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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.

Introduction for newly developed effects

Fender TWIN Reverb

Marshall JCM-2000

Roland JC-120

Setting recommendation on popular guitar amps

In case of patches for Live （A0∼A9、b0∼b9 ） In case of patches for Recording （C0∼C9、d0∼d9 ）

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

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.

ダイレクト

セッティング

VOLUME

BRIGHT

TREBLE MIDDLE BASS

NORMAL

8.5 5 5

VOLUME

BRIGHT

TREBLE MIDDLE BASS

NORMAL

4.5 5 5

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

PRESEMCE

TREBLE

MIDDLE

BASS

CHANNEL B

EQUALISATION REVERB

DEEP TONE SHIFT

VOLUME

GAIN INPUT

GAIN CHANNEL

CLASSIC GAIN / CHANNEL A

CLEAN

CRUNCH

OFF OFF OFFOFF

0 2

4 2

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

PRESEMCE

TREBLE

MIDDLE

BASS

CHANNEL B

EQUALISATION REVERB

DEEP TONE SHIFT

VOLUME

GAIN INPUT

GAIN CHANNEL

CLASSIC GAIN / CHANNEL A

CLEAN

CRUNCH

OFF OFF OFFOFF

0 0 1

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

0 10

HIGH

BRI VOLUME TREBLE

CHANNEL-1

MIDDLE BASS

LOW

5 5 55 5 5

OFF

0 10

HIGH

BRI VOLUME TREBLE

CHANNEL-1

MIDDLE BASS

LOW

0 10 0~30 10 0~3

OFF

OFF OFF

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.

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 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)

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. 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.

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 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)

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.

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.

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.

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)

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)

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

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)

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

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.

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.

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)

Name of patches

for Live for Recording

Key effectDescriptions

PV DRIVE

BG DRIVE

CHORUS

CRUNCH

METAL

ZONE

FENDER

CLEAN

FUZZ

FACE

PHASER

OD1

PV DRIVE

ACOUSTIC

SIM

JC CLEAN

CRUNCH

GUV'NOR

CLASS A

CLEAN

BG DRIVE

VIBRATO

MS DRIVE

FENDER

CLEAN

STEP

G2 Patch List

RECTIFYING

LUSH LIFE

The Pie

SynthDaze

FENDER CLEAN

Mr. Fripp

FUNK PLANET

C MAJOR HARMONY

NUANCE DRIVE

ACOUSTIK

BREATH YOU TAKE

SANTANA

ORANGE CRUSH

BIG WALL

AC CLEAN

VibroCrunch

1984

The SPY who loved me (or Spagetti Western)

HEAD LONG

Please use patches "for Live" when you use guitar amp, and use patches "for Recording"

when you connect your guitar directly to a recorder.

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.

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Zoom G2 Spécifications Page 18

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