available in play mode and in rhythm mode. This section describes how to use the function in rhythm mode.
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.
Stop the rhythm
To stop the rhythm, press the RHYTHM [R/P] key.
The G1/G1X returns to the previous condition.
Editing a Patch
The patches of the G1/G1X can be freely edited by changing the effect parameter settings. Try editing the currently selected patch to create your own sound.
Change the setting
Use the [VALUE] knob to change the effect type and parameter as shown on the display.
When the effect type and/or parameter setting has been changed, a dot (.) appears in the bottom right of the display. This indicates that a setting has been changed.
Select the effect module/ parameter
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).
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.
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
Delay Tape Echo Analog Delay
Hall Room Spring Arena Tiled Room
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.
A 9 This effect varies wah in accordance with picking intensity. Higher setting values result in higher
* 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
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
Ring Mod (Ring Modulator)
Explanation of symbols
The Module selector symbol shows the position of the knob at which this module/parameter is called up.
A [TAP] icon in the listing indicates a parameter that can be set with the [BANK UPTAP] key.
S1 V1 1
S 9 This effect reduces the attack rate of each individual note, producing a violin playing style sound.
Higher setting values result in slower attack times.
-1 octave + original sound +1 octave + original sound -700 cent + original sound +500 cent + original sound Detune + original sound Doubling -(0Hz) + original sound +1 octave + original sound
F 9 strongly undulating sound. Higher rightdigit setting values emphasize the characteristics of the effect.
This effect produces a resonating and
This is a delay with a maximum setting of D ms. Higher right-digit setting values increase the mixing ratio of effect sound versus original sound and the feedback amount.
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 2.0).
This module comprises various delay effects. For this module, the two items DELAY and TIME can be adjusted separately.
S 9 staircase pattern. Higher right-digit setting
values emphasize the characteristics of the effect.
Special effect that changes the sound in a
2 This effect shifts the pitch of the original P 9 sound up or down. Higher right-digit DT setting values increase the mixing ratio of 1 effect sound versus original sound. 24 Mono Pitch
This is a monophonic pitch shifter (for M 9 single-note playing) with reduced utter. Higher right-digit setting values increase the mixing ratio of effect sound versus original sound.
1 Shift 12
Sets the pitch shift amount in semitones. "dt" results in a detune effect.
Selects the DELAY module effect type and controls parameter 1 at the same time.
D1 T1 A1
D 9 This is a delay with a maximum setting of 5000 ms. The right-digit setting values control the mixing
ratio of effect sound versus original sound and the feedback amount.
T 9 This effect simulates a tape echo 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.
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.
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.
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.
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
Store the patch as required.
In play mode, select the patch and operate the expression pedal. The respective parameter changes in real time. To toggle the module assigned to the pedal between on and off, briefly push the pedal fully down. When the module is off, the respective LED above the [PEDAL ASSIGN] key flashes. This function can also be used in edit mode.
Push strongly, so that pedal touches here
When foot is lifted, pedal returns slightly
Press the [STORE] key once more. The adjustment is complete, and the unit returns to the play mode. If the indication "Er" is shown, repeat the procedure from step 2.
High level of noise
Refer to "Turn power on" on page 6. Reverb effect does not operate While a rhythm pattern is playing, the reverb effect is not available. Stop the rhythm pattern first ( p. 11). Patches cannot be switched Has the method for calling up patches been changed to "pre-select" ( p. 16)? Turn power off and then on again to reset the unit to
Is ZOOM AC adapter being used? Be sure to use only an adapter for 9 V DC, 300 mA with center minus plug (ZOOM AD-0006). Battery life is short Are manganese batteries being used? Continuous operation time is 12 hours with alkaline batteries.
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 CORPORATION ITOHPIA Iwamotocho 2chome Bldg. 2F, 2-11-2, Iwamoto-cho, Chiyoda-ku, Tokyo 101-0032, Japan Web Site: http://www.zoom.co.jp G1/G1X - 5000-3
G1/G1X Patch List
Scream Lead Mercury Hot Blues Multi Phaser
Main effect Pedal Assign
Pitch Bend VOLUME DRIVE GAIN Phaser Rate VOLUME DELAY Mix Vox Wah HPS Mix VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME Pitch Bend VOLUME VOLUME VOLUME VOLUME VOLUME VOLUME DELAY Mix Pitch Shift Step Rate
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.
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.
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.
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