Home

Princeton Digital (USA) G9.2tt2q User's Manual

1. 5 H da amp e I lox Ios sil e los H I BH bow IOB P 19 Dog o gd lt l ure e l l Ko O O l l X PEN _ fy 5 ikon l fu aed BI e 12 0 O IZh 114 Il IOP N I l nil O aiddicduo 103m i U in ili DDO IOV IAZ PHI O IHG 1045 195 1888 I mao dA 10 381 200n3 100 1140 1005 1 IZZI IO E IO IN
2. Ws N oN p OQ Oo TT P Oo AAAS cor p som ow 00ooo2d o r d d EE oz od Il nun yo oun Q0 0 OI r4 gt CQ MHA G 1 4 tH YH Own I IG 1nd 9 1 4 0
3. WAH EFX1 module This module comprises wah and filter effects as well as s modulator and octave i m ecial effects such as ring This effect varies wah in accordance with picking intensity A Resonance This effect varies the resonance filter frequency in accordance with picking Tih 1 2 herin eee bna 1 mm PARI PARMS E PARMA types have the same parameters PARM4 _ 1000 ms This is a ing delay with a maximum setting of Tempo sync The note symbol D in the table indicates that the parameter can be synchronized to the patch specific tempo If you select the note symbol as value for the parameter when making the setting at the G9 2tt the parameter value will be synchronized to the patch specific tempo in note units p 39 The pedal symbol Lh in the table indicates that the parameter can be controlled with the expression pedal 1 2 If you select the parameter as control target when making the setting at the G9 2tt p 32 35 the expression pedal 1 2 will adjust the parameter in real time when the patch is selected Paramete
4. ron 0 IN I A d d Oo 1 Im Rm e OO pio I Te I lo P o0 I IODO 19 5 1 Ion o o LOOK o 1 I O I v v X do d o X A A d I 4 B I 0 1 D 88 I o 1N c3 O A P 1 lt Q H o
5. 3 Turn parameter knob 1 to select one of the following settings USB DIRECT The signal after effect processing appears at the OUTPUT jack also when USB connection is used USB Only The signal after effect processing at the OUTPUT jack is muted when USB connection is used 4 Whenthe setting is complete press the EXIT key HINT The USB Monitor setting is reset to the default condition USB DIRECT when power is turned off and on again Other Functions About the editor librarian software ZOOM CORPORATION makes an editor librarian software application available for download on its web site To use the software the computer must have a MIDI interface and a connection must be established between the MIDI IN MIDI OUT connectors of the computer and the MIDI OUT MIDI IN connectors of the G9 2tt The software then makes it possible to save patch data of the G9 2tt on the computer edit the data and copy edited patch data back to the G9 2tt Web site of ZOOM CORPORATION http www zoom co jp Adjusting the display contrast If required you can adjust the display contrast as follows 1 In play mode press the AMP SELECT SYSTEM key The AMP SELECT SYSTEM menu for parameters that apply to all patches appears AMP SELECT SYSTEM 2 Turn the TYPE knob to bring up the indication Contrast display contrast on the display 3 Turn parameter knob 1 to adju
6. ZOOM G9 2tt tracks is mixed with the guitar sound processed by the effects of the G9 2tt and appears at the OUTPUT jack of the G9 2tt see Figure 2 on the previous page If required the guitar signal after effect processing can be muted during playback see Figure 3 on the previous page For details see next section For details on recording and playback refer to the documentation of the DAW application NOTE e f the DAW application has an echo back function input signal during recording is supplied directly to an output this must be disabled when using the G9 2tt with the direct output enabled If recording is carried out with the echo back function on the output signal may sound as if processed by a flanger effect or the direct output signal may sound delayed Use a high quality USB cable and keep the connection as short as possible Muting the direct output when using a USB connection When the G9 2tt is connected to a computer and used as an audio interface the signal appearing at the OUTPUT jack after effect processing may be muted if required To do this proceed as follows 1 In play mode press the AMP SELECT SYSTEM key The AMP SELECT SYSTEM menu for parameters that apply to all patches appears AMP SELECT SYSTEM ES 2 Turn the TYPE knob to bring up the indication USB Monitor output mode when USB connection is used on the display ZOOM G9 2tt Other Functions
7. HINT vou can switch between channel A and B with function foot switches 1 or 2 p 38 GROUP BANK HOLD BYPASS TUNER 1t Om eC Oum 4 6 Mr el Ab PRESET Patch name Patch level r EQ N TOR B LM Ng 2 Turn the knobs of the pre amp section to make adjustments When you operate a knob the name of the parameter and the current setting value appear on the display To return to play mode or manual mode press the EXIT key OOK Function foot switch 2 assignment Function foot switch 1 assignment HINT e You can switch patches within the same group bank by turning parameter knob 1 e You can adjust the patch level output level of the individual patch by turning parameter knob 2 Turning a module on and off with your foot manual mode NOTE The changes that you have made to a patch will be lost when you select another patch To keep the changes store the patch first p In manual mode you can use foot switches 1 5 to 13 switch a module on and off 1 In play mode keep the BANK V foot switch depressed for more than one 2 Press the foot switch for the module to be switched on and off 2 To selecta patch from second Foot switch and corresponding modules another Jus use The G9 2tt switches to manual mode the BANK VE foot Ao oja 2 swit
8. PARM2 4 Depth 0 100 Adjusts the level of the effect sound mixed to the original sound Adjusts the tonal quality of the Adjusts the effect depth Adjusts the modulation rate sound ST Chorus This is a clear sounding stereo chorus PARM2 PARMS PARM4 Depth Mix Adjusts the level of the effect sound mixed to the original sound Adjusts the tonal quality of the Adjusts the effect depth Adjusts the modulation rate sound ZOOM G9 2tt 67 Effect Types and Parameters Effect Types and Parameters Vibe This is an effect with automatic vibrato PARM2 PARMA Adjusts the tonal quality of the Adjusts ihe balance Adjusts the effect depth Adjusts the modulation rate ad y original sound and effect sound Ensemble This is a chorus ensemble with three dimensional movement Depth o 100 1 50 0 100 Adjusts the level of the effect Adjusts the effect depth sound mixed to the original sound ModDelay This is a delay that allows use of modulation PARM1 1 Time 2000 J mS Adjusts the amount of feedback Higher setting values result in a higher number of delay sound repetitions Step Special effect that changes the sound in a staircase pattern OO Pam PARMA Adjusts the modulation depth Adjusts the modulation rate ATU is toe eiet apung intensity envelope Adjusts the le
9. function p 52 Use the PAGE key to switch between page 1 and 2 MAX ARRM control target See page maximum See page 52 value 52 Selects the control Specifies the parameter value Specifies the parameter value target When NOT Assign 15 that is set when the control that is set when the control selected the function waveform reaches its lowest waveform reaches its highest is disabled point point See ok Sync See page 5 53 Specifies control waveform Selects the control target waveform synchronization using the patch specific tempo as reference This module comprises parameters that affect the entire patch Specifies the patch specific P1 1 to P1 4 Expression pedal 1 setting Specify control targets 1 4 for expression pedal 1 Effect parameters are described below after effect types P2V1 to P2V4 Expression pedal 2 vertical direction setting Specify control targets 1 4 for expression pedal 2 vertical direction P2H1 to P2H4 Expression pedal 2 horizontal direction setting Specify control targets 1 4 for expression pedal 2 horizontal direction The above 12 items have the same parameters However for P2H1 to P2H4 pedal 2 horizontal direction setting PARM4 module on off is not available PARM PARM4 pedarconmtel MAX maximum value Module on off function
10. 24 Basic edit mode steps 24 Changing a patch name 27 Storing Patches and Banks Store MOE mire ona ex RA RD 28 Storing swapping patches 28 Storing swapping banks 29 Returning patches to factory default GCONGITION ee t 29 Using the Expression Pedals 31 About the expression pedals 31 Assigning control targets to expression alc Memm 32 Assigning control targets to expression elec 33 Adjusting the expression pedals 35 Using the Function Foot Switches 38 Specifying the tempo for a patch 39 Using the Effect Loop 41 MIDI Usage Examples 43 What you can do with MIDI 43 Selecting the MIDI channel 43 Sending and receiving patch switching information via MIDI program change 44 Sending and receiving pedal switch key operation information via MIDI control CHANGE eer rc 47 Sending and receiving G9 2tt internal data 50 Other Functions 52 Using the function 52 Using the G9 2tt as audio interface for a COMPUtETF 54 Muting the direct output when using
11. appears on the display to allow you to store the changes EXIT 7 Press the STORE SWAP key to save the changes STORE SWAP The MIDI channel setting is accepted and the unit returns to play mode In the above condition only the STORE SWAP and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving Sending and receiving patch switching information via MIDI program change You can send and receive patch changing information of the G9 2tt via MIDI as program change or bank select program change messages There are two ways program change modes for doing this as described below Direct mode With this method you use a combination of MIDI bank select and program change messages to specify the patch In the factory default condition all patches of the G9 2tt are assigned a MIDI bank number and MIDI program change number These can be used to directly specify each patch HINT e Bank select is a MIDI message type for specifying the sound category of a synthesizer or similar It is used in combination with program change messages Normally bank select is specified in two parts using the MSB most significant bit and LSB least significant bit value e Mapping mode With this method you use only the MIDI program change messages to specify the patch A program change map is used to assign program change numbers 0 127 to pa
12. Default Input Audio Devices MIDI Devices USB Audio CODEC H Default Output System Output Built in Audio y USB Audio CODEC the driver Select a record ima device below to modify its settings 4 icon shown on the desktop Properties For Built in Audio _ 7 2 The ASIO driver software is required to enable use of Cubase LE 4 for Clock Source Internal Clock 5 Configure Speakers audio input and output with a computer Refer to the read me file e Install Cubase LE 4 on the Macintosh Audio Input Audio Output included in the download package for instructions on how to install ee the driver correctly e ME When the contents of the DVD ROM appear open the Cubase LE 4 ZB mst 82801DE DBM AC S Audio Controle for MacOS X folder by double clicking it and then double click the 8 E intemal speakers Insert the supplied Cubase LE 4 DVD ROM into the BE Cubase LE 4 mpkg file to start the installation process Format 44100 0Hz je 2cn 24bt Forma 441000Hz 2ch 24bt DVD drive of the computer and perform the Ch Volume Slider Value dB Mute Thru Ch Volume Slider Value dB Mute installation steps When you insert the DVD ROM a screen asking what you want to do appears Select Open folder to view files When the contents of the DVD ROM are shown open the Cubase LE 4 fo
13. Arena This reverb effect simulates the acoustics of a large venue such as a sports arena TiledRoom This reverb effect simulates the acoustics of a tiled room This effect simulates bright transparent spring type reverb The above six effect types have the same parameters PARM2 PARMAR 5 Decay 1 30 PreDelay 1 100 0 10 Mix 0 100 Adjusts the delay between Adjusts the level of the effect Sets the duration of the reverb input of the original sound and sound mixed to the original start of the reverb sound sound Adjusts the tonal quality of the sound E Reflection This effect isolates only the early reflection components of the reverb Adjusts the envelope of the effect sound In the negative range the envelope is Sets the duration of the reverb reversed At 0 the effect is a gate reverb In the positive range the envelope is an attenuating envelope Adjusts the level of the effect sound mixed to the original sound Adjusts the tonal quality of the sound MultiTapDly This effect produces several components with different delay times Selects the combination pattern for the taps The Adjusts the tonal quality of the selection ranges from sound rhythmical to random patterns Adjusts the level of the effect sound mixed to the original sound Sets the basic delay time ZOOM G9 2tt Effect Types and Parameters
14. SlowAttack Adjusts the balance between original sound and effect sound Adjusts the signal level after passing the module This effect slows down the attack rate of the sound resulting in a violin playing style sound O aem Position At Selects the connection position of the WAH EFX1 module Available settings are Befr before pre amp section or Aftr after pre amp section Adjusts the rise time Adjusts the rising volume change curve Adjusts the signal level after passing the module ZOOM G9 2tt Effect Types and Parameters PedalVox Simulation of the vintage Vox pedal wah See PedalCry next effect for effect parameters PedalCry Simulation of the vintage Crybaby pedal wah Position Betr Afr ach Frequency Selects the connection position Adjusts the frequency that is of the WAH EFX1 module emphasized When the Adjusts the level of the Available settings are Befr expression pedals are not original sound mixed to the before pre amp section or used the effect is similar to a effect sound after pre amp section half open pedal MultiWah This is a wah effect that allows selection of the curve in which the emphasized frequency moves PARMA PARM4 Selects the connection position Adjusts the frequency that is of the WAH EFX1 module emphasized When the Adjusts the curve with which Adjusts the signal level after
15. Device Setup Devi _ Setup Add Remove All MIDI Inputs Default MIDI Ports MIDI System Number of Disk Buffers VST Multitrack VST System Link 128 KB Video Player Disk Buffer Size ASIO Driver Clock Source If another item is selected use the pull down menu to change the selection When the setting has been made click the OK button to close the window Access the Devices menu and select VST Inputs The VST inputs window appears Check whether the input port is active ALA VST Inputs If the Active button is Off grayed out click the button to set it to On Continued overleaf Continued from front Access the File menu and select New Project The new project window appears Here you can select a project template New Project Music for picture NTSC Music for picture PAL Stereo Mastering Setup Lo o cance click the OK button A window for selecting the project file save location appears Make sure that the Empty template is selected and After specifying the project file save location Such as the desktop click the OK button Choose button in MacOS 10 4 A new project is created and the project window for controlling most of the Cubase LE operations appears Cubase LE Project Untitled Juzel No Object Selected Rec 44100 Hz
16. E ASIO Multimedia Setup Advanced Options Device w Buffer sizes in the list below are set separat selected here Intel r Integrated Audio USB Audio CODEC HBufferSize Offset Audio Gers Samples Samples Channels 5512 0 2 g 5512 04 USB Audio CODEC 5512 Device Intel r Integrated Audio U USB Audio CODEC Intel r Integrated Audio Input Ports 2 O Intel r Integrated Audio D USB Audio CODEC 5512 5 5512 0 2 If not selected click the respective box to place a check mark in it When the setting has been made click the OK buttons to close the windows and return to the normal post startup Cubase LE screen HINT e By clicking the Move up Move down button in the advanced options window you can change the priority sequence setting of the currently selected port If you move USB Audio CODEC to the top of the list it will also be at the top in the following VST input window e When you edit any of the settings in the advanced settings window a window asking whether to check the audio input output port appears Click OK to perform the check Access the Devices menu and select VST Inputs The VST inputs window appears Check whether the input port is active VST Inputs Active button If the Active button is Off grayed out click the button to set it to On HINT When multipl
17. Quick Guide 1 Gd EY Cele 3A LETTER 2 0 3 Pre amp operation Pre amp section This section explains various basic steps allowing you to use the G9 2tt right away The pre amp secuon module Mid range Ultra high allows you to adjust Distortion type output level boost cut range boost cut 4 Selecting a patch play mode distortion type AMP TYPE knob knob MIDDLE knob PRESENCE knob intensity and EQ for AMP TYPE GAIN LEVEL BASS MIDDLE TREBLE PRESENCE Immediately after power on the unit will be in play mode CIC CIO O GAIN knob BASS knob TREBLE knob 1 To select a patch use foot switches 1 5 Distortion Low range High range You can switch patches within the EMEN Low e danda intensity boost same group bank The number of 4 the currently selected patch can be En 0 1 Select the channel for which to make a setting with the PRE AMP A B keys The key light shows which channel is currently selected checked by checking which foot switch LED 1 5 is lit Indication in play mode Group name Bank number PARM2 PARM3 ELAY REVERB TOTAL FUNCTIOI ARM COMP WAH EFX1 EXT LOOP INR PRE CABINET MOD EFX2 DE ACCELERATOR TUBE Li SOLID STATE ENS GUITA EFFECTS CONSOLE GE e C 0 10 0 0 0 N 1 BOOST 0
18. ZOOM G9 2tt MIDI MIDI MIDI MIDI IN OUT IN OUT GC Co is NT NY NT NT NT The steps at the target G9 2tt and source G9 2tt are explained separately below Target G9 2tt 2 Set the G9 2tt to play mode and press the AMP SELECT SYSTEM key Then use the TYPE knob to bring up the BulkDumpRX bulk dump receive parameter on the display 3 Press the PAGE key The G9 2tt is switched to bulk dump target operation and a MIDI message requesting data is sent repeatedly to the source G9 2tt B Source G9 2tt 4 Setthe G9 2tt to play mode and press the AMP SELECT SYSTEM key AMP SELECT D Use the TYPE knob to bring up the BulkDumpTx bulk dump transmit parameter on the display ZOOM G9 2tt MIDI Usage Examples 6 Press the PAGE key The G9 2tt is switched to the bulk dump source standby condition In this condition the G9 2tt will automatically send patch data when it receives a MIDI message requesting data While the target G9 2tt is receiving data the display changes as follows HINT If you press the EXIT key before the indication Receiving appears the patch data send receive operation is aborted and the previous display returns When the patch data send receive process is completed both G9 2tt units return to the AMP SELECT SYSTEM menu H
19. before MOD EFX2 module or Post after DELAY module Parameter value Parameter name Fig 1 Pre amp section PRE WAH EFX1 Befr Pre amp section Fig 2 Pre amp section PRE WAH EFX1 Aftr Pre amp section Linking Effects 3 When the setting is complete press the EXIT key The unit returns to the previous mode To enable the changed setting be sure to store the patch p 28 NOTE e When the Pre setting is selected as pre amp section insert position the signal after the MOD EFX2 module is processed entirely in stereo When you select Post the signal is processed in the pre amp section in mono e The pre amp section insert position applies to both the A and B channel Choosing a different setting for the two channels is not possible The module lineup with different settings for the WAH EFX1 module and pre amp section insertion position is shown below REVERE Fig 4 Pre amp section POST WAH EFX4 Aftr Pre amp section ZOOM G9 2tt 59 Effect Types and Parameters How to read the parameter table f n Effect parameters 1 4 When this effect type is selected the four parameters listed here can be adjusted with parameter knobs 1 4 The setting range for each parameter is also shown Some effect Effect type parameters are adjusted with the knobs of the pre amp section a 4 ESSEN u Effect module
20. j i fi 1 170 Port System Name Show As HINT Batteries hi fi playback equipment SSS x In 2mIn 00 Zm In 00 in 201 min No special steps are necessary for canceling the USB connection Help Reset Apply ms f you monitor the audio signal during recording via the audio output of the computer there will be an audible delay Be sure to use the OUTPUT jack of this unit to monitor the signal The window that appears lets you set the latency and sampling frequency for the ASIO driver The latency should be set to a value that is as low as possible without causing sound dropouts during Simply disconnect the USB cable from the computer Open the Applications folder and then the Utilities folder and double click Audio MIDI Setup e When this unit is operated on USB bus power via the USB cable iid The Audio MIDI Setup screen appears Click Audio Devices and aco insufficient power may result in unstable operation or error check whether USB Audio CODEC is selected as default input When the setting has been made click the OK button to close the indications appearing on the display In such a case power the mu default output window device from an AC adapter or batteries ASIO Settings IASIOX Use a high quality USB cable and keep the connection as short as possible If USB bus power is supplied to this unit via a USB cable that is more than 3 meters
21. E Example for sending program change bank select messages 1 When a patch at the G9 2tt is switched 2 Program change bank select message is sent MIDI OUT connector MIDI IN connector E Example for receiving program change bank select messages 1 When a program change bank select message is received MIDI IN MIDI OUT connector connector 6 6 GO m C Ee 2 Patch at the G9 2tt is switched HINT When the program change mode of the G9 2tt is set to DIRECT and the external MIDI device sends only the MSB or LSB of the bank select message the most recently received complete bank select instruction initial values MSB LSB 0 will be used e When the external MIDI device sends only the program change message without bank select MSB and LSB the same as above applies namely the most recently received complete bank select instruction initial values MSB LSB 0 will be used NOTE When the external MIDI device sends only a bank select message to the G9 2tt no change occurs The next time the G9 2tt receives a program change the most recent bank select instruction will be used E Using mapping mode In this mode a program change map is used to assign patches allowing patches to be specified
22. Be sure to store the patch if you want to keep the changes p 28 When you next call up the stored patch the function foot switch will control the selected function Specifying the tempo for a patch The G9 2tt lets you specify a tempo for each individual patch and synchronize specific parameters to this tempo in note units This section explains how to specify and use the tempo setting for a patch 1 In play mode select the patch 2 Press the TOTAL FUNCTION effect module key The tempo setting for each patch is part of the TOTAL FUNCTION module When you press the TOTAL FUNCTION effect module key the current tempo setting appears on the display TOTAL FUNCTION Using the Function Foot Switches 3 Turn parameter knob 1 to set the tempo The tempo setting range is 40 250 4 To synchronize a parameter to the specified tempo select the effect type and effect parameter to synchronize and select the note symbol as the setting value for the parameter The setting value for effect parameters which support tempo synchronization can be selected in note units using the patch specific tempo as a reference For example the Time parameter of the effect type TAPE ECHO in the MOD EFX2 module supports patch specific tempo synchronization To use this capability turn the respective parameter knob from the maximum setting 2000 further clockwise until a note symbol appears on the display H
23. Down Saw 4 Falling fin Down Curve Triangle Triangle Square triangle Square Tri Sine wave Sine Square wave Square 7 Turn parameter knob 2 to select the control waveform cycle The display changes as follows LEVEL PARM 2 PRE AMP CHAIN The control waveform cycle uses the patch specific tempo gt 39 as reference and is displayed as eighth note quarter note or quarter note x numeral see table on page 40 The numeral after x 2 20 indicates the duration of a cycle in multiple quarter notes When 2 is selected the control waveform changes in a cycle interval that corresponds to half a note of the patch specific tempo When 4 is selected the cycle is 4 beats 1 measure of a 4 4 beat 8 When the ARRM setting is complete press the EXIT key EXIT The unit returns to play mode Store the patch as necessary Other Functions When you play your guitar in this condition the selected effect parameter will be modified cyclically by the internally generated control waveform NOTE Any changes in ARRM settings will be lost when you select a new patch Be sure to store the patch if you want to keep the changes gt p 28 Using the G9 2tt as audio interface for a computer By connecting the USB port of the G9 2tt to a USB port on a computer the G9 2tt can be used as an audio interface with integrated AD DA converter and effects The operating
24. Live performance patches 00 09 AO A9 Y Y Y Y 2 BRIGHT 43 2 2 BRIGHT 43 x N N e e e e NORMAL 01 NORMAL n VOLUME TREBLE VOLUME TREBLE Recording patches uO u9 bO b9 Roland JC 120 Live performance patches UO US AO AQ Recording patches uO u9 bO b9 VOLUME TREBLE MIDDLE BRI VOLUME TREBLE MIDDLE 5 The recommended settings shown above are for the FRONT setting of the amp select feature farecording patch is selected while using a guitar amp the desired effect may not be obtained and the sound may be unpleasant Adjust the amp settings using the above examples as reference x The recommended settings shown above may need fine tuning according to usage condition of the amplifier G9 2tt Modeling Description Reference for drive effect types and its original models FD Clean O Fender Twin Reverb 65 In the later half of 1963 a reverb unit was added to the Twin amp which was the birth of the Twin Reverb model In 1965 Fender company was sold to CBS because of Leo Fender s health problem The program on this Zoom G series is modeled after the pre CBS Twin Reverb from 1965 aka Black Panel This amp has four 7025 12AX7 a 12AX7 and two 12AT7 pre tubes four 6L6GC power tubes and silicon diodes for the rectifier circuit The diode rectifier is believed to give a tighter sound to the amplifier than the tube rectifier does which should be the key to the characte
25. PanDelay This is a stereo delay with a delay time of up to 3000 ms 1 T B u amo 7 FeedBack 0 10 u Adjusts the treble attenuation Adjusts the panning left Sets the delay time Adjusts the feedback amount of theafiactsonnd right position of the sound This is a ping pong delay with a delay time of up to 3000 ms See PingPongEcho next effect for effect parameters PingPongEcho This is a ping pong type delay where the delay sound alternates between left and right Long delay settings up to 3000 ms are possible PARM PARM4 0 10 Mix 0 100 Adjusts the level of the effect Sets the delay time oup OR ee sound mixed to the original sound AutoPan This effect cyclically moves the panning position of the sound Selects a waveform for modulation Higher setting Adjusts the modulation rate Adjusts the modulation depth values result in stronger clipping which emphasizes the auto panning effect Adjusts the range of sound position movement 74 ZOOM G9 2tt Effect Types and Parameters TOTAL module C D TOTAL Specifies the patch specific tempo and the action of the function foot switches 1 2 Tempo _ See page See page Selects the action of function Selects the action of function tempo p 39 foot switch 1 foot switch 2 Specifies a name for the patch 27 ARRM Makes settings for the
26. SOLID STATE TUBE control SOLID STATE control TREBLE PRESENCE PRESENCE knob Ultra high range boost cut TREBLE knob High range boost cut MIDDLE knob Mid range boost cut BASS knob Low range boost cut ZOOM G9 2tt e TUBE control This control adjusts the input signal gain of the tube circuit Turning the control clockwise increases gain and also increases distortion Settings higher than about three o clock will drastically increase the volume and distortion This can be used to strongly emphasize the typical tube compression and distortion character SOLID STATE control This control adjusts the input signal gain of the solid state circuit Turning the control clockwise increases only the volume At the maximum position gain is about 6 dB This can be used to increase the gain for the signal before effect processing Depending on the settings made for the Accelerator the effect intensity of the COMP module and the distortion depth of the PRE AMP module also will change When editing patches we recommend using the following setting examples for the Accelerator Normal Clean This setting gives a clean tone with minimal distortion 3 Tube Pre amp This setting emphasizes the tube like compression feeling Raising the TUBE control further will drastically increase the volume and distortion TUBE I 5000 STATE ZOOM G9 2tt Selecting Patches for Playing Play Mode
27. Shows the function assigned displayed setting to the function foot switch value differs from the 1 2 38 original patch setting the indication E for Edited appears HOLD LIT co J BANK BANK VW foot switch LED appears on the panel see illustration below NOTE In manual mode you cannot use the foot switches to select patches However the TYPE knob group bank selection and the parameter knob 1 patch selection operate in the same way as in play mode Please note that the G9 2tt goes back to play mode when you change patches 3 To switch a module between on and off press the foot switch for that module CHANNEL A B keys The key for the channel A or B that is currently selected for the pre amp section is lit a can A GD CO cam B PRE AMP AMP TYPE GAIN LEVEL TREBLE PRESENCE OIO OIO O O O EFFECT COMP WAH EFX1 EXT LOOP ZNR PRE AMP CABINET MOD EFX2 DELAY REVERB TOTAL FUNCTION CO VIP CO CO CO CO CO CO CO CO CO Effect module keys Keys for modules that are active in the currently selected patch are lit in red This is always lit when the G9 2tt is in manual mode Foot switch The LED of the foot switch for the currently 1 5LEDs selected patch is lit e o oo 0 25 oo oo 1 2 3 D 4 5 5 5 5 5 5 ZOOM G9 2tt Switching Modules On and Off With Your Foot During Play Manual Mode WAH EFX1 In manual mode you can
28. USB connection 55 About the editor librarian software 56 Adjusting the display contrast 56 Linking Effects ERR Ea d rus 57 Switching between live performance sound and direct recording sound 57 Using the Amp Select Function 58 Changing the insert position of the pre amp section and WAH EFX1 c 58 Effect Types and Parameters 60 How to read the parameter table 60 COMP 61 WAH EEXT module catt tias 61 EXT LOOP external loop module 64 ZNR module 22 5 2 2 oo Ra NR x 64 PRE module 65 EQ module Qe 67 CABINET module 67 MOD EFX2 module ardiente 67 DELAY module to nma tae 72 REVERB module 73 TOTAL Mod le 75 Troubleshooting 76 Specifications TT MIDI implementation chart 78 Microsoft and Windows XP are registered trademarks of Microsoft Corporation Macintosh is a registered trademark of Apple Computer All other trademarks product names and company names mentioned in this document are the property of their respective owners Manufacturer names and product names mentioned in this document are trademarks or re
29. a slight peak in the midrange results in a softer tone This pedal is also famous for being used by blues guitar legend Stevie Ray Vaughan who tragically perished in a helicopter crash Centaur O KLON CENTAUR This pedal is well known for two things its capability of producing pure distortion without impairing the original sound and its high price Being four and a half years in the making the Centaur distinguishes itself from other famous pedals such as the Ibanez TS808 or the Boss OD 1 It is also often used as a booster but whereas these vintage pedals add their characteristics to the amp sound the Centaur creates a tone as if it were driven by the amp Guv nor O Marshall Guv nor The initial sales talk for this serious distortion pedal Guv nor bearing the Marshall brand was that you could get the distortion sound of the Marshall amps with this small stomp box Depending on which guitar amps you combine you can actually get the Marshall amps distortion There are two different versions of the Guv nor the Britain made ones from 1988 and the Korean made ones from 1998 The program on this Zoom G series is modeled after the original version from 1988 The Guv nor s characteristic feature is the frequency point you can tweak using the TREBLE control Even if you lower this parameter value the sound will get fat instead of getting dullish As you raise the value the sound will get sweeter and clearer RAT O PROCO RAT
30. amp Kettner flagship model Triamp MKII Amp 3 DZ Crunch DZ Drive Channel 2 crunch sound of the Diezel Herbert amp Channel 3 high gain sound of the Diezel Herbert amp ENGL Drv PV Drive Drive sound of the ENGL Ritchie Blackmore Signature High gain sound of a Peavey 5150 developed in 100 cooperation with a world famous hard rock guitarist Z Stack OverDrive Y Simulation of the Boss OD 1 that first created the Zoom original head amp high gain sound overdrive concept TS808 Centaur Simulation of the often copied Ibanez TS808 used by Simulation of the Klon Centaur favored by many pros many guitarists as a booster also as a booster ZOOM G9 2tt 65 Effect Types and Parameters Guv nor RAT Simulation of the PROCO Rat famous for its edgy Simulation of the Guv nor distortion effect from Marshall dietorion sound DS 1 dist Simulation of the Boss distortion DS 1 a long time Simulation of MXR distortion that made distortion favorite popular worldwide FuzzFace Simulation of the compact Matchless HotBox preamp Simulation of the Fuzz Face that made rock history with with built in tubes its zany look and smashing sound BigMuff MetalZone Simulation of the Electro Harmonix BigMuff preferred by Simulation of the Boss METALZONE with long sustain famous artists for its fat sweet fuzz sound and dynamic lower midrange TS F_Cmb SD M_Stk Combination of Fender combo amp and Ibanez TS
31. effect NOTE Expression pedal 2 of the G9 2tt is designed for operation with one foot When the pedal is fully turned to the right pushing it strongly down hitting it or otherwise exerting strong force on it will damage the pedal Be sure to operate the pedal only within its designated range Using the Expression Pedals Assigning control targets to expression pedal 1 This section describes how to assign a control target to expression pedal 1 1 In play mode select the patch HINT The parameters to be controlled by expression pedals 1 2 and the setting range can be set separately for each patch 2 Press the PEDAL 1 SETTING key The display changes as follows Control target indication Control target P1 1 P1 4 parameter name PEDAL 1 SETTING Module name Effect type name HINT The expression pedal 1 2 setting is included in the TOTAL FUNCTION module for the respective patch The above display can also be called up by pressing the TOTAL FUNCTION effect module key and turning the TYPE knob Turn the TYPE knob to select one of the four control targets P1 1 to P1 4 Q The operation steps for setting the control targets P1 1 to P1 4 are the same 4 Turn parameter knob 1 to select the parameter that is to be controlled PARM 1 Q As you turn parameter knob 1 the effect parameter and effect module changes HINT e For information on which parameters can be selected
32. key to exit the AMP SELECT SYSTEM menu The indication Store appears on the display to allow you to store the changes 7 Press the STORE SWAP key to save the changes The setting is accepted and the unit returns to play mode In the above condition only the STORE SWAP key and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving 8 To send and receive program change messages proceed as described in step 6 of Using direct mode p 45 Sending and receiving pedal switch key operation information via MIDI control change The G9 2tt allows sending and receiving control change messages via MIDI These messages govern actions such as operating the expression pedals 1 2 and switching modules or bypass mute on and off with keys and foot switches Each action can be assigned its own control change number CC E Enable control change send receive The procedure for enabling send receive of control change messages is described below 1 In play mode press the AMP SELECT SYSTEM key MIDI Usage Examples AMP SELECT SYSTEM ES 2 To enable the G9 2tt to receive control change messages turn the TYPE knob to bring up the MIDI CTRL Rx receive control change parameter and turn parameter knob 1 to select the ON setting enable the G9 2tt to send control change messages turn the TYPE kn
33. passing the module Adjusts the signal level after passing the module Available settings are Befr expression pedals are not the frequency PARM2 before pre amp section or used the effect is similar to a moves Aftr after pre amp section half open pedal P Resonance Pedal wah with a strong character Position Betr Afr ac Frequency Selects the connection position of the WAH EFX1 module Available settings are Befr before pre amp section or after pre amp section Adjusts the modulation Adjusts the resonance frequency intensity Adjusts the signal level after passing the module Octave This effect adds a one octave lower component to the original sound PARM 4 a OctLevel 0 100 aX DryLevel 0 100 Tone Level 2 100 SOL Adjusts the level of the Adjusts the tonal quality of the Adjusts the signal level after lower octave component passing the module octave lower sound m original sound component ZOOM G9 2tt 63 Effect Types and Parameters EXT LOOP external loop module This module controls an external effect connected to the EXT LOOP SEND RETURN jacks The external effect send level and return level and the G9 2tt internal signal level can be set separately for each patch p 41 By setting this module to OFF the external effect can be defeated PARM2 SCARF SendLevel 0 100 z amp RetLevel 0 100 lt am
34. switchable Maximum output level 19 dBm into load impedance of 10 kilohms or more Output impedance kilohm or less Standard stereo phone jack Rated output 60 m W into 32 ohm load 20 m W into 300 ohm load Output impedance 47 kilohm Standard mono phone jack Rated output level 10 dBm 4 dBm switchable 12AX7 x 2 MIDI OUT MIDI IN 16 bit record play stereo 32 kHz 44 1 kHz 48 kHz 15 V AC 1 5 A from supplied AC adapter AD 0012 235 D x 595 W x 85 H mm 5 5kg Design and specifications subject to change without notice ZOOM G9 2tt Specifications 2 e c c D o o i 2 c z in O i Q i 2 c c 2 Q m N o 5 Ei Specifications mi r is us en ogram Bank No Program Bank No Program Bank No Program Bank No Pr No No No No 2 I 2 O oo JOO DN OD N 180 Se ee en en en MIDI implementation chart o o Ht 19
35. 16 Bit Max 35h O8mil Project window To create a new audio track access the Project menu and select Add track In the submenu that appears select Audio A new audio track is added to the project window Cubase LE Project Untitled DERE ROR CEESSS8HNRE3 oe bte Object Selected A Audio 01 0 00 kd HINT You can add several tracks at once by accessing the Project menu selecting Add track and then selecting Multiple in the submenu Make the following settings for the new audio track 1 Drag the audio track boundary to the right to display all buttons 2 Verify that the Monitoring On button is Off grayed out If the button is On click the button to turn it Off PEnio Click the Stereo Mono button to set the audio track to Stereo When the button is not grayed out and has changed from to 9 the track is active as a stereo track 13 Access the Devices menu and select VST Inputs The VST inputs window appears This window shows the available input ports and their active inactive status You can perform the following steps here 2 Verify that the Active button for USB Audio CODEC 1 2 USB Audio CODEC L R on MacOS X is enabled not grayed out If the button is grayed out click the button to enable it VST Inputs VST input window 1 When there are multiple input ports drag here
36. E412VS cabinet with its 4 x 12 Celestion Vintage 30 speakers The Zoom G9 2tt simulates the Lead channel of the E650 combined with the E412VS HW Clean O HIWATT Custom 100 The Custom 100 was the flagship amp from Hiwatt a British manufacturer that ranks with Marshall among the British legends Vintage Hiwatt amplifiers made before the mid 1980s use high grade military spec parts and hand soldered point to point wiring This is the reason why production was limited to about 40 units per month Because of their solid construction these amplifiers have been likened to tanks Their sound in a word is the epitome of clean The pre stage tubes are ECC83 while the power tubes are the same EL34 as used by Marshall Unlike the glittering clean sound of a Fender amp the clean sound of a Hiwatt is darker having that characteristic British tone Especially in the normal channel turning up the volume to maximum will simply increase the sound pressure without breakup or loss of detail In the high gain brilliant channel slight distortion is possible by connecting a guitar with a high output pickup such as a Les Paul But the sound always remains detailed and transparent allowing the listener to clearly pick out the individual notes that make up a chord The normal and brilliant channel inputs can be linked with a short shielded cable for even higher sound pressure output This effect type simulates the linked sound as described above
37. G9 2tt allows you to change the insert position of the five modules making up the pre amp section EXT LOOP ZNR PRE AMP EQ CABINET and the WAH EFX1 module This will result in changes to the effect action and tone Changing the insert position of the WAH EFX1 module To change the insert position of the WAH EFXI module call up the Position parameter and set it to Befr before pre amp section or Aftr after pre amp section The Position parameter can be used when the Booster Tremolo or Octave effect type is not selected 1 In play mode manual mode or edit mode press the WAH EFX1 key 2 Turn the TYPE knob and select an effect type other than Booster Tremolo or Octave W Turn parameter knob 1 to select Befr before pre amp section or Aftr after pre amp section ZOOM G9 2tt 4 When the setting is complete press the EXIT key The unit returns to the previous mode To enable the changed setting be sure to store the patch p 28 Changing the insert position of the pre amp section To change the insert position of the pre amp section call up the Chain parameter and set it to Pre before MOD EFX2 module or Post after DELAY module The Chain parameter can be used with all effect types of the PRE AMP module 1 In play mode manual mode or edit mode press the PRE AMP key The display changes as follows ES 2 Turn parameter knob 2 to select Pre
38. Raise the fader of the master channel to obtain a suitable volume 0001 01 01 000 f OWN Go to beginning of project Play button 3 Click the Play button in the transport panel to start playback 2 Use the controls on the transport panel to move to the beginning of the project HINT If no sound is heard when you click the Play button after recording check the settings in the VST input window step 13 and the master channel output port setting step 15 once more For optimum enjoyment While using Cubase LE other applications may slow down drastically or the message Cannot synchronize with USB audio interface may appear If this happens frequently consider taking the following steps to optimize the operation conditions for Cubase LE 1 Shut down other applications besides Cubase LE In particular check for resident software and utilities 2 Reduce plug ins effects instruments used by Cubase LE When there is a high number of plug ins the computer s processing power may not be able to keep up Reducing the number of tracks for simultaneous playback can also be helpful 3 Power the unit from an AC adapter When a device designed to use USB power is powered via the USB port the current supply may sometimes fluctuate leading to problems See if using an AC adapter improves operation If applications still run very slowly or the computer itself does not function properly disconnect
39. Specifies the parameter value Enables or disables the that is set when the pedal is module on off function This fully pushed down or when parameter is not available for pedal 2 is fully turned to the 2 to P2H4 pedal 2 right horizontal direction setting Specifies the parameter value Specifies the expression pedal that is set when the pedal is control target fully raised or when pedal 2 is fully turned to the left ZOOM G9 2tt 75 Troubleshooting Specifications E No sound or very low volume Make sure that the POWER switch is on Try adjusting the LEVEL knob Make sure that the INPUT jack and the guitar and the OUTPUT L MONO or OUTPUT R jack and the guitar amp are connected properly Make sure that the shielded cable is not defective Try adjusting the patch level p 16 Make sure that the G9 2tt is not in mute condition p 21 For some patches the volume can be adjusted with an expression pedal Make sure that a suitable volume setting has been selected with the pedal When both controls in the Accelerator section are fully turned down there will be no sound You must turn at least one control partially up E Sound is distorted Try lowering the Gain and Level parameters of the PRE AMP module Try lowering the setting of the TUBE control and BOOST control in the Energizer section Try lowering the setting of the TUBE control in the Accelerato
40. The special feature of this model was an accomplished simul power circuitry the operation could be switched between class A and dass AB The power amplifier section had six power tubes When the class A operation is selected two EL34 power tubes are activated and the amp puts out a really smooth sound When the class AB operation is selected these two EL34s and other four 6L6GC power tubes are all activated and the amplifier puts out its full potential power Until the model Mark Il MESA BOOGIE amps were quite expensive hand made amplifiers but the next model Mark III was more affordable It has one 10 loudspeaker and 60w output power but retains all of the classic BOOGIE features simul power circuitry the graphic EQ and three Rhythm1 Rhythm2 and Lead separate channels With this Zoom G series you can select the modeling of the combo type of this Mark III HK Clean HK Crunch HK Drive Hughes amp Kettner TriAmp Using a total of 13 tubes in the pre and power amp stages with A and B settings for each this is a monster of an amplifier offering the equivalent of six channels to play with AMP1 is a Fender type clean channel with bright and uncluttered sound AMP2 is a classic British drive channel which covers the overdrive range from crunch to distortion AMP2 has already fairly high gain but it is surpassed by AMP3 While allowing deep distortion the sound has a solid core and remains wonderfully detailed The
41. This is one of the most widely used pedals It has only three knobs Distortion Filter Volume but each knob has a wide adjustment range allowing various types of sound With distortion fully turned up the fat up front sound is close to a Fuzz pedal At the twelve o clock position the crunch sound brings out those fine picking nuances allowing the player to tweak the sound by varying the playing style As opposed to a regular tone control the filter knob cuts the treble when turned clockwise This is the secret behind the typical RAT sound In the Zoom G series this effect is simulated by the TONE parameter but operation is reversed treble is cut when turned counterclockwise DS 1 BOSS DS 1 This orange colored pedal can be called the standard of distortion sound Among the many distortion pedals from Boss it is a real long seller along with the SD 1 In Japan sales of the pedal ceased at one point although production for the U S market continued but as of 2005 the product is available again This is the only Boss pedal to be reintroduced to the market in this fashion The sound is trebly and very distortion like but it can very well hold its own in a band Favored by Joe Satriani and Nirvana s Kurt Cobain dist O MXR Distortion MXR a company founded in the seventies by two high school students is famous for stomp boxes such as the Dynacomp and Phase 90 In the early days their products were actually built and
42. a monaural cable to connect the guitar to the INPUT jack of the G9 2tt 4 Use a monaural cable to connect the OUTPUT L MONO jack to the guitar amplifier when using one amplifier and the OUTPUT R jack to the second guitar amplifier when using two amplifiers HINT To monitor with headphones plug the headphone cable into the PHONES jack of the G9 2tt 5 Turn power on in the following order G9 2tt guitar amplifier s NOTE Proceed with care when powering up the system If you turn on power to the G9 2tt while the guitar amplifier is already on there is a risk of hearing damage and damage to the speakers ZOOM G9 2tt 6 Play your guitar and adjust the volume control on the guitar amplifier on the guitar and the LEVEL knob on the rear panel of the G9 2tt to obtain optimum listening volume Rear panel AM TU u e ep tm LEVEL knob HINT The G9 2tt has a so called Amp Select feature that lets you match the unit to various kinds of amplifiers If necessary select the appropriate setting for your amplifier the first time you use the G9 2tt p 58 7 Toshut down the system turn power to the respective components off in the reverse order than during power up HINT When the OUTPUT GAIN switch on the rear panel is set to 10 dBm and the LEVEL knob is turned fully up the G9 2tt has unity gain output level is the same as input level Quick Guide 1 Play Mode Manual Mode Operation
43. amount in the vertical and the horizontal direction of the Z pedal Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the PdlPosi V parameter and the horizontal direction P2H1 P2H4 to the PdlPosi H parameter PARM4 Selects the pitch change type dl by the pedal see Table Adjusts the tone vertical direction of pedal horizontal direction of pedal Adjusts the pitch shift amount Adjusts the pitch shift amount Table 2 The table bel h le for Z pedal ti h rtical direction i igned to PdlPosi V E E or 2 operation when vertical direction IS assigned to OSI Adjusting the Expression Pedal Torque Vertical Horizontal Vertical Horizontal direction min direction inex direction min direction gt 1000 1 octave 700 cent 1 octave Adjusting horizontal torque for expression pedal 2 ge min 200 cent ge min 0 cent 1 octave 1 octave ain s aod cet n d Fully raise the expression pedal 2 max 300 cent 1 octave 1 octave at the right side of the unit e min 0 cent eg min 0 cent gt max 500 cent 500 0 cent ge min 700 cent 1 octave Pedal adjustment fitting is visible on rear of expression pedal 2 2 This effect changes the guitar sound into talking sound When using the Z pedal vowels be changed in
44. and keys of the pre amp section regardless of which module is currently selected The functions of the knobs and keys are listed in Figure 1 below When the effect module key PRE AMP EQ is selected parameter knobs 1 4 can be used to adjust other parameters of the PRE AMP EQ module The functions of the knobs are listed in Figure 2 below HINT e When the PRE AMP parameter of the pre amp section is adjusted the PRE AMP module is automatically selected When an EQ parameter Figure 1 is adjusted the EQ module is automatically selected e The PRE AMP ZNR and EQ modules allow separate parameter settings for the two channels A B Select the channel first and then adjust the parameter 5 Repeat steps 2 4 to edit other modules in the same way 6 When editing is finished press the EXIT key EXIT The G9 2tt returns to the previous mode Editing PRE AMP EQ module with pre amp section PRE AMP A B keys Select one of the two channels of the pre amp section CHANNEL JA V CV cane B AMP TYPE GAIN LEVEL BASS PRE AMP MIDDLE TREBLE PRESENCE GAIN knob Adjusts the gain distortion intensity of the PRE AMP module BASS knob Adjusts the low range boost cut of range boost cut of range boost cut of the the EQ module TREBLE knob PRESENCE knob Adjusts the high Adjusts the ultra high the EQ module EQ module NOTE e The changes that you have made to a patch will be lost
45. applies both for sending and receiving 3 Turn parameter knob 1 to specify a control change number PATCH Q ZOOM G9 2tt MIDI Usage Examples Baines Control target Default CC CC setting range Expression pedal 1 operation LU OFF 1 5 7 31 64 95 Expression pedal 2 operation vertical a OFF 1 5 7 31 64 95 direction EXTLOOPmodule onfor oes PREAMP oes Pre amp section channel switching OFF 64 95 4 Assign control change numbers to other operations in the same way 5 When the setting is complete press the EXIT key to exit the AMP SELECT SYSTEM menu The indication Store appears on the display to allow you to store the changes 6 Press the STORE SWAP key to save the changes The setting is accepted and the unit returns to play mode In the above condition only the STORE SWAP key and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving 7 To send and receive control change messages connect the G9 2tt and the other MIDI device as follows ZOOM G9 2tt E Example for sending control change messages 1 When the expression pedal or switches and keys at the G9 2tt are operated 2 Control change message is sent MIDI OUT MIDI IN connector connector 6 Contro
46. but one is the input for a microphone It has just one tone knob for treble control Therefore it is advisable to use this program on the Zoom G series with a flat tone setting except for the treble parameter so that you can enjoy the characteristic sound in the lower registers and the unique sound in the higher registers of the original Fender amp O Fender BASSMAN Among the many famous Fender amps the Bassman has earned a special place When Jim Marshall developed his original amplifier he is said to have used the Bassman circuit as a reference When it first came out in 1951 the Bassman had an output of 26 watts and used a single Jensen 15 inch speaker After various modifications it reemerged in 1959 with a 50 watt output and four Jensen 10 inch drivers The simulation of the Zoom G series is modeled on the bright channel of the 59 Bassman Introduced at the 1951 NAMM show along with the Precision Bass this amp was originally intended for use with bass guitars But its reedy distortion made it a favorite with some of the early blues giants and later with many rock guitarists Of course the amp continues to used by musicians to this day TweedBass VX Clean VX Crunch VOK AC3OTBK Tracing back the long history of Vox one finds that it all began in 1958 under the moniker Jennings Musical Instruments JMI Originally this company built amps in the ten to fifteen watt range but as time went on the demand for higher power
47. by using program change messages only NOTE Before carrying out the following steps verify that the send receive MIDI channel setting of the G9 2tt is as required p 43 and that send receive of program change messages is enabled 44 1 In play mode press the AMP SELECT SYSTEM key AMP SELECT SYSTEM R 2 Turn the TYPE knob to bring up the MIDI PCMODE program change mode parameter parameter knob 1 to bring up the indication MAPPING Patches can now be specified using program change messages according to the program change map ZOOM G9 2tt 4 Turn the TYPE knob to bring up the PC MAP program change map parameter Using this display you can assign any patch of the G9 2tt to a program change number from 0 I27 Group name bank number Patch number Program change number 5 To assign a patch to a program change number proceed as follows 1 Turn parameter knob 1 until the program change number to use is shown on the top line of the display Group name bank number Patch number Program change number 2 Use parameter knobs 2 and 3 to select the group name bank number and patch number to assign to the program change number PRE AMP CHAIN ZOOM G9 2tt MIDI Usage Examples 3 Repeat these steps to for other program change numbers 6 When the setting is complete press the EXIT
48. computer using a USB cable AC adapter Guitar or other instrument INPUT jack OUTPUT jack Computer Audio system or other hi fi playback equipment Batteries NOTE e f you monitor the audio signal during recording via the audio output of the computer there will be an audible latency Be sure to use the OUTPUT jack of this unit to monitor the signal e When a device designed to use USB power is powered via the USB cable insufficient power may result in unstable operation or error indications appearing on the display In such a case power the device from an AC adapter or batteries Use a high quality USB cable and keep the connection as short as possible If power is supplied to a device designed to use USB power via a USB cable that is more than 3 meters in length the low voltage warning indication may appear HINT No special steps are necessary for canceling the USB connection Simply disconnect the USB cable from the computer When you connect this unit for the first time to a computer running Windows XP a message saying New Hardware Found will appear Before proceeding wait a while until this message disappears From the Start menu select Control Panel and double click Sounds and Audio Devices The sounds and audio devices properties screen appears Click the Audio tab and check whether USB Audio CODEC is selected as
49. default device for audio playback and recording Sounds and Audio Devices Properties Volume Sounds Audio Voice Hardware Sound playback Default device USB Aujo Opgr volume Sound recordine Default device USB Audio CODEC Volume MIDI music playback Fip Default device If another device is selected use the Default Device pull down menu to change the selection to USB Audio CODEC When the setting has been made click the OK button to close the sounds and audio devices properties screen Start Cubase LE A window asking whether to check the audio input output port appears Click OK to perform the check After Cubase LE has started up access the Devices Q menu select Device Setup and click VST Multitrack in the list of devices Device Setup DER All MIDI Inputs Default MIDI Ports oe of Disk Butters DirectMusic VST Multitrack EIJE Disk Butter Size VST System Link Video Player ASIO Multimedia Driver ASIO Driver Windows MIDI Setup Add Remove ASIO ultime dia Driver Check whether ASIO Multimedia Driver is selected as ASIO driver in the right part of the device setup window Click the Control Panel button in the device setup window In the window that appears click the Advanced Options button In the advanced options window check whether USB Audio CODEC is selected as input port and output port
50. environment conditions for this type of use are as follows E Compatible operating system Windows XP Mac OS X 10 2 and later E Quantization 16 bit Fig 1 Signal flow during recording INPUT OUTPUT Fig 2 Signal flow during playback 1 G9 2tt INPU i OUTPUT USB Fig 3 Signal flow during playback 2 INPUT OUTPUT ects E Sampling frequencies 32 kHz 44 1 kHz 48 kHz HINT With each of the operating systems listed above the G9 2tt will function as an audio interface simply by connecting the USB cable There is no need to install any special driver software NOTE The USB port of the G9 2tt only serves for sending and receiving audio data For MIDI messages use the MIDI IN OUT connectors To use the G9 2tt as an audio interface for the computer connect the USB port of the G9 2tt to a USB port on the computer The G9 2tt will be recognized as an audio interface In this condition the sound of a guitar connected to the INPUT jack of the G9 2tt can be processed with the effects of the G9 2tt and then be recorded on the audio tracks of a DAW Digital Audio Workstation software application on the computer see Figure 1 below When performing playback with the DAW application the playback sound from the audio DAW software software software
51. meter w e e E E OT The recording level for Cubase LE 4 can be checked with the level meter for the channel that is assigned to the recording standby track Set the level as high as possible without causing the meter to reach the end of the scale To adjust the level do not use the fader of Cubase LE 4 Instead change the recording level and gain settings at this unit NOTE e While the monitoring button is enabled the direct signal input to this unit and the signal routed to the computer and then returned to this unit will be output simultaneously from this unit causing a flanger like effect in the sound To accurately monitor the sound also while adjusting the recording level temporarily set the output device port for the VST connection step 6 to Not Connected e The level meter as in the above illustration shows the signal level after processing in this unit When you pluck a guitar string the meter may register with a slight delay but this is not a defect When the recording level has been adjusted click the monitoring button to disable it The input level is no longer shown on the meter and the signal returned to this unit via the computer is muted In this condition only the signal before sending to the computer can be monitored via the OUTPUT jack of this unit 16 Verify that the transport panel is being shown 1 1 1 710 1 1 1 0 If the transport panel is
52. natural overdrive sound of tube amplifiers but this stomp box turned out to be popular as the booster unit to connect to the input of the real tube amplifier to get tighter and more punchy sound with the increased gain The OD 1 employs the asymmetrical clipper section in its circuit design that uses three diodes to create the overdrive sound that is mild and rich in nuances The pedal had been in production from 1977 to 1985 but now it is unexpectedly difficult to even find a used one And if you could locate one it would be astonishingly expensive There have been many stomp boxes known as overdrive units The most famous one is probably the Tube Screamer but we chose this very original overdrive pedal OD 1 If you are lucky enough to use the real OD 1 we invite you to try blind test to turn off all of the effect module except the OD 1 on the Zoom G series and compare the sound of the modeling and that of the real one We think that you will not hear any difference TS808 O Ibanez 5808 This is modeled on the early Tube Screamer introduced by Ibanez in 1979 for the non US market In Japan it was sold under the Maxon name as the OD808 As the moniker implies when using the pedal on its own it produces natural distortion such as when driving a tube amp hard But it often was used simply as a booster with gain at 0 and volume at 10 to drive a full up amp even further Normally this would not change the amplifier s sound but
53. not work properly Verify that parameter 4 module on off for expression pedal 1 P1 1 to P1 4 or the vertical direction of expression pedal 2 P2V1 to P2V4 in the TOTAL module is set to Enable p 33 34 The module on off function is not available for pedal 2 horizontal direction setting 2 to P2H4 p 34 ZOOM G9 2tt Number of effect types Number of effect modules Patch memory Sampling frequency A D conversion D A conversion Signal processing Frequency response Display Inputs Guitar input AUX input External Return Outputs Line output Headphone output External Send Tube circuitry Control connectors USB interface PC interface Sampling frequencies Power requirements Dimensions Weight 0 0 775 Vrms 106 10 simultaneously usable modules User area 5 patches x 20 banks 100 read write enabled Preset area 5 patches x 20 banks 100 read only Total 200 patches 96 kHz 24 bit 64 times oversampling 24 bit 128 times oversampling 32 bit 20 Hz 40 kHz 1 0 dB 3 0 dB 10 kilohm load 2 digit 7 segment LED display 16 digit 2 line backlit LCD Standard monaural phone jack Rated input level 10 dBm Input impedance 1 megohm Mini phone jack stereo Rated input level 10 dBm Input impedance 10 kilohms Standard mono phone jack Rated input level 10 dBm 4 dBm switchable Standard monaural phone jack x 2 Rated output level 10 dBm 4 dBm
54. operation is what you intend to do In this condition you can store individual patches If the display is different use parameter knob 2 to bring up the STORE indication and parameter knob 3 to bring up the PATCH indication HINT Display in edit mode LEVEL PHONES L MONO mom GAIN INPUT PEDAL 2 POWER ACIN IN RETURN SEND PEDAL 1 px 1007 O Ole Ci o cece LEVEL PARM2 Effect type name Module name CHANNEL MIDDLE TREBLE PRESENCE MENU r EQ MONITOR 1 B IM M T P H T NSOLE GUITAR EFI S CONSO ACCELERATI TONE PRE AMP CHAIN T HARMONICS EE TTA rzce 2 SETTING SUM STORE SWAP c dh um Parameter value HOLD o J Y BANK A Parameter number Parameter name NOTE If you press the PRE AMP EQ module key the display will be different For details see page 25 In store mode you can swap patches as well as store and swap entire banks p 28 3 Use the BANK 1 foot switches and foot switches 1 5 to select the store target bank and patch number NOTE user group patches can be specified as store target e When a patch from a user group is selected this patch becomes the default store target e When a patch from a preset
55. other strings in the same way 7 When tuning is completed press one of the BANK W A foot switches The G9 2tt returns to the previous mode If the G9 2tt was in edit mode it will be switched to play mode HINT When the G9 2tt is turned off and on again the tuner type setting will be reset to the default chromatic tuner LL jm LL LL DN yum n UN UN lt 1 yum 1 a String number V jm LL jm jm Lu 1 N UN mr UR jm Ll UR DN yum n ZOOM G9 2tt Changing the Sound of a Patch Edit Mode The condition where you can change the effect types and settings that make up a patch is called edit mode This section describes how to use this mode Patch configuration As shown in the Patch configuration illustration below the G9 2tt can be thought of as a series of several single effects effect modules A combination of these modules and the settings for each module are stored as a patch Almost all modules comprise several different effects called effect types one of which is selected at any given time For example the MOD EFX2 module allows selection of either CHORUS PITCH SHIFTER DELAY etc The elem
56. performance and have the parameter change accordingly ZOOM G9 2tt Using the Effect Loop The EXT LOOP SEND RETURN jacks on the rear panel of the G9 2tt allow connection of a compact effect rack mount effect or similar Settings for external effect on off and send return level can be stored as part of a patch This section explains how to use the effect loop 1 Connect the external effect to the EXT LOOP SEND RETURN jacks External effect USB M MIDI 6i our AIN SW SEND RETURN Lad EF WSF W 2609 MODEL G9 2Ht SERIAL NO mini HINT When connecting to an effect that has a rated input level of 4 dBm rack mount effect or similar set the EXT LOOP GAIN switch to the 4 dBm setting When connecting to an instrument effect or a compact effect use the 10 dBm setting NOTE e The external effect should always be set to ON to allow effect on off switching at the G9 2tt f the external effect allows adjustment of mixing ratio between original sound and effect sound such as a reverb or delay set the original sound to 0 and the effect sound to 100 2 Select the patch in play mode HINT Effect loop settings can be made individually for each patch 3 Press the EXT LOOP effect module key to activate edit mode Effect loop settings are made in the EXT LOOP module The display changes as follows ZOOM G9 2tt S NOTE When EXT LOOP Module OFF is shown the EXT
57. reason why the TriAmp is so popular among guitar pros is the fact that all three channels offer high quality sound The full range from clean to high gain distortion can be covered with a single amp The Zoom G9 2tt simulates all three channels letting you enjoy the same versatility as the monster amp itself Rect Cin Rect Vnt Rect Mdn O MESIVBOOGIE Dual Rectifier The Rectifier was born by improving on the simul power circuit of the Mesa Boogie Mark 1 to 3 as well as increasing the preamp gain and applying other tweaks From its five 12AX7 preamp tubes and four 6L6GC power tubes the amp produces an output of 100 watts Unlike the Mark series this model gives priority to tone featuring a tone control circuit after the volume With this model the Mesa Boogie brand image progressed from Fusion to Metal The distinguishing feature of this amplifier and its namesake is of course the rectifier The sound provided by this patch is based on the Dual Rectifier model which has two rectifier circuits one of which is tube based and one configured with silicone diodes The diodes create a tight high powered sound while the tube sound is more soft and warm The Zoom G9 2tt simulates the orange channel with its characteristic warmth and the high gain red channel having vintage and modern modes Both use the silicone diode rectifier and the cabinet is the same as the Boogie with four Celestion 12 speakers DZ Clean DZ Crunch DZ Drive Dieze
58. string to tune The GROUP BANK indicator shows the note which is closest to the current pitch Using the Internal Tuner Bypass Mute Condition GROUP BANK Note GROUP BANK indicator GROUP BANK Note indicator V yum ama The gt lt symbols in the lower part of the display show by how much the pitch differs from the displayed note Pitch is low Pitch is correct Pitch is high 3 Tune the string of your instrument while checking the note and pitch indication HINT First you should perform rough tuning to bring up the desired note indication and then watch the lower part of the display and fine tune the pitch 4 To change the reference pitch of the tuner turn parameter knob 3 Q After the G9 2tt is turned on the tuner reference pitch is always 440 Hz center A 440 Hz The adjustment range using parameter knob 3 is center A 435 445 Hz in 1 Hz steps HINT When the G9 2tt is turned off and on again the reference pitch will be reset to 440 Hz 5 When tuning is completed press one of the BANK V A foot switches LD BYPASS TUNER The G9 2tt returns to the previous mode If the G9 2tt was in edit mode it will be switched to play mode HINT The bypass mute condition can be canceled by pressing the BYPASS TUNER key EXIT key or one of the foot switches 1 5 Us
59. the corresponding parameter This makes it possible to use the G9 2tt as a real time controller for other MIDI enabled devices or alter effect parameters and module on off status under control of a MIDI sequencer synthesizer or other MIDI enabled device Exchange patch data between two G9 2tt units via MIDI The patch data of the G9 2tt can be output as MIDI messages system exclusive for copying to another G9 2tt ZOOM G9 2tt Selecting the MIDI channel To enable correct sending and receiving of program change control change and other MIDI messages the MIDI channel 1 16 setting of the G9 2tt and the other MIDI device must be matched To set the MIDI channel of the G9 2tt proceed as follows 1 In play mode press the AMP SELECT SYSTEM key The AMP SELECT SYSTEM menu for parameters that apply to all patches appears AMP SELECT SYSTEM 2 Turn the TYPE knob to select the MIDI Rx Ch MIDI receive channel parameter Turn parameter knob 1 to select the MIDI channel 1 16 on which the G9 2tt will receive MIDI messages 4 Turn the TYPE knob to select the MIDI Tx Ch MIDI transmit channel parameter MIDI Usage Examples 5 Turn parameter knob 1 to select the MIDI channel 1 16 on which the G9 2tt will send MIDI messages 6 When the setting is complete press the EXIT key to exit the AMP SELECT SYSTEM menu The indication Store
60. this poor Stratocaster gave up the ghost its psychedelic colors disintegrating it had been played with furious intensity and produced a sound unlike anything heard before And that is also what this effect type combining a Marshall SuperLead 100 with the FUZZ FACE from Dallas Arbiter attempts to do It produces a wildly deformed sound that is not destined for delicate chords but for audacious dramatic leads with heavy sustain Such as those of the legendary Jimi Hendrix O BOSS MT 2 The MT 2 METAL ZONE has the strongest distortion Its unique distortion sound has very fat mid to low range and it has a parametric EQ in addition to the Hi and Low EQs which is the key to the scooped metal sound This stomp box is reputed for its flexibility in sound because you can not only get that scooped metal sound by cutting the mid range and boosting the high and low range but also the overdrive sound by reducing the gain and boosting the mid range This is one of the best selling stomp boxes among many of the popular line ups of BOSS products Once connected the Strat or the Les Paul will have the MT 2 sound regardless of the types of guitar pickups It was first introduced in 1991 and is still in the BOSS s catalog a truly a long seller Z Combo 1 Combo The Bluesbreaker or Basman are wonderful combo amps but nowadays their gain can seem a little low Sometimes you just want to combine the transparency and dynamics of these combo amps wit
61. this unit from the computer and shut down Cubase LE Then reconnect the USB cable and start Cubase LE again USB Cubase LE 4 Startup Guide This USB Cubase LE 4 Startup Guide explains how to install Cubase LE 4 on a computer make connections and settings for this unit and perform recording USB Cubase LE 4 Startup Guide Cubase LE 4 installation gt Connections and preparation Windows Vista XP Cubase LE 4 installation gt Connections and preparation To connect this unit to a computer running Windows Vista or Windows XP and to enable audio input output proceed as follows The installation description uses Windows Vista as an example Download the latest ASIO driver from the web site of ZOOM Corporation http www zoom co jp and install Bring up the Sound window from the Control Panel e and make the input device setting for the computer To bring up the Sound window select Control Panel from the Start menu and click Hardware and Sound then click Sound C ex Playback Recording Sounds Playback Recording Sounds To connect this unit to a computer running MacOS X and enable audio input output proceed as follows Insert the supplied Cubase LE 4 DVD ROM into the o DVD drive of the Macintosh The contents of the DVD ROM appear automatically If nothing happens when you insert the DVD ROM double click the Cubase LE eoo Audio MIDI Setup System Settings
62. to enlarge the window Connect the guitar or other instrument to the INPUT D jack of this unit and select the desired patch The sound selected here will be recorded on the computer via the USB port 15 Access the Devices menu and select Mixer The mixer window appears This window shows the channels assigned to created tracks You can perform the following steps here Recording with Cubase LE ESG TETTE S 2 Click here to select the port for the USB Audio CODEC 1 2 USB Audio CODEC L R on MacOS X assigned as audio input port to the channel see step 13 Mixer window 1 To adjust the playback level after recording click this button to bring Mixer up the master channel of the mixer i 0028 Click here to set the audio output port of the master channel to USB Audio Channel assigned to audio track Master channel 3 Verify that the Record Standby button is shown in red If the button is grayed out click the button to enable it This will set the audio track to the recording standby condition HINT When the Record Standby button is enabled the level meter next to the fader shows the input level for the audio track When the button is disabled the output level for the audio track is shown of this unit to achieve a suitable recording level for Cubase LE While playing your instrument adjust the output level Level meter When the audio t
63. to make the adjustment om Comes The pre amp section of the G9 2tt has two separate channels which allow individual settings Simply pressing one of the CHANNEL A B keys instantly switches the channel HINT You can switch between channel A and B with the FUNCTION foot switch 1 2 p 38 3 To change the distortion type turn the AMP TYPE knob The AMP TYPE knob selects the distortion type the amp or compact effect that is being simulated When you turn the knob the name of the new amp type appears on the display symbol HINT e When you have changed the distortion type the E symbol appears on the display and the STORE SWAP key lights up e f the currently displayed setting value differs from the original patch setting the indication E for Edited appears Selecting Patches for Playing Play Mode The lit STORE SWAP key indicates that one or more items including items not currently displayed have been changed from the contents of the original patch If all items are returned to their original settings the key will go out 4 To change other major parameters in the pre amp section operate the respective knob see illustration below When you turn a knob the name and the current setting of the respective parameter appear on the display Operating the BASS MIDDLE TREBLE or PRESENCE knob will boost or cut the respective band and the s
64. use foot switches 1 5 to switch the major effect modules on or off The module switch allocation is shown below HINT e When a module is switched on off the STORE SWAP key lights up In manual mode you can use the knobs on the panel as in play mode to adjust pre amp parameters patch level Accelerator and Energizer For details on operation steps see Adjusting the sound in the section on play mode gt p 15 e From manual mode you can switch to edit mode for editing patches For details on edit mode see page 24 4 To return to play mode press the BANK V foot switch HOLD V BANK NOTE The changes that you have made to a patch will be lost when you select another patch To keep the changes store the patch first p 28 oo oo oo oo oo 1 2 3 4 5 6 6 6 6 Foot switch 1 Foot switch 3 MOD EFX2 module Foot switch 5 REVERB module WAH EFX1 module Foot switch 4 DELAY module Foot switch 2 PRE AMP module 20 ZOOM G9 2tt Using the Internal Tuner Bypass Mute Condition The G9 2tt incorporates a tuner function that supports regular chromatic tuning as well as special tuning This section explains the steps for using the tuner Using the chromatic tuner E ey To use the chromatic tuner function proceed as follows 1 In play mode manual mode or edit mode press and hold the BANK A foot switch HO
65. when you select another patch To keep the changes store the patch first p 28 The patch level output level of individual patch cannot be changed in edit mode Use play mode or manual mode to set the level HINT If edit mode was entered from play mode you can return to play mode by pressing the BANK Wl A foot switches or foot switches 1 5 In this case the bank patch will be switched at the same time Changing a patch name You can change the name of an edited patch To do this proceed as follows 1 In play mode manual mode or edit mode press the TOTAL FUNCTION effect module key TOTAL FUNCTION eM 2 Turn the TYPE knob to bring up the patch name on the lower part of the display The first character of the patch name is shown alternating with a black square Changing the Sound of a Patch Edit Mode Parameter knobs 1 3 select characters as follows Parameter knob 1 numerals 0 9 Parameter knob 2 letters Z z Parameter knob 3 symbols space 9 8 lt gt 1 4 Repeat step 3 until the patch name is as desired Then press the EXIT key AMP TYPE knob Selects the distortion LEVEL knob MIDDLE knob Adjusts the output Adjusts the mid range type of the PRE AMP level of the PRE AMP boost cut of the EQ module module module The alternating black square amp indicates Figure 2 that this character can b
66. your instrument while using the foot switches to turn modules on and off Edit mode In this mode the effect parameters of a patch can be edited changed Store mode This mode serves for storing edited patches It also allows changing the store positions of patches e Bypass mute mode When the G9 2tt is in the bypass condition effect processing is temporarily turned off and only the original sound is heard In the mute mode all sound is turned off The built in tuner can be used in either condition REVERB OUTPUT Controls Functions Top panel Control section ll Pre amp section Accelerator section Energizer section PEDAL 2 PEDAL 1 POWER our SEND GAIN SW USB LEVEL R wn alee J O y a FUNCTION 1 ym Y eat BANK ojama 3 O moor AO SO Qe BANK foot switches Function foot switch 2 Expression pedal 2 foot switch 1 Expression pedal 1 Foot switches 1 5 Rear panel OUTPUT GAIN 10 dBm 4 dBm switch MIDI OUT connector MIDI IN connector USB port MAOH HH An me G ZTE pred ma PT m j w POWER 1008 N e OR 9 e le wae ue t MEN min 1 T INPUT jack POWER switch OUTPUT R jack A
67. 1 fully raised press the STORE SWAP key Using the Expression Pedals The display indication changes as follows STORE SWAP 3 Push expression pedal 1 fully down and then lift your foot off the pedal Push strongly lt SO that pedal C O When foot is lifted pedal returns slightly 4 Press the STORE SWAP key STORE SWAP The adjustment is completed and the unit returns to the play mode HINT e The module on off switching point of expression pedal 1 is not affected by the pedal position in step 3 This position is always the same For information about the module on off switching function see page 33 e f the indication ERROR appears return to step 2 and repeat the procedure m Adjusting expression pedal 2 1 Hold down the PEDAL 2 SETTING key while turning on power to the unit The display indication changes as follows POWER PEDAL2 SETTING ON 2 With expression pedal 2 fully raised press the STORE SWAP key The display indication changes as follows STORE SWAP 3 Push expression pedal 2 fully down in the vertical direction and then lift your foot off the pedal and press the STORE SWAP key Push strongly lt so that pedal e touches here ecoxrfrvi When foot is lifted pedal returns slightly ZOOM G9 2tt STORE SWAP o m 4 Lift the stopper of expression pedal 2 to secure the pedal The
68. 100 Adjusts the modulation depth Adjusts the modulation rate Phaser This effect produces a swooshing sound Befr Aftr Selects the connection position of the WAH EFX1 module Available settings are Befr before pre amp section or Aftr after pre amp section Adjusts the modulation rate PARM4 Adjusts the signal level after passing the module Controls the modulation waveform Available waveform types are UP rising sawtooth DWN falling sawtooth and TRI triangular Higher numerical values result in stronger clipping which emphasizes the effect Adjusts the signal level after Adjusts the sound color passing the module This effect provides a fixed phaser that can be used like an equalizer Position Betr Aft acm Frequency Selects the connection position of the WAH EFX1 module Available settings are Befr before pre amp section or Aftr after pre amp section Adjusts the frequency range to emphasize RingModulate Adjusts the signal level after Adjusts the sound color passing the module This effect produces a metallic ringing sound Adjusting the Freq parameter results in a drastic change of sound character Position Aftr amp Frequency Selects the connection position of the WAH EFX1 module Available settings are Befr before pre amp section or Aftr after pre amp section Adjusts the modulation frequency
69. 9 Combination of Marshall stack amp and Boss SD 1 sound sound FZ M_Stk OD Combination of Fuzz Face and Marshall stack amp sound Zoom original overdrive with natural distortion ExtremeDS DigiFuzz High gain sound with the most powerful gain of an edi mie y High gain fuzz sound with strong character Z Clean Zoom original straight clean sound The above 43 effect types have the same parameters GAIN LEVEL lt lt Gain 0 100 1 100 Adjusts the preamp gain Adjusts the signal level after distortion depth passing the module Selects the connection position of the pre amp Adjusts the tonal quality of the section Available settings are sound Pre before MOD EFX2 module or Post after DELAY module Aco Sim This effect makes an electric guitar sound like an acoustic guitar Level 1 100 Adjusts the characteristic strings sound of an acoustic guitar Selects the connection position of the pre amp Adjusts the characteristic body section Available settings are sound of an acoustic guitar Pre before MOD EFX2 module or Post after DELAY module Adjusts the signal level after passing the module 66 ZOOM G9 2tt Effect Types and Parameters EQ module Ce This is a 6 band equalizer In edit mode the module is adjusted using the BASS MIDDLE TREBLE and PRESENCE knobs of the pre amp section and the parameter knobs 3 and 4
70. BASS PRESENCE 12 12 12 12 160Hz 800Hz 3 2kHz 6 4kHz Adjusts boost cut in the low Adjusts boost cut in the Adjusts boost cut in the high Adjusts boost cut in the very frequency range middle frequency range high frequency range frequency range PARM4 Low Mid 12 12 400Hz 12kHz Adjusts boost cut in the Adjusts boost cut in the lower middle frequency range harmonics frequency range CABINET module This effect simulates the sound obtained when recording an amp cabinet with a CO microphone The simulated mic type and position can be selected The on off status of this module controls the automatic algorithm selection in the PRE AMP module 65 MicType Dyna Lets you select different characteristics according to the mic position The following settings are available 0 Mic pointed at speaker center 1 Mic pointed halfway between speaker edge and center 2 Mic pointed at speaker edge Selects the microphone type Dyna simulates the frequency response of a dynamic mic and Cond that of a condenser mic Adjusts the effect depth Effect Depth 0 also includes some Cabinet sound MOD EFX2 module This module comprises modulation effects such as chorus and flanger delay effects and pitch shifter effects Chorus This effect mixes a variable pitch shifted component to the original signal resulting in full bodied resonating sound PARM
71. C IN connector OUTPUT L MONO jack EXT LOOP RETURN jack PHONES jack EXT LOOP SEND jack LEVEL knob EXT LOOP GAIN 10 dBm 4 dBm switch AUX IN jack 6 ZOOM G9 2tt B Control section GROUP BANK GROUP BANK indicator H Ale Uy Controls and Functions i3 P rs pe on Display ENS LEVEL TYPE knob C TONE PRE AMP CHAIN LO MID AMP SELECT BYPASS SETTING SYSTEM TUNER PAGE PEDAL 1 SETTING key AMP SELECT SYSTEM key BYPASS TUNER key TYPE PARM 1 PARM 2 PARM 3 PARM4 Parameter knobs HARMONICS 4 C PEDAL 2 SETTING key STORE SWAP EXIT EXIT key STORE SWAP key PAGE key Pre amp section BASS knob LEVEL knob CHANNEL A B keys Comm El AMP TYPE knob Q OIC G GAIN knob v _EFFECT COMP WAH EFX1 EXT LOOP ZNR PRE AMP CABINET MIDDLE knob TREBLE knob PRESENCE knob PRE AMP Y OOOO MOD EFX2 DELAY REVERB TOTAL FUN OC C9 C9 Oe C Effect module keys B Accelerator section 0000 HH ACCELERATOR TUBE SOLID STATE JN 3 f n 10 TUBE control SOLID STATE control ZOOM G9 2tt Energizer section zo Cp Cp ENERGIZER Sn WX TUBE control BOOST control Getting Connected Refer to the examples shown below when making connections Con
72. Clean Tube Mix This setting gives a mix of solid state clean sound and tube distortion sound TUBE 1 SOLID STATE NOTE When both controls are set to minimum no signal will be input to the G9 2tt Using the Energizer The G9 2tt incorporates an Energizer function that processes the analog output signal using a tube circuit This feature is suitable for making the guitar stand out in an ensemble setting or for adding that characteristic tube distortion sound HINT The Energizer is active in all modes The Energizer settings are not stored as part of the patch To adjust the Energizer use the controls of the Energizer section on the panel The control functions are explained below TUBE BOOST TUBE control BOOST control TUBE control This control adds characteristic tube distortion to the sound making the guitar stand out more distinctly When the knob is turned fully counterclockwise the effect is off Turning the knob clockwise gradually increases the tube circuit gain resulting in warmer more solid crunch or drive sound Normally you should set the control to a Selecting Patches for Playing Play Mode position where distortion is not too audible but you can set it higher when you purposely want to emphasize the tube distortion BOOST control This control boosts specific frequency bands to make the sound more pronounced When the knob is turned fully counterclockwise the effe
73. E SWAP key once more The store swap process is carried out and the G9 2tt then returns to the play mode with the store swap target patch being selected By pressing the EXIT key instead of the STORE SWAP key you can cancel the process and return to the previous mode NOTE The Energizer and Accelerator settings are not stored as part of the patch Storing swapping banks This section explains how to store and swap entire banks 1 In play mode manual mode or edit mode press the STORE SWAP key The G9 2tt switches to the store standby condition and the currently selected bank becomes the store swap source 2 To store swap entire banks turn parameter knob 3 to bring up the indication BANK in the top right of the display ZOOM G9 2tt Storing Patches and Banks Store Mode Store swap source group name bank number GROUP BANK Store swap target group name bank number Store swap target group name bank number 3 Turn parameter knob 2 to bring up the indication STORE or SWAP on the display When STORE is selected the current bank can be stored as any user bank When SWAP is selected the current user bank can be swapped with any other user bank NOTE If the source bank is from a preset group the indication SWAP does not appear 4 Use the TYPE knob or BANK V A foot switches to select the store swap target bank D Press the STORE SWAP key once more The
74. GUITAR EFFECTS CONSOLE C52 ett Operation Manual POWER RETURN SEND GAIN SW PHONES L MONO R GAIN SW INPUT PEDAL 1 ga 2200 OUTPUT PEDAL 2 71 C eee AMP TYPE GAIN MIDDLE TREBLE PRESENCE O1IO OO CO CO CO O O O CO CO CO PATCH NEIN PARM 1 PARM 2 PARM 3 CD CD CD CD GUITAR EFFECTS CONSOLE CP ett o eZ ow eZzow HOLD HOLD CH A B TAP ecorvi O MANUAL BYPASS TUNER FUNCTION 1 Ol FUNCTION 2 Y BANK AN 5 5 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 dangerous matters If users ignore this symbol and Caution handle the device the wrong way bodily injury and damage to the equipment could result 1 This symbol indicates explanations about Please observe the following safety tips and precautions to ensure hazard free use of the G9 2tt Power requirements Be sure to use only an AC adapter which supplies 15 V DC 1 5A Zoom AD 0012 The use of an adapter other than the s
75. INT In the section Effect Types and Parameters pages 60 75 parameters which support tempo synchronization are indicated by a note symbol 5 Selecta parameter value by selecting a note symbol The following note settings for parameters which support tempo synchronization are available 5 Thirty second note 43 Quarter triplet note o Dotted sixteenth note Eighth note Half triplet note 45 Dotted eighth note o da Dotted quarter note Quarter note x 2 Quarter note x 20 NOTE The actual available setting range depends on the parameter When you have selected the eighth note setting the Time parameter will be set to a value that corresponds to an eighth note in the patch specific tempo When the tempo is changed the delay time also changes accordingly NOTE Depending on the combination of tempo setting and selected note symbol the maximum value of the parameter setting range such as 2000 ms may be exceeded In such a case the value is automatically halved or set to 1 4 if the range is still exceeded 6 When the tempo and parameter setting is complete press the EXIT key The unit returns to play mode Store the patch as necessary The above procedure uses the tempo set in step 3 as reference for the note setting made in step 5 If the BPM TAP function is assigned to function foot switch 1 2 you can specify the tempo with your foot during a
76. INT The web site of ZOOM Corporation http Www zoom co jp has editor librarian software available for download Using this software you can store patch data of the G9 2tt on a computer Other Functions Using the ARRM function The G9 2tt incorporates an innovative feature called ARRM Auto Repeat Real time Modulation which uses various internally generated control waveforms to cyclically modify effect parameters You can select for example a triangular waveform and apply it to the wah frequency as a control target The resulting effect is shown below Wah Frequency Wah Wah Wah Wow Wow Wow Time This section explains the use of the ARRM feature 1 In play mode select the patch HINT The ARRM settings can be made separately for each patch 2 Press the TOTAL FUNCTION effect module key to switch to edit mode and then turn the TYPE knob to bring up the indication on the display Control target parameter name Module name Effect type name 3 Turn parameter knob 1 to select the control target parameter As you turn parameter knob the effect parameter effect type and effect module change HINT e The parameters that can be selected as control targets are the same as can be selected for operation by the expression pedal See the section Effect Types and Parameters on page 60 75 e When NOT Assign is displayed no parameter is assigned a
77. LD BYPASS TUNER BANK A To use the tuner the G9 2tt must be set to the bypass condition effects off or mute condition original sound and effect sound both off To switch to the bypass condition Hold the BANK A foot switch for about 1 second until the indication BYPASS appears on the display Then release the foot switch The G9 2tt is now in the bypass condition HOLD BYPASS TUNER Release switch when BYPASS is shown HINT You can switch to the bypass condition by pressing the BYPASS TUNER key To switch to the mute condition Hold the BANK A foot switch until the indication BYPASS changes to MUTE Then release the foot switch The G9 2tt is now in the mute condition ZOOM G9 2tt HOLD BYPASS TUNER Release switch when MUTE is shown After BYPASS or MUTE was shown the display automatically switches to the tuning display Tuner type Reference pitch NOTE You can switch to the mute condition by pressing and holding the BYPASS TUNER key HINT The built in expression pedals function as volume pedals in the bypass condition in the mute condition the pedals have no effect By turning the parameter knob 2 you can select other tuner types besides the chromatic tuner For more information see the next section e The number shown in reverse on the display indicates that the corresponding parameter knob can be used for adjustment 2 Play the open
78. LOOP module is currently turned off Press the EXT LOOP key to turn the module on 4 Use parameter knob 1 to adjust the level of the signal sent from the G9 2tt to the external effect send level PATCH PARM 1 TONE HINT If the input level at the external effect is not sufficient even with the send level turned up or if distortion occurs at the external effect input even with the send level turned down check whether the EXT LOOP GAIN switch setting is appropriate 5 Use parameter knob 2 to adjust the level of the signal sent from the external effect to the G9 2tt return level PRE AMP CHAIN 6 Use parameter knob 3 to adjust the level balance between the signal returned from the external effect and the internal signal of the G9 2tt dry level Using the Effect Loop PARM 3 HINT e f the external effect is the type that mixes effect sound to the original sound such as a reverb delay or chorus adjust the level balance between original sound and effect sound by adjusting the return level and dry level If the external effect is the type that processes the input signal for output such as a compressor or EQ unit the dry level should normally be set to and the signal level should be adjusted with the return level parameter 7 When the effect loop settings have been made press the EXIT key EXIT The unit returns to play mode 8 Store the patch as necess
79. NGI 1 He 1 U IS U N 1 I amp 5 rA D 1m r4 EO E l A 0 I ues lod 2 I Hd M 1 E p lod cR 95 14 d IOS 0 I ocd 1 IH Icd Ww O 5 Imo zi 1 gt U U IAV IN MIK Sun 79 ZOOM G9 2tt Yes NO ZOOM G9 2tt MONO MONO OMNI ON OMNI OFF Mode 2 Mode 4 POLY POLY OMNI OFF OMNI ON Mode 1 Mode 3 78 ll C 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 accorda
80. O Driver as the ASIO driver Click on this indication to select it and then click the Control Panel button in the right section of the Device Setup window Then click here ZOOM ASIO DriZ r Click here Control Panel Input Latency 3 Dutput Latency Devices MIDI Port Stup Internal Clock Source e f you monitor the audio signal during recording via the audio output of the computer there will be an audible delay Be sure to use the OUTPUT jack of this unit to monitor the signal e When this unit is operated on USB bus power via the USB cable insufficient power may result in unstable operation or error indications appearing on the display In such a case power the device from an AC adapter or batteries Use a high quality USB cable and keep the connection as short as possible If USB bus power is supplied to this unit via a USB cable that is more than 3 meters in length the low voltage warning indication may appear sx Video Player o gt VST Audio System USB Audio CODEC 2 VST System Link Output Latency 13 129 ms M Audio Buffer Size Advanced Options Set to Defaults High Audio Priority Disk Preload Lower Latency Multi Processing v Adjust for Record Latency Direct Monitoring a Record Shift S amp S ER Video Mayer Z x ACT Aridin fi un OUTPUT jack Audio System orother mM Ports Reset
81. PECIAL FX PRE AMP PRE AMP FUNCTION FUNCTION For LIVE use For REC use CHANNEL CHANNEL Z Pedal Expression pedal 2 This patch produces a em like bubbles forming under water By moving the Z pedal you can make the bubbles burst When listening with headphones you ll feel immersed in a liquid universe As the name SFX G9 indicates this kind of sound is possible with the G9 only Every guitarist is sure to find new inspiration here Channel B contains dramatic BigMuff type fuzz sound This Theremin style sound using the Z Oscillator is generated when you move the Z pedal Expect to be amazed by a sound that goes far beyond what guitar effects normally offer Added reverb and delay help t to a fantastic world Drive sound using the ring modulator Moving the Z pedal alters the Z Echo Time parameter and the RingModulate Frequency parameter assigned to the pedal resulting in a spacy sound Channel A contains a Fender Twin Reverb clean sound Clean Tube Mix ACCELERATOR Tube Pre amp SOLID STATE ACCELERATOR I SOLID STATE ACCELERATOR Settings for mixing solid state clean sound and tube distortion Settings for clean tone with low distortion levels Marshall JCM 2000 Live performance patches UO U9 AO A9 EQUALISATION PRESEMCE TREBLE MIDDLE BASS CHA CHANNEL VOLUME GAIN INPUT PRESEMCE TREBLE MIDDLE BASS CHA CHANNEL VOLUME GAIN INPUT TONE SHIFT UNDE DEEP TONE SHIFT
82. Reverb 65 model favored Clean sound of the combo amp VOX AC 30 operating in by guitarists of many music styles Class A JC Clean HW Clean Clean sound of the Roland JC series with built in chorus Clean sound of the legendary all tube Hiwatt Custom which gives a wide clear tone 100 from Britain UK Blues US Blues eee of the 30 watt combo amp Marshall 1962 Crunch sound of a Fender Tweed Deluxe 53 TweedBass BG Crunch Crunch sound of the Fender Bassman a bass amp with Crunch sound of the Mesa Boogie MkIII combo amp VX Crunch Z Combo Crunch sound of class A combo amp Vox Zoom original combo amp crunch sound MS 1959 MS Crunch Crunch sound of the Marshall 1959 that has become Crunch sound of the Marshall stack amp JCM800 that legendary ranges from clean to crunch MS Drive Rect Cln High gain sound of the Marshall stack amp JCM2000 nr und of the Mesa Boogie Dual Rectifier orange Rect Vnt Rect Mdn High gain sound of the Mesa Boogie Dual Rectifier red High gain sound of the Mesa Boogie Dual Rectifier red channel Vintage mode channel Modern mode HK Clean HK Crunch Clean sound of the Hughes amp Kettner flagship model Crunch sound of the Hughes amp Kettner flagship model Triamp MKII Amp 1 Triamp MKII Amp 2 HK Drive DZ Clean Channel 1 clean sound of the hand made German guitar amp Diezel Herbert with three separately controllable channels High gain sound of the Hughes
83. V1 P2V4 to the Rate parameter and the horizontal direction P2H1 P2H4 to the X Fade parameter PARM2 PARM4 Adjust tbe te el balance Adjusts the envelope of the Adjusts the modulation depth Adjusts the modulation rate between original sound and ff d effect sound This is a step effect which allows shifting the emphasized frequency up or down using the pedal If you assign the Frequency parameter to the pedal the emphasized frequency will change in discrete steps until the target frequency is reached Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Frequency parameter and the horizontal direction P2H1 P2H4 to the Mix parameter ARMS PARMA 2 Frequency Depth o 100 Shape o 10 a Mix 0 f 100 Adjusts the level of the effect sound mixed to the original sound Adjusts the emphasized f Adjusts the modulation depth Bauststieenvelopeoldbe requency effect sound Z Pitch This is a pitch shifter that allows setting a different pitch shift amount in the vertical and the horizontal direction of the Z pedal Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the PdlPosi V parameter and the horizontal direction P2H1 P2H4 to the PdlPosi parameter The parameters are the same as for Z MonoPitch Z MonoPitch This is a monophonic pitch shifter for single note playing that allows setting a different pitch shift
84. al level for the limiter action Adjusts the compression ratio of the limiter WAH EFX1 module Adjusts the delay between the point where the signal level falls below the threshold level and the limiter release Adjusts the signal level after passing the module 2 100 Adjusts the signal level after passing the module Adjusts the signal level after passing the module C This module comprises wah and filter effects as well as special effects such as ring modulator and octave AutoWah This effect varies wah in accordance with picking intensity See A Resonance next effect for effect parameters A Resonance This effect varies the resonance filter frequency in accordance with picking intensity Befr Aftr Selects the connection position of the WAH EFXI module Available settings are Befr before pre amp section or Aftr after pre amp section Booster Adjusts the effect sensitivity This is a booster for increasing signal gain Range Adjusts the frequency range to boost 2 Adjusts the tonal quality of the sound Adjusts the intensity of the resonance sound PARMS k Adjusts the amount of boost Adjusts the signal level after passing the module PARM4 Level 2 100 100 Adjusts the signal level after passing the module ZOOM G9 2tt Effect Types and Parameters Tremolo This effect periodically varies the volume level Depth 0
85. al fully Patch name PRE AMP PRE AMP FUNCTION1 FUNCTION2 For LIVE use For REC use CHANNEL CHANNEL EO eo 5 D un HC 2 The wild and mighty fuzz sound of guitar god Jimi Hendrix Push the pedal down and be transported to Woodstock in 1969 Shake the earth with your thundering riffs Channel A of the REC patch u6 2 simulates the Marshall 1959 sound HC 3 The Cream hit Badge which they also played at their reunion is driven by its beautiful melody an enchanting combination of crunch and rotary speaker sound That is the sound contained in this patch By assigning Miss effects to the ES even the speed control of the rotary speaker is convincingly reproduced Channel A is a clean sound variation Z Pedal Expression pedal 2 Simulates the special drive sound of Billy Gibbons who gained fame as the guitarist of ZZ Top When you push the Z pedal hard delay is added and horizontal movement adds chorus Hold your guitar way down low and start the hard boogie Channel B is high gain variation This patch is modeled on the definitive tone of Stevie Ray Vaughan Great for fast chord cutting and dynamic stroking Use heavy gauge strings to play some Texas Blues Channel B contains TS F_Cmb drive sound Simulates the lead tone of super guitarist Joe Satriani The sound of the orange Boss DS 1 the quintessential distortion pedal is a good match for phrases that require real mastery of technique Channel B features
86. alternates between left and right Echo TAP HOLD MUTE This effect simulates a tape echo with a long delay time of up to 5000 ms PingPongEcho TAP HOLD MUTE This is a ping pong type delay where the delay sound alternates between left and right Long delay settings up to 5000 ms are possible AnalogDelay TAP HOLD MUTE This effect simulates an analog delay with a long delay time of up to 5000 ms The above 5 effect types have the same parameters PARM 2 20 PARM PARM4 8 Time Adjusts the level of the effect Sets the delay time Adjusts the feedback amount sound mixed to the original i sound ReverseDelay TAP HOLD MUTE This is a reverse delay with a long delay time of up to 2500 ms PARM PARM2 _ PARM PARM4 Adjusts the treble attenuation Do We balance Sets the delay time Adjusts the feedback amount original sound and effect of the effect sound ssid Air This effect reproduces the ambience of a room to create spatial depth Sie 1 100 0 10 0 100 Adjusts the level of the effect sound mixed to the original sound Adjusts the size of the Adjusts the amount of Adjusts the tonal quality of the simulated space reflections from the wall sound 72 ZOOM G9 2tt Room This reverb effect simulates the acoustics of a room Spring This effect simulates a spring type reverb
87. amic flanger where the effect volume varies according to the input signal level Depth 0 100 lt Resonance Adjusts the effect sensitivity With positive setting values the effect sound level increases at higher input signal levels With negative setting values the effect sound level decreases at higher input signal levels Adjusts the resonance Adjusts the modulation depth Adjusts the modulation rate intensity MonoPitch This is a pitch shifter specifically for monophonic sound single note playing with little sound fluctuation Shift 24 424 Fine 25 25 22 Balance Allows fine adjustment of Adjusts the balance between pitch shift amount in Cent 1 original sound and effect 100 semitone steps sound Adjusts the pitch shift amount Adjusts the tonal quality of the in semitones sound H P S Harmonized Pitch Shifter This is an intelligent pitch shifter that automatically generates harmonies according to a preset key and scale Determines the interval for the Adjusts the level of the effect pitch shifted sound see Table oe sound mixed to the original 2 sound Table2 Setting Type of scale Interval Setting Type of scale Interval 26086 Third up Major scale Firin down Major scale Fourth 2E Fifth up Third down 6 Third down Third down Minor scale Third up PdiMonoPitch This is a pitch shifter specifically for monophoni
88. amps became stronger leading to the birth of the famous AC30 The original AC30 had two Alnico Celestion 12 speakers an EF86 tube preamp and EL84 tube power section along with a GZ34 rectifier Around this time the Shadows as well as the Beatles started using the AC30 which quickly became very popular among guitarists In the following years musicians wanted even higher gain and Vox responded with the Top Boost unit an add on that was later integrated in the AC30TBX This is the model whose sound is simulated by the Zoom G series After Vox left the JMI stable sales unfortunately dropped drastically In recent years Korg has acquired the trademark rights to the Vox name and has started to produce a re issue that is faithful to the original sound The AC30TBX simulation in the Zoom G9 2tt duplicates the Hi gain inputs of the normal channel and brilliant channel It delivers a clean unsullied sound typical of a class A amplifier as well as smooth overdrive sound MS 1959 Marshall 1959 SuperLead100 This 1959 stack amp that received the nickname Plexi from the material of its front panel is one of the most famous amplifiers in Rock history Its iconic status is right up there with the Fender Stratocaster and the Gibson Les Paul Jimi Hendrix Jimmy Page Edward Van Halen Eric Clapton and many other top guitarists all over the world have immortalized its sound in countless recordings It is no exaggeration to say that virtually ever
89. ary When you next call up the stored patch the external effect settings will also become effective again HINT If the external effect supports MIDI based program switching the G9 2tt can control the effect by sending program change messages In this way patch switching at the G9 2tt and program switching at the G9 2tt can be synchronized p 44 ZOOM G9 2tt MIDI Usage Examples This section describes the various MIDI functions of the G9 2tt What you can do with MIDI The G9 2tt lets you use MIDI in various ways as described below e Send and receive patch switching information via MIDI When you switch patches at the G9 2tt the MIDI OUT connector carries the corresponding MIDI messages program change or bank select program change Similarly when a valid MIDI message is received at the MIDI IN connector the G9 2tt will perform the corresponding patch switch action This makes it possible to have patches at the G9 2tt switched automatically under control of a MIDI sequencer or link operation of the G9 2tt to patch switching at other MIDI enabled effects Send and receive pedal switch key operation information via MIDI When you operate specific keys and foot switches of the G9 2tt or operate the expression pedals 1 2 the MIDI OUT connector carries the corresponding MIDI messages control change Similarly when a valid MIDI message is received at the MIDI IN connector the G9 2tt will vary
90. as control targets see Effect Types and Parameters on pages 60 75 e When Volume is selected as control target expression pedal 1 functions as a volume pedal e When NOT Assign is displayed no parameter is assigned to the current control target By setting all four control targets to NOT Assign expression pedal 1 can be defeated NOTE If you select NOT Assign steps 5 and 6 cannot be carried out 5 set the adjustment range for the parameter to be controlled use parameter knob 2 minimum value and parameter knob 3 maximum value The settings selected with parameter knobs 2 and 3 determine the value when the pedal is fully raised minimum value and fully depressed maximum value The display changes as follows E When parameter knob 2 is operated LEVEL PARM 2 Minimum value E When parameter knob is operated Maximum value ZOOM G9 2tt HINT he available range setting depends on the parameter selected in step 4 It is also possible to set min to a higher value than MAX In that case the parameter value will be minimum when the pedal is fully depressed and maximum when the pedal is fully raised 6 Touse expression pedal 1 for switching the module on and off turn parameter knob 4 and select Enable Expression pedal 1 has a switch that is triggered when the pedal is pushed a bit further after the fully down position is reached The module to which the selected
91. bank group name bank number number patch number HINT e n the factory default condition the user groups U u contain the same patches as the preset groups A b If a patch has been edited it will be stored or swapped in the edited condition If a patch from a preset group was selected when you pressed the STORE SW AP key the first user group patch will automatically be selected as store target 2 To store swap individual patches turn parameter knob 3 to bring up the indication PATCH in the top right of the display PARM 3 Q NOTE When BANK is shown the subsequent operation will be carried out for the entire bank Make sure that the correct indication is shown 3 Turn parameter knob 2 to bring up the indication STORE or SWAP on the display LEVEL PARM 2 PRE AMP CHAIN When STORE is selected the current patch can be stored as any user patch When SWAP is selected the current user patch can be swapped with any other user patch NOTE If the source patch is from a preset group the indication SWAP does not appear 4 Use the TYPE knob or BANK V A foot switches to select the store swap target group name bank number ZOOM G9 2tt HOLD BYPASS TUNER BANK W A foot switches 5 Use parameter knob 1 or the foot switches 1 5 to select the store swap target patch number 9 PARM 1 2 Foot switches 1 5 6 Press the STOR
92. c sound single note playing which allows the pitch to be shifted in real time with an expression pedal 0 100 Sets the pitch shift amount Depending on the Color Sets the direction of the pitch Adjusts the tonal quality of the setting the balance between change to Up or Down original sound and effect sound also changes accordingly Selects the type of pitch change caused by the pedal see Table 1 70 ZOOM G9 2tt Effect Types and Parameters Cry This effect varies the sound like a talking modulator PARMA Adjusts the balance between Adjusts the effect sensitivity original sound and effect sound Adjusts the frequency range Adjusts the resonance processed by the effect intensity ReverseDelay This is a special delay where the effect sounds as if playing in reverse __ Pant PARM4 10 Adjusts the balance between Sets the delay time o amount of ae original sound and effect sound BendChorus This effect provides pitch bending that uses the input signal as trigger and processes each note separately PARM PARM2 0 PARM3 PARM4 Depth 50 50 Balance 0 100 Adjusts the release time for the bending effect Higher setting values result in slower release Adjusts the attack time for the Adjusts the effect depth bending effect Higher setting values result in slower atta
93. cal direction of the Z pedal P2V1 P2V4 to the Mix parameter and the horizontal direction P2H1 P2H4 to the Pan parameter PARMI PARMA Adjusts the level of the effect Adjusts the delay time Adjusts the amount of feedback sound mixed to the original 2 Insert a 3 mm size hex wrench into the hole on sound the underside of the left or right expression Z Dimension pedal To increase pedal firmness turn the This is a spatial effect which allows adjustment of depth panning and reverberation using the pedal wrench clockwise To decrease pedal firmness Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Depth parameter and the horizontal direction turn the wrench counterclockwise P2H1 P2H4 to the Pan parameter PARM2 PARMG Expression pedal 2 of the G9 2tt is designed for operation with one foot When the pedal is L50 fi R50 a Depth 0 100 Mi 0 fi 100 N fully turned to the right pushing it strongly down hitting it or otherwise exerting strong force Adjusts the left right panning Adjusts the sound position Adjusts the mixing level of the Warning on it will damage the pedal Be sure to operate the pedal only within its designated range Adjusts the reverb duration of the sound depth reverb sound If you loosen the pedal too much the internal screw may come off and you will no longer be 2 able to tighten the pedal Perform this operat
94. ches to select the NOTE In manual mode the foot switches do not select patches However the TYPE knob group bank WAH EFX1 module selection and parameter knob 1 patch selection PRE AMP module DELAY module REVERB module function the same as in play mode Note that when you switch a patch the unit returns to play mode group bank and then use MOD EFX2 dul foot switches 1 5 module HINT You can switch the group bank by turning the TYPE knob 3 To return to play mode press the BANK foot switch 10 ZOOM G9 2tt ZOOM G9 2tt 11 Quick Guide 2 Edit Mode Store Mode Operation Quick Guide 2 Edit Mode Store Mode Operation FJ Storing a patch store mode 1 In play mode manual mode or edit mode press the STORE SWAP key Display in store mode Store source patch name r EQ MONITOR B IM M T This section explains how to edit a selected patch and how to store the changes you have made E Editing a patch edit mode 1 Press the effect module key for the module to edit Store target group name bank number Y GROUP BANK The unit switches to edit mode By repeatedly pressing the effect module key the respective module can be toggled between on and off Store target group name bank number patch number 2 The indication PATCH appears in the top right of the display and the indication STORE in the bottom left Make sure that the
95. ck Adjusts the balance between original sound and effect sound CombFilter This effect uses the comb filter characteristics generated by using fixed modulation on the flanger as an equalizer PARMS O Frequency Resonance 10 10 HiDamp 0 10 Mix 0 100 Adjusts the level of the effect sound mixed to the original sound Adjusts the frequency to be Adjusts the resonance Adjusts the treble attenuation emphasized intensity of the effect sound Air This effect reproduces the ambience of a room to create spatial depth PARM3 _ Sie 1 100 Refex 0 10 Mix 0 100 Adjusts the level of the effect sound mixed to the original sound Adjusts the size of the Adjusts the amount of Adjusts the tonal quality of the simulated space reflections from the wall sound ZOOM G9 2tt 71 Effect Types and Parameters DELAY module This is a delay module that allows use of the hold function Effect parameters are described below after effect types Delay TAP HOLD MUTE This is a long delay with a maximum setting of 5000 ms Effect Types and Parameters REVERB module CO This module comprises various kinds of reverb early reflections and multi tap delay Effect parameters are described below after effect types Hall This reverb effect simulates the acoustics of a concert hall PingPongDly TAP HOLD MUTE This is a ping pong type delay where the delay sound
96. ct is off Turning the knob clockwise gradually boosts the low frequencies and the area around 2 kHz Especially when using a small guitar amp or an audio system with flat response this can be helpful to produce more dynamic sound The BOOST control is useful in such situations and for bringing the sound of the guitar more to the foreground when playing in a band NOTE e The intensity of the distortion achieved with the TUBE control depends on the guitar and type of pickup e When both controls are fully turned up the volume level will be higher and excessive distortion may occur ZOOM G9 2tt Switching Modules On and Off With Your Foot During Play manual Mode The condition where foot switches 5 are used to switch the major modules in a patch on and off individually is called manual mode In this mode the single effects of the G9 2tt can be controlled with your foot like independent compact effects 1 In play mode select a patch 2 Press and hold the BANK V foot switch for at least 1 second Y Y BANK Hold down for 1 second or more The LED of the BANK W foot switch lights up and the G9 2tt switches to manual mode In manual mode the following information Patch level Shows the output Shows the number of the level of the currently parameter knob that controls selected patch the patch level r EQ MONITOR BIMM T Function foot switch 1 2 E symbol assignment If the currently
97. d number parameter and its setting value HINT The effect module keys for modules that are ON in the currently selected patch are lit in red keys for modules that are OFF are not lit When you press INPUT gt IET LOOP ZNR ZNR PRE AMP PRE AMP CABINET MOD EFX2 DELAY REVERB gt OUTPUT ZOOM G9 2tt EFFECT Effect module COMP WAH EFX1 EXT LOOP PRE AMP Changing the Sound of a Patch Edit Mode CABINET MOD EFX2 DELAY REVERB TOTAL FUNCTION WAH EFX1 ZNR key Y EQ key REVERB key COMP key EXTLOOP key PRE AMP key CABINET key DELAY key a key to select a module the key color changes to orange or to green if the module is off PRE AMP module em Effect type name Simplified graphical representation of EQ settings EQ module SN deride If edit mode was activated from play mode foot switches 1 5 can be used to switch patches However note that editing changes will be lost when switching patches during editing e When edit mode was activated from manual mode the foot switches 1 5 can be used to switch a specific module on or off 3 To switch the selected module between on and off press the same module key once more When the module is off the indication Module Off is shown on the display Pressing the same key once more in this condition switches the module on dci If any module on off status effect
98. e changed Editing PRE AMP EQ module with parameter knobs 1 4 3 Turn parameter knob 4 to move the character input position and use parameter knobs 1 3 to select the new character PATCH LEVEL TONE parameter PARM 1 PARM 2 PARM 3 PARM 4 HARMONICS parameter Adjusts the tonal Adjusts the harmonics quality of the PRE component of the EQ AMP module module TONE PRE AMP CHAIN LO MID HARMONICS PRE AMP CHAIN parameter LO MID parameter Selects the insert position of Adjusts the lower mid range the pre amp section boost cut of the EQ module 26 ZOOM G9 2tt ZOOM G9 2tt 27 Storing Patches and Banks Store Mode This section explains how to use the store mode In store mode you can store edited patches in memory or swap the store location of user group patches Storing and swapping can also be carried out for entire banks The patches of the user groups can be returned to the factory default condition at any time Storing swapping patches This section explains how to store and swap patches 1 In play mode manual mode or edit mode press the STORE SWAP key STORE SWAP The G9 2tt switches to the store standby condition and the currently selected patch becomes the store swap source The GROUP BANK indicator shows the store swap target group name and bank number Indicates that the patch was edited Store swap source patch name GROUP BANK Store swap target Store swap target group name
99. e input ports are available for selection you should scroll or enlarge the window and check the enable disable settings for all ports Continued overleaf To connect this unit to a computer running MacOS X and enable audio input output proceed as follows Insert the CD ROM supplied with this product into the CD ROM drive of the Macintosh computer The Cubase LE icon appears on the desktop Double click the icon to open it and use the Cubase LE Installer to install Cubase LE Cubase LE e e LI POF Read Me first rtf Getting_Started Demo Projects Library Documentation License Connect this unit to the computer using a USB cable AC adapter P Guitar or other instrument Macintosh USB cable a m Qt jack Sap E 60 Audio system or other hi fi playback Batteries equipment NOTE e f you monitor the audio signal during recording via the audio output of the computer there will be an audible latency Be sure to use the OUTPUT jack of this unit to monitor the signal e When a device designed to use USB power is powered via the USB cable insufficient power may result in unstable operation or error indications appearing on the display In such a case power the device from an AC adapter or batteries Use a high quality USB cable and keep the connection as short as possible If p
100. e to adjust up to four parameters of different modules simultaneously A setting example is shown below to give you an idea of how the pedal can be used Control target parameters P1 1 PRE AMP module xpression pedal e P1 2 MOD EFX2 module i e P1 3 DELAY module B Feed Back P1 4 REVERB module Mix Expression pedal 2 on the right side the Z Pedal that senses not only vertical but also horizontal movement It has four control targets in the vertical direction P2V1 to P2V4 and four control targets in the horizontal direction P2H1 to P2H4 A parameter can be assigned for each control target With a setting such as shown in the example at right the pedal adjusts the Gain parameter of the ZOOM G9 2tt PRE AMP module when moved in the vertical direction and the Rate parameter of the MOD EFX2 module when moved in the horizontal direction It is also possible to control both at the same time with one pedal Expression pedal 2 Control target parameters ce P2V1 PRE AMP module P2H1 MOD EFX2 module HINT e The parameter adjustment range covered by expression pedals 1 and 2 can be set for each control target separately e In bypass mode both expression pedals function as a volume pedal when moved in the vertical direction Moving expression pedal 2 in the horizontal direction has no effect e In mute mode both expression pedals have no
101. ecommended When CABINET module is on The direct recording algorithm is selected for the PRE AMP module This algorithm optimizes the sound for reproduction via a system with flat response When the G9 2tt is connected to a recorder or hi fi audio system this setting is recommended The five module series EXT LOOP ZNR PRE AMP EQ and CABINET functions as a virtual preamplifier with two channels The ZNR PRE AMP and EQ modules can have different settings for channels A and B allowing channel switching also within the same patch Switching between live performance sound and direct recording sound PRE AMP EQ 7 CABINET Algorithm for E direct recording Algorithm for live performance The PRE AMP module of the G9 2tt comprises a total of 44 effect types In addition each of these effect types has two algorithms one for live playing and one for direct recording This NOTE amounts to having access to 88 effect types When the CABINET module is off the Amp Select function for matching the G9 2tt to the amplifier in use is also available For details see the next The respective algorithm is selected automatically depending on the status of the CABINET module as described below When CABINET module is off The live performance algorithm is selected for ZOOM G9 2tt 57 Linking Effects Using the Amp Select Function The G9 2tt incorporates an Amp Select function that optimiz
102. ectly captured by the simulation O Marshall JCM800 Marshall has continued to produce great amplifiers for up to date musical trends in cooperation with the musicians This brand started with its JTM 45 stands for Jim amp Terry Marshall in 1962 and now its products are indispensable items in the modern Rock scene Marshall seems to have been experimenting with different circuit designs of amplifiers but 1981 was the most prolific year for the brand because it released many new models like the 1959 and 1987 with four inputs 2203 and 2204 with master volumes In 1983 Marshall added the 2210 and 2205 with two Normal and Boost channels as well as effect send return connectors to its lineup These models also carried the collective designation JCM stands for Jim amp Charles Marshall 800 They had three ECC83 pre tubes and four EL34 power tubes The tone control circuit was placed after the pre amp section and this design seems to have become the standard for the modern Marshall amplifiers For the modeling on this Zoom G series we selected the 2203 with a master volume and it is quite easy to get the distortion By today s standards the amplifier s distortion is rather moderate but the sound is very fat the low end is quite tight and above all the sound cuts through very well For the modeling we used the head with a 1960 cabinet that has four 12 loudspeakers and works very well with the 2203 MS Crunch MS Dri
103. ents that determine the sound of a patch are called effect parameters Each effect type has its own parameters that can be controlled with knobs on the panel Even within the same module when the effect type is different the effect parameters that can be controlled will also be different In the module configuration shown below the series of modules EXT LOOP ZNR PRE AMP EQ and CABINET operates as a virtual pre amp section Depending on the application this section can be inserted after the WAH EFXI module or after the DELAY module gt p 58 For the ZNR PRE AMP and EQ modules different settings can be made in two channels A B Patch configuration SEND RETURN Pre amp section Basic edit mode steps The basic steps that are normally taken in edit mode are explained here For details on effect types and parameters for each module see the section Effect Types and Parameters on page 60 75 1 Select the patch to edit The patch can be from a preset group A b or user group U u However if you have edited a patch from a preset group it can only be stored in a user group p 28 2 In play mode or manual mode press the effect module key see illustration on next page to select the module on which to operate The G9 2tt switches to edit mode and the display changes as follows Module other than PRE AMP EQ Effect type name Module name MOD EFX 2 Parameter Currently selecte
104. er and both sounds are combined in the air which creates that distinctive spacey mood This effect became very popular which is why Roland decided to release the chorus circuit independently as the CE 1 pedal Incidentally the chorus effect on the Zoom G series is modeled after its follower CE 2 Another unique feature of JC 120 is its Bright switch This function is not included in this modeling program but you can approximate the effect of this switch by tweaking the Harmonics parameter in the 6 band EQ section ENGL Drv ENGL 650 Ritchie Blackmore Signature 100 The German born ENGL started out as a tube combo amp built in the mid eighties by Edmund Engl Towards the end of that decade Heavy Metal ruled the music scene and high gain amps were in great demand ENGL rose to the challenge with a full blown stack amp that caught the attention of professional musicians in Europe and cemented the reputation of the brand The head amp E650 uses three ECC83 tubes in the pre section and four 5881 6L6GC tubes in the power section It has two channels Clean Lead but since it allows overall Lo Hi gain switching the amp can also be regarded as a four channel unit The Clean channel provides a tight bright Fender style clean sound that is unusual in a stack amp The Lead channel is more in the Marshall vein but at higher gain settings it becomes a unique ENGL sound But another vital aspect of the ENGL sound is the solid and heavy
105. ertical direction of the Z pedal P2V1 P2V4 to the Rate parameter and the horizontal direction to P2H1 P2H4 the X Fade parameter PARMA PHA Rate o 50 TRM Rate gj 50 X Fade 0 fi 100 2 100 Adjusts the phaser modulation Adjusts the tremolo Adjusts the level balance Adjusts the signal level after rate modulation rate between phaser and tremolo passing the module 2 This oscillator allows changing its frequency by tracking the pitch of the guitar signal or with the pedal A portamento and vibrato effect can also be added to the oscillator signal To have the oscillator frequency track the guitar pitch set the Frequency parameter to A Bf before PRE AMP module or A Af after PRE AMP module In this case try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Balance parameter and the horizontal direction P2H1 P2H4 to the Portament or Vibrato parameter To control the oscillator frequency with the pedal set the Frequency parameter to O 60 this becomes the reference frequency and assign the vertical direction of the Z pedal to the Frequency parameter and the horizontal direction to the Balance parameter PARM2 PARM4 Frequency Af Portament Vibrato Balance 0 fi 100 Adjust the level balance Selects the oscillator frequency Adjusts the smoothness of the Adjusts the vibrato depth between origina
106. es the frequency response to match the type of amplifier in use When starting to use the G9 2tt or when changing the guitar amp you should choose a suitable Amp Select setting as described below NOTE The Amp Select feature is disabled for patches where the CABINET module is set to on This is because the PRE AMP module algorithm for direct recording will be automatically selected when the CABINET module is on 1 In play mode press the AMP SELECT SYSTEM key AMP SELECT SYSTEM 2 Turn parameter knob 1 to select one of the following settings FRONT This is the standard setting for using the GUITAR INPUT on the front of the guitar amp COMBO R1 This setting 1s suitable when using the POWER INPUT on the rear panel of a Roland JC 120 guitar amp COMBO R2 This setting 1s suitable when using the POWER INPUT on the rear panel of a Fender combo amp e STACK This setting 1s suitable when using the POWER INPUT on the rear panel of a Marshall stack amp 3 When the setting is complete press the EXIT key The indication Store appears on the display to allow you to store the changes 4 Press the STORE SWAP key to save the changes In the above condition only the STORE SWAP key and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving Changing the insert position of the pre amp section and WAH EFX1 module The
107. etting depends on the parameter selected in step 4 It is also possible to set min to a higher value than MAX In that case the parameter value will be minimum when the pedal is fully depressed and maximum when the pedal is fully raised Maximum value 6 Touse expression pedal 2 for switching the module on and off turn parameter knob 4 and select Enable Expression pedal 2 has a switch that is triggered when the pedal is pushed a bit further in the vertical direction after the fully down position is reached The module to which the selected parameter belongs will be switched on or off When you turn parameter knob 4 the display changes as follows C HARMONICS HINT If you select Disable at the above display module on off switching is not available 7 Repeat steps 6 to set the other control targets for the vertical direction in the same way ZOOM G9 2tt 8 To assign control targets for the horizontal direction turn the TYPE knob to select one of the four horizontal direction control targets P2H1 to P2H4 The display changes as follows Control target Control target indication parameter name Module Effect type name The operation steps for setting the horizontal direction control targets P2H1 to P2H4 are the same 9 Repeat steps 4 5 to set the parameter and minimum and maximum values for the control target NOTE In the horizontal direction of expressio
108. etting is reflected in the graph on the right side of the display Name of currently adjusted parameter Parameter value Graphic representation of boost cut setting in each band HINT When you perform step 3 or step 4 the G9 2tt switches to edit mode To return to play mode press the EXIT key For details on edit mode see page 24 5 To adjust the overall level of the patch turn parameter knob 2 in play mode PARM 2 PRE AMP CHAIN GAIN knob Distortion intensity LEVEL knob Pre amp module output level The patch level is a parameter that controls the output level of the respective patch The setting range is 2 100 A setting of 80 results in unity gain no level increase or decrease NOTE The changes that you have made to a patch will be lost when you select another patch To keep the changes store the patch first p 28 Using the Accelerator The input stage of the G9 2tt incorporates an Accelerator function that amplifies the analog signal before effect processing using a tube or solid state circuit This lets you mix characteristic tube compression and distortion with clean solid state sound and then send the signal to the effect circuitry HINT The Accelerator is active in all modes Accelerator settings are not stored as part of the patch To adjust the Accelerator use the controls of the Accelerator section on the panel The control functions are explained below TUBE
109. everb while channel B recreates the crunch sound of the Fender Bassman With these two great choices you can make optimum use of the stereo chorus while playing a wide variety of styles This patch simulates the Deep setting of the Diezel amp known for its hard high gain tone used extensively by bands such as Metallica It is best suited to playing guitar with drop tuning Combination with Gate produces a dramatic and startling sound Channel A is a Marshall crunch sound Simulation of the famous Ritchie Blackmore sound Channel A emulates the Marshall 1959 and channel B the ENGL Drv setting for Deep Purple and Rainbow sound respectively Press function foot switch 2 to turn the booster on and get that great tone for lead play The ideal sound for playing surf rock in the style of The Shadows or The Ventures Get those phrases flowing and catch the wave Move the Z pedal sideways to use both phaser and tremolo Channel B is a dry sound using modeling of dist Simulates the punk rock sound pumped out by Offspring The drive feeling will make you want to hit those power chords but the sound still retains enough crispness for speedy playing Channel B notches up the aggressiveness with DZ Drive Simulates the sound of the famous U2 guitarist Edge who jumped onto the world scene in the 1980s Moving the Z pedal sideways produces clear echo sound Make optimum use of the pedal for those impressive solos Channel B offers BigMuff type fuzz sound Sim
110. for the respective patch The above display can also be called up by pressing the TOTAL FUNCTION effect module key and turning the TYPE knob 3 To assign a control target for the vertical direction turn the TYPE knob to select one of the four vertical direction control targets P2V1 to P2V4 Using the Expression Pedals The operation steps for setting the vertical direction control targets P2V1 to P2V4 are the same 4 Turn parameter knob 1 to select the parameter that is to be controlled As you turn parameter knob 1 the effect parameter and effect module settings change HINT e For information on which parameters can be selected as control targets see Effect Types and Parameters on pages 60 75 e When Volume is selected as control target expression pedal 2 functions as a volume pedal e When NOT Assign is displayed no parameter is assigned to the current control target By setting all four control targets to NOT Assign the vertical direction action of expression pedal 2 can be defeated NOTE If you select NOT Assign steps 5 and 6 cannot be carried out 5 set the adjustment range for the parameter to be controlled use parameter knob 2 minimum value and parameter knob 3 maximum value The display changes as follows When parameter knob 2 is operated PARM 2 Minimum value When parameter knob is operated PARM 3 Q HINT e The available range s
111. for the track The path name assigned to the this unit in step 6 is shown here To select a different path click this section and select a new path from the menu that appears Inserts Equalizers Sends Channel HINT The Inspector shows information about the currently selected track If nothing is shown click on the track to select it Connect the guitar or other instrument to the INPUT 12 jack of this unit and select the desired patch The sound selected here will be recorded on the computer via the USB port Access the Devices menu of Cubase LE 4 and 13 select Mixer The mixer window appears This window shows the channel assigned to the created track and the master channel Perform the following steps here Mixer window lt Mixer Click monitoring button so that it lights up in orange Click recording standby button so that it lights up in red to activate recording standby condition 76 3 0 00 Stereo Out n Master channel Channel assigned to audio track Use Cubase LE 4 to record gt EAE CN MacOS X HINT When the monitoring button is enabled the level meter next to the fader shows the input level to the audio track When the monitoring button is disabled the meter fader shows the audio track output level While playing your instrument adjust the output level of this unit to achieve a suitable recording level for Cubase LE 4 al Level
112. ggle between channels A and B with the function foot switch for quick access to two types of Marshall sound A simulation of the Diezel Herbert high gain sound popular among guitarists who want that extra heavy impact Dry and penetrating distortion not available with other amps sharply etches the outlines also of a heavily down tuned guitar Channel A uses DZ Clean which simulates the Diezel Herbert channel 1 with ultra clean transparent tone Sound modeled on the Fender Tweed Deluxe beloved by many Blues greats Dry crunch sound with just the right amount of sustain brings out delicate 9 TweedDLX BPMTAP ER E Reflection Mix FY TapeEcho Mix Manufacturer names and product names mentioned in this document 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 shifts in dynamics that make all the difference Lay your heart into those picking nuances Channel B contains a Tweed Deluxe sound variation The Marshall Bluesbreaker simulated by this patch is not an amp that provides heavy distortion like the Marshall JCM series Its crunch sound faithfully follows each picking nuance and has the classic ring of British Blues in the vein of Eric Clapton Channel B contains a variation with stronger drive feeling Channel A of this patch contains the clean sound of a Fender Twin R
113. gistered trademarks of their respective owners The names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION ZOOM G9 2tt Thank you for selecting the ZOOM G9 2tt simply called the G9 2tt in this manual The G9 2tt is a sophisticated Multi Effect Processor with the following features Latest technology for top performance Excellent sound quality is assured by signal processing featuring 96 kHz 24 bit sampling and internal 32 bit processing Frequency response remains flat to 40 kHz and input converted noise is an amazing 120 dB or better e Ready to use patches Effect module combinations and settings can be stored and recalled as patches The G9 2tt offers 100 patches in the read only preset groups plus 100 patches in the user groups which can be freely rewritten resulting in a total of 200 choices Send return level and on off settings of external effects connected via the SEND RETURN jacks can also be stored as part of a patch Great for stage work or direct recording The pre amp section features two channels and each distortion type has two dedicated algorithms one for live playing and one for direct recording The CABINET effect simulates amp and mic recording characteristics and the algorithm is automatically switched according to the CABINET on off setting An amp select feature matches the sound to the amp you are using Connecting the G9 2tt to the power ampl
114. group is selected the first user group patch becomes the default store target 2 Use the TYPE knob and parameter knobs 1 4 to make adjustments TYPE knob HINT Changes the effect type e The effect type distortion type of the PRE AMP module can be changed with the AMP TYPE TYPE PARM 3 PARM 4 kn b e The major parameters of the PRE AMP EQ a more module be edited with the knobs of the pre 4 Press the STORE SWAP key once more TONE PRE AMP CHAIN 10 MID HARMONICS L 1 J amp section in the same way as in play mode The store process is carried out and the unit returns to play mode Parameter knobs 1 4 NOTE The changes that you have made to a patch Change the respective parameter will be lost when you select another patch To HINT You can return the user group patches easily For information on parameters assigned keep the changes store the patch first to the factory default settings p 29 to the knobs see page 60 75 12 ZOOM G9 2tt ZOOM G9 2tt 13 Selecting Patches for Playing Play Mode Immediately after you turn on the G9 2tt it is always in the mode for selecting and using patches play mode The most recently used patch is automatically called up again The various operation steps in play mode are described in this section In play mode the following information is shown on the panel Panel display Group name U u A b Groups A and b are read onl
115. h more intense level of distortion and sustain The Z Combo great name is the answer to your prayers You get a midrange sound like adding up a Marshall and a Fender and dividing them by two plus distortion that equals notching up the volume from 10 to 15 or from 12 to 17 on the Bassman While not intended for jazz or heavy metal the sound is great for a wide range of other blues and rock styles MetalZone TS F Fender Combo TS9 Opinion may be divided but it can be argued that the most powerful and fat guitar sound ever_was created by Stevie Ray Vaughan He did this by putting extremely heavy gauge strings that would fit an acoustic guitar his old and battered Stratocaster Add to this the full up Fender amp and a small Ibanez pedal and you are approaching magic territory Just like this effect type does Connect a Stratocaster and bend the third string near the 14th fret Feel that smile appear on your face If you want to express your feelings give this one a go Z Stack 1 Stack Which amplifier has the strongest distortion in the world Is it the Rectifier the Herbert the TriAmp No it is the Z Stack that you find right here The distortion is so strong that simply touching the fingerboard with your left hand or right hand if you re left handed will produce sound This makes right hand playing a snap But amazingly a 9th chord will remain clearly identifiable as such because the sound does not
116. h directly NOTE Before carrying out the following steps verify that the send receive MIDI channel setting of the G9 2tt is as required p 43 and that send receive of program change messages is enabled p 44 1 In play mode press the AMP SELECT SYSTEM key AMP SELECT SYSTEM 2 Turn the TYPE knob to bring up the MIDI PCMODE program change mode parameter 3 Verify that DIRECT is selected as program change mode If not turn parameter knob 1 to change the indication to DIRECT This enables direct selection of patches using bank select and program change messages HINT For information on which bank number program change number is assigned to each patch see the list at the end of this manual p 79 4 When the setting is complete press the EXIT key to exit the AMP SELECT SYSTEM menu If any setting on the AMP SELECT SYSTEM MIDI Usage Examples menu has been changed the indication Store 7 appears on the display to allow you to store the changes 5 Press the STORE SWAP key to save the changes The setting is accepted and the unit returns to play mode In the above condition only the STORE SWAP and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving To send and receive program change bank select messages connect the G9 2tt and the other MIDI device as follows
117. he OK button A window for selecting the project file save location appears After specifying a suitable project file save location such as the desktop click the OK button Choose button in MacOS X A new project is created and the project window for controlling most of the Cubase LE 4 operations appears File Edit Project Audio MIDI Media Transport Devices fieles N No Object Selected menu and select Add track In the submenu that appears select Audio he Add Track window for specifying the number of audio tracks and the stereo mono setting appears create new audio track access the Project Add Audio Track mm Select number of tracks Select stereo mono setting In this example set the number of tracks to 1 and select stereo then click the OK button A new Stereo audio track is added to the project window File Edit Project Audio MIDI Media Transport Devices Window Help No Object Selected Audio 01 Audio 01 stereo RJ w Make the following settings for the newly created audio track If the Inspector is not shown click here to qe nx toggle the Inspector show hide setting File Edit PAject Audio MIDI Media Transport Devices Window Help 0 No Object Selected Audio 01 nspector area for making detailed track settings Select the input output path
118. he surface Please keep this manual in a convenient place for future reference MIDI is a registered trademark of Association of Musical Electronics Industry AME I ZOOM G9 2tt SAFETY PRECAUTIONS Usage PrecalullOfiS 2 usse USE ME 4 Terms Used in This Manual 5 Controls and Functions 6 Getting Connected 8 aon deii GU RUD UG URNA 9 Quick Guide 1 Play Mode Manual Mode Operation 10 Quick Guide 2 Edit Mode Store Mode Operation 12 Selecting Patches for Playing Play Mode E FX 14 Panel display Aem 14 Selecting a patch 14 Adjusting the sound 15 Using the Accelerator 16 Using the Energizer 17 Switching Modules On and Off With Your Foot During Play Manual Mode 19 Using the Internal Tuner Bypass Mute Condition 21 Using the chromatic tuner 21 Using other tuner types 22 Changing the Sound of a Patch Edit Mode Mid EIE MK 24 Patch configuration
119. high gain Marshall sound Steve Lukather is largely responsible for the sophisticated sound of Toto that swept the world In the eighties he was using the clean tone that is simulated by this patch Channel B will let you produce the lead sound of the Mesa Boogie Rectifier Classic rock n roll has never sounded better The Santana sound is perennially popular among rock fans the world over but the band also often collaborated with major Jazz artists That sweet and drawn out Santana lead tone is simulated by this patch Choke your guitar at the upper end and immerse yourself in Europe Channel A contains a variation with reduced drive This patch simulates the Rockabilly sound of Brian emm who became instantly famous for his Dirty Boogie album The quality feel of the sound will have you swinging in a heartbeat The TweedBass channel A has reduced gain and less pronounced tone Simulates the sound of guitar magician Brian May who created the dramatic allure of Queen Use the Z pedal to blend the alternating right left delay with the harmonized pitch shifter to weave some guitar magic Channel A is a Vox crunch sound suitable for backing Channel B of the REC patch u7 5 provides PV Drive sound S In the nineties Kurt Cobain of Nirvana changed the music scene forever with his grunge sound making dramatic use of distortion and modulation This patch will make you want to play those riffs from Smells Like Teen Spirit Channel A rec
120. ifier input of the guitar amp is no problem simply set the 10 dBm 4 dBm switch to the 4 dBm position Built in tuner supports special tuning requirements In addition to the standard auto chromatic tuner various other tuning methods are possible The tuner also allows easy tuning on stage without producing sound Two expression pedals built in as standard Adjust effect tone or volume in real time with the two expression pedals that are built right into the unit The right side pedal in particular deserves attention the Z Pedal that senses not only vertical but even horizontal movement Step into the next dimension of pedal play and discover a whole new world of possibilities Tube powered Accelerator and Energizer The analog input stage features an Accelerator that lets you freely mix the signals amplified by a vacuum tube circuit and a solid state circrit In this way you can add characteristic tube compression and distortion to a clean sound In addition the G9 2tt also features an Energizer that processes the analog output signal to produce that characteristic warm and dynamic sound that is the hallmark of a tube amplifier e Programmable function foot switches Two user programmable function foot switches further enhance flexibility and let you optimize the unit for any application Use them to switch pre amp channels set the delay time turn hold delay on and off or for various other tasks Please take the time to read this ma
121. in length the low voltage warning indication may appear HINT No special steps are necessary for canceling the USB connection Simply disconnect the USB cable from the computer When you connect this unit for the first time to a computer running Windows Vista a message saying New Hardware Found will appear Before proceeding wait a while until this message disappears ASIO Latency 486 samples 15 53 ms T Sampling Frequency 44100 When the setting is complete click OK buttons in the respective windows to return to the startup condition of Cubase LE 4 Continued overleaf Continued overleaf Continued from front From the Devices menu of Cubase LE 4 select VST Connections and select the device containing the string Zm In Out USB Audio CODEC for MacOS X as input port and output port VST Connections Inputs Inputs Outputs HA All Add Bus Presets Bus Name Audio Device Device Port B d Stereo 200 ASIO Driver O Left Right Use the tabs at top top center for Mac OS X left to switch between input and output and verify that Zm In Out is selected as device port If another device is selected click the device port field and change the selection Access the File menu and select New Project The new project window appears Here you can select a project template Make sure that the Empty template is selected and click t
122. ing installation If nothing happens when you insert the DVD ROM open the Start menu and select Computer My Computer in Windows XP Then double click the Cubase LE 4 DVD ROM icon to display the contents of the DVD ROM NOTE message appears Click the Switch button ASIO driver VST Audio System EY Macintosh or Ze OUTPUT jack Audio system or other After startup be sure to verify that USB Audio CODEC 2 is selected as ASIO driver in the right section of the Device Setup window Device Setup VST Audio Svstem Jevices ZOOM ASIO Driver ASIO Driver hi fi playback t When the installation of Cubase LE 4 is complete a screen asking MIDI Sas ra a Batteries I fi playback equipmen Devices USB Audio CODEC 2 about installation of activation software license authentication MIDI Port Setup ur Release Driver when Application is in Backgrou management software appears Install this software because it is bio PE Input Latency 33061 ms _ MIDI Port Setup required for registering Cubase LE 4 NOTE Video Input Latency 13 855 ms Connect this unit to the computer using a USB cable AC adapter Guitar or other instrument Computer INPUT jack USB cable This unit The device indication in the left section of the window now shows ZOOM ASI
123. ing other tuner types Besides chromatic tuning the G9 2tt offers various other tuning types such as standard tuning for guitar and bass open tuning etc To use these functions proceed as follows 1 Switch the G9 2tt to the bypass or mute condition as described in step 1 ZOOM G9 2tt of Using the chromatic tuner The display shows the tuning indication 2 Turn parameter knob 2 to select the tuner type The available tuner types and the corresponding note names for each string are listed below If you select OPEN A as tuner type the GROUP BANK indicator and display indication will be as follows Reference pitch Tuner type GROUP BANK Correct note for selected string String number If necessary turn parameter knob 3 to change the reference pitch of the tuner The setting range is center A 435 445 Hz in Hz steps When a setting other than chromatic has been selected as tuner type turning parameter knob 3 further anticlockwise from the 435 setting selects the setting b one semitone lower bb two semitones lower and bbb three semitones lower Optional tuning to 1 3 semitones lower n Using the Internal Tuner Bypass Mute Condition HINT When the G9 2tt is turned off and on again the reference pitch will be reset to 440 Hz 4 Play the open string of the indicated number and adjust the pitch 5 Turn parameter knob 4 to switch to other strings 6 Tune
124. ion with care This is a delay effect which causes the effect sound to swirl like a tornado If the screw should have come off inside the unit contact your dealer or an authorized Zoom Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Rate parameter and the horizontal direction service station P2H1 P2H4 to the Width parameter Never try to open the cabinet of the G9 2tt yourself and never turn power to the G9 2tt on if PARM1 PARMS k PARM4 the screw is unsecured inside the unit Otherwise the electronic circuitry may be seriously damaged Adjusts the sound movement Adjusts the mixing level of the ZOOM Corporation G9 2tt Pedal Adjust E 1 pause the delay tine delay sound Reproduction of this document in whole or in part by any means is prohibited 4 When connected to a guitar amplifier select the For LIVE use patches When connected to a recorder or similar equipment select the For REC use patches Banks A and b of the preset area contain the same patches as banks U and u The noise reduction setting may have to be adjusted according to the guitar and amplifier you are using G9 2tt Patch List The amp channel indicated by shading will be selected when the patch is called up The Z pedal setting indicates the effect type name and the parameter name Expression pedal 1 is always assigned to the Volume parameter The E symbol i
125. is repeated Pressing the function foot switch once more cancels hold and the delay sound will decay naturally see illustration on next page ZOOM G9 2tt Original sound Delay sound A B V FUNCTION 1 Function foot switch pressed A HINT To use Hold Delay the DELAY module must be active for that patch Delay Mute The function foot switch toggles DELAY module input muting between on and off Bypass OnOff Mute OnOff The function foot switch toggles the bypass mode or mute mode between on and off When either mode is activated the tuner display comes up e Manual Mode The function foot switch toggles between play mode and manual mode COMP OnOff WAH EFX1 OnOff EXT LOOP OnOff ZNR OnOff PRE AMP OnOff EQ OnOff MOD EFX2 OnOff DELAY OnOff REVERB OnOff The function foot switch toggles the respective module between on and off HINT e When you select PRE AMP CH A B the LED of the respective function foot switch lights up in red A or green B When you select BPM TAP or Delay TAP the LED flashes orange in sync with the BPM setting It is also possible to assign the same function to both function foot switches 4 After selecting a function to assign to the function foot switch press the EXIT key ZOOM G9 2tt Using the Function Foot Switches Switch pressed again EXIT NOTE Any changes in assignment settings will be lost when you select a new patch
126. l Herbert This modern three channel amp features great tonal versatility ranging from clean tone to distortion In particular the extremely dry and gritty distortion produced by channel 3 gives a piercing effect that is hard to produce with any other amp It is a favorite of Heavy Rock bands such as Metallica and Limp Bizkit The uncluttered sound sharply etches the outlines also of a heavily down tuned guitar A DEEP control allows further boosting of the bass frequencies for sound so low that it seems to hug the ground The Zoom G9 2tt lets you achieve the same effect by boosting the BASS control of the EQ module While the amp is justly famous for its distortion sound the other channels also provide attractive choices Channel 1 is ultra clean and channel 2 has a dry crunch sound with a character that clearly distinguishes it from Californian amps The Zoom G9 2tt provides patches modeled on all three channels 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 G9 2tt Modeling Description o Reference for drive effect types and its original models OverDrive BOSS 00 1 The OD 1 released by BOSS in 1977 was originally developed for the simulation of the
127. l change values sent from the G9 2tt change as follows When the expression pedal 1 2 is operated The value of the assigned control change number is varied continuously over the range of 0 127 For expression pedal 2 two control change messages can be sent simultaneously for vertical direction and horizontal direction movement MIDI Usage Examples When module on off switching is performed When the module is set to on the value 127 of the control change number is sent When the module is set to off the value of the control change number is sent When bypass mute on off switching is performed When bypass mute is set to on the value 127 of the control change number is sent When bypass mute is set to off the value 0 of the control change number is sent e When pre amp section channel switching is performed When switching to channel A the value 0 of the control change number is sent When switching to channel B the value 127 of the control change number is sent m Example for receiving control change messages 1 When a control change message is received MIDI IN MIDI OUT connector connector 2 The same operation as when the respective expression pedal or switch or key at the G9 2tt is operated occurs According to the control change value received the G9 2tt status and parameter value
128. l sound and see Table 1 pitch change E Table 1 Frequency parameter 2 123 24 135 0 MOD EFX2 module Z Echo This effect allows changing the echo pitch and duration by controlling the Time parameter with the pedal Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Time parameter and the horizontal direction P2H1 P2H4 to the FeedBack or Mix parameter Time 10 1000 FeedBack 100 Adjusts the amount of feedback Adjusts the amount of treble Higher setting values result in a damping in the delay sound higher number of delay sound Lower setting values result in repetitions softer delay sound Adjusts the level of the effect sound mixed to the original sound Adjusts the delay time X Flanger This effect allows cross fading of original sound and effect sound Flanger using the pedal Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Rate parameter and the horizontal direction P2H1 P2H4 to the X Fade parameter PARM2 4 PARM4 s reper Nil Adjusts the frequency range in Adjusts the modulation depth Adjusts the modulation rate between original sound and hich the eff y effect sound which the effect operates X Step This effect allows cross fading of original sound and effect sound Step using the pedal Try assigning the vertical direction of the Z pedal P2
129. lly or a message such as Cannot synchronize with USB audio interface may appear If this happens frequently consider taking the following steps to optimize the operation conditions for Cubase LE 4 1 Shut down other applications besides Cubase LE 4 In particular check for resident software and other utilities 2 Reduce plug ins effects instruments used by Cubase LE 4 When there is a high number of plug ins the computer s processing power may not be able to keep up Reducing the number of tracks for simultaneous playback can also be helpful 3 Power the unit from an AC adapter When a device designed to use USB power is powered via the USB port the current supply may sometimes fluctuate leading to problems See if using an AC adapter improves operation If applications still run very slowly or the computer itself does not function properly disconnect this unit from the computer and shut down Cubase LE 4 Then reconnect the USB cable and start Cubase LE 4 again
130. lose its core The biggest problem of this amplifier is that it does not exist except in the Zoom G series that is Give it a try if you are after really heavy Sound ZOD O10D When playing an electric guitar distortion is of course one of the essential style elements but different guitarists will have different preferences What this effect type does is exemplify the preferences of the Zoom G series developers The smooth overdrive sound should lend itself to many playing styles allowing finely nuanced changes Warmth is better than with any stomp box and loud volume will not cause the sound to become unpleasant Just the right amount of sustain ensures that attack dynamics remain vibrant Tracking your fingerwork with uncanny accuracy the effect reproduces even the final tinge of the pick when it leaves the string We believe that many guitarists will find here what they were looking for ExtremeDS O Extreme Distortion This distortion program is developed especially for the Zoom G series We deliberately made use of the characteristics of digital devices and even emphasized the edge of the digital sound to get the distortion to the maximum The TM 01 Tri Metal was the pedal that had the deepest distortion sound among the stomp boxes from ZOOM but was discontinued It had as much as three diode clipping stages and had very high gain The Extreme Distortion is programmed to get the gain even higher It raises the signal le
131. much favored by Pete Townshend of The Who and Pink Floyd s David Gilmour PV Drive O PEAVEY 5150 STACK The 5150 and the 5150 MkII were very famous guitar amplifiers originally developed as the signature models for Eddie Van Halen Unfortunately he doesn t use it anymore because of the expiration of the endorsement contract The program on this Zoom G series is modeled after the first version of the 5150 This amplifier has two Rhythm and Lead channels and puts out 120w power using five 12AX7 pre tubes and four 6L6GC power tubes The rectifier circuit employs silicon diodes The uniqueness of the sound of this amplifier is characterized by its sharp attack deep and smooth tone fine distortion and fat and clinging low registers The program is modeled after the combination of the Lead channel of the 5150 head and a 5150SL a four 12 cabinet Just crank up the gain and play one of Van Halen s hit Top Of The World BG Crunch O MESIVBOOGIE Mark The origin of the MESA BOOGIE amplifier was the modified Fender Princeton Randall Smith an amp tech in San Francisco souped up those small guitar amps to put out 100w power and sold them The first model was called Mark I Carlos Santana tried one and said Shit man that little thing really Boogies which gave the amplifier the brand name BOOGIE The second model Mark II had lead and rhythm channels and 4 band equalizer to give wider variety to the guitar tone
132. n pedal 2 no module on off switching is possible Therefore parameter knob 4 has no effect 10 Repeat steps 8 9 to set the other control targets for the horizontal direction in the same way NOTE It is also possible to specify the same parameter for more than one control target but in some cases extreme parameter value changes may lead to noise This is not a defect 11 Whenall settings for expression pedal 2 have been made press the EXIT key EXIT The unit returns to play mode ZOOM G9 2tt Using the Expression Pedals 12 If required store the patch NOTE Any changes in pedal settings will be lost when you select a new patch Be sure to store the patch if you want to keep the changes 28 HINT Expression pedal 2 incorporates a stopper for movement in the horizontal direction If horizontal action is not required using the stopper may be preferable Adjusting the expression pedals Expression pedals 1 2 of the G9 2tt are adjusted for optimum operation at the factory but sometimes readjustment may be necessary If the action of a pedal seems to be insufficient or if a large change occurs even if the pedal is only lightly moved adjust the pedal as follows Adjusting expression pedal 1 1 Hold down the PEDAL 1 SETTING key while turning on power to the unit The display indication changes as follows POWER t Qi PEDAL 1 SETTING OFF 2 With expression pedal
133. n turn the pedal fully to the right and press the STORE SWAP key e 2 Turn pedal pent fully to the right 1 Enable M stopper e RS Expression pedal 2 When you press the STORE SWAP key the display indication changes as follows STORE SWAP D Push the stopper of expression pedal 2 down turn the pedal fully to the right and press the STORE SWAP key stopper to the right 1 Disable 2 Turn pedal fully Expression pedal 2 When you press the STORE SWAP key the adjustment is completed and the unit returns to the play mode HINT If the indication ERROR appears return to step 2 and repeat the procedure ZOOM G9 2tt Using the Expression Pedals Using the Function Foot Switches The G9 2tt provides two programmable function foot switches on the top panel For each switch you can select a function from a range of options assign it to the switch and store the setting for each patch individually This section describes how to assign functions to function foot switches 1 2 1 In play mode select the patch HINT The function foot switch 1 2 assignment can be set separately for each patch 2 Press the TOTAL FUNCTION effect module key The function foot switch assignment is part of the TOTAL FUNCTION module The display changes as follows TOTAL FUNCTION R 3 Turn parameter knobs 2 3 to select the function to be assigned to function f
134. nce 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 e 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 Ze CATCH US IF YOU CAN 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 G9 2tt 5000 2 Operating Dedicated Effects With the Z Pedal Besides the effects described in the manual the WAH EFX1 MOD EFX2 and REVERB modules of the G9 2tt contain a number of special effect types that are designed to make best use of the capabilities offered by expression pedal 2 Z pedal These effect types are described below Another additional function is the ARRM BPM parameter that can be assigned to an expression pedal When this is done the reference tempo for the ARRM function 0 250 can be controlled with the pedal The patch specific tempo setting is not affec
135. ndicates the vertical direction setting and the 21 symbol the horizontal direction setting MODELING PRE AMP PRE AMP B For LIVEuse For REC use CHANNEL CHANNEL MiWatt Hicem oeme if ey STET 11 9 2 J 2 This patch is modeled on the clean tone of the Hiwatt Custom 100 with its lively midrange The typical saturation characteristics of a tube amp are IIJ faithfully preserved resulting in confident responsive sound Immerse yourself in the sultry clean tone of a British amp Channel is a tonal variation ds An effect listed in brackets in the Z pedal setting can be turned on by depressing the pedal fully Patch name PRE AMP deni FUNCTION FUNCTION For LIVE use For REC use CHANNEL This patch simulates the new generation warming sound of Rage Against The Machine guitarist Tom Morello Moving the Z pedal in the vertical direction gives a 1 octave higher pitch change and the horizontal direction adds one more octave for extreme pitch changes Channel A is modeled on the Diezel Herbert high gain setting and channel B on channel clean sound of the Peavey 5150 Z Pedal Expression pedal 2 FUNCTION1 FUNCTION2 Z Pedal Expression pedal 2 VX Clean VX Crunch AB Tremoloon amp B Tremolo Rate 2 4 Tremolo Depth Simulation of the Vox crunch sound with the smooth high range typical of a class A amplifier and its delicately detailed distortion When you play a chord the sound vi
136. nection example 1 OUTPUT amp caw sw Use mono cables for connection GAIN to guitar amplifiers When using switch only one guitar amplifier use the OUTPUT L MONO jack Use a stereo Y adapter cable to connect a rhythm machine ZOOM SB 246 or similar or a CD MD player The signal supplied to the AUX IN jack is not processed by eoooof Teoooo Rhythm machine the internal effects it is or supplied to the OUTPUT L MONO and OUTPUT R Ee jacks as is The signal is also sent to the USB port When connecting to Guitar amplifiers the guitar input on the front panel of a guitar amplifier set the switch to 10 dBm o C2C2COCaCAC COCOCOCOC p E m m m m m OZ 225 2 lt INPUT T Four MI m r MIDI 3 15VAC POWER N LEVEL 5 IN 1 5A i ZOOM CORPORATIO Sim lej 229 E v i CE seriat no _ mial K K AC adapter Use a monaural shielded Patch switching and MIDI interface Pedal operation information can be sent and received as MIDI messages cable to connect the guitar By connecting the USB port to a computer the G9 2tt can be used as an audio interface MTR When connec
137. not shown access the Transport menu and select Transport Panel CLIC TEMPO SYNC To start recording click the Record button in the transport panel eae 1 1 1 0 Th ur Stop button Record button Recording starts As you play your instrument the waveform appears in real time in the project window To stop recording click the Stop button in the transport panel Check the recorded content To play the recording perform the following steps 1 Move the fader of the master channel as displayed in step 13 fully Raise the fader of the master channel to obtain a suitable volume Go to beginning of project Play button 2 Use the button in the transport panel to move to the beginning of the project 3 Click the Play button in the transport panel to start playback HINT If no sound is heard when you click the Play button after recording check the VST connection settings step 6 once more NOTE To continue using Cubase LE 4 a process called activation license authentication and product registration is necessary When you start Cubase LE 4 a screen offering to register the product will appear Select Register Now A web site for registration will open in your Internet browser Follow the instructions on that page to register and activate the product For optimum enjoyment While using Cubase LE 4 other applications may slow down drastica
138. nual carefully in order to get the most out of your G9 2tt and to ensure optimum performance and reliability 4 ZOOM G9 2tt Terms Used in This Manual This section explains some important terms that are used throughout the G9 2tt documentation E Effect module As shown in the illustration below the G9 2tt can be thought of as a combination of several single effects Each of these is referred to as an effect module The G9 2tt offers a compressor effect module COMP amp simulator distortion effect module PRE AMP external effect loop control module EXT LOOP and more Parameters such as effect intensity can be adjusted for each module individually and modules can be switched on and off as desired The five modules EXT LOOP ZNR PRE AMP EQ and CABINET operate as a virtual preamplifier which is controlled with the knobs and keys on the pre amp section of the panel B Effect type Most effect modules comprise several different effects which are referred to as effect types For example the modulation effect module MOD EFX2 comprises chorus flanger pitch shifter delay and other effect types Only one of these can be selected at any time Effect parameter All effect modules have aspects that can be controlled These are called effect parameters adjusted with the parameter knobs 1 4 on the panel When thinking of an effect module as a compact effect the parameters change the tone and effect intensity similar t
139. o the knobs on the device E Patch In the G9 2tt effect module combinations are stored and called up in units referred to as patches A patch comprises information about the on off status of each effect module about the effect type used in each module and about effect parameter settings Expression pedal settings and tempo settings are also stored for each patch individually E Bank and group Patches are organized in user groups U u which can be modified and in preset groups A b which are read only Since each group comprises SEND RETURN INPUT COMP EXT LOOP ZNR ZOOM G9 2tt Pre amp section 50 patches groups A b U and u offer a total of 200 patches In the G9 2tt patches are called up five at a time and selected with the foot switches These five patches are together referred to as a bank There are ten banks in a group numbered 0 through 9 User groups 1 1 Preset groups 1 BANK 0 1 r PATCH 1 PATCH 2 b PATCH 2 b PATCH 2 PATCH 3 PATCH 3 PATCH 3 PATCH 4 PATCH 4 PATCH 4 PATCH 5 PATCH 5 PATCH 5 PATCH 1 PATCH 2 PATCH 3 PATCH 4 PATCH 5 E Modes The G9 2tt has five different operation modes as listed below Play mode In this mode patches can be selected and played This is the default mode of the G9 2tt that is always active when power is turned on Manual mode In this mode you play
140. ob to bring up the MIDI CTRL Tx send control change parameter and turn parameter knob 1 to select the ON setting Q TONE 4 When the setting is complete press the EXIT key to exit the AMP SELECT SYSTEM menu The indication Store appears on the display to allow you to store the changes EXIT 5 Press the STORE SWAP key to save the changes The setting is accepted and the unit returns to play mode In the above condition only the STORE SWAP key and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving Assigning control change numbers You can assign control change numbers to the expression pedal and keys of the G9 2tt as follows NOTE Before carrying out the following steps verify that the send receive MIDI channel setting of the G9 2tt is as required p 43 and that send receive of control change messages is enabled gt p 47 1 In play mode press the AMP SELECT SYSTEM key AMP SELECT SYSTEM 2 Turn the TYPE knob to bring up the display for assigning a control change number Operations to which a control change number can be assigned are listed in the table on the next page For example to assign a control change number to expression pedal 1 the following display is used Control change number to be assigned HINT The control change number assignment always
141. on the Fender Twin Reverb This patch is ideal for some tricky guitar play Use the Z pedal with one foot and turn into Steve Vai Control wah with vertical pedal movement and operate a mono pitch shifter in real time with horizontal pedal work Channel A contains the Marshall 1959 crunch sound with moderate gain Make the guitar talk with the Z pedal Moving the pedal in a V shaped pattern during chord stroking creates a back up chorus Or switch to channel B with the Fuzz Face sound for stronger impact Channel A of the REC patch u1 1 contains Z Clean sound Dry sound reminiscent of the seventies Gradually moving the Z pedal vertically brings up from the woman tone of Eric Clapton to brighter tone Channel A is a combination of Fender combo amp and Ibanez TS 9 crunch sound Psychedelic morphing sound using reverse delay Let the pedal take you from the real world Arena to the world of fantasy Reverse Delay and back again Channel B gives a heavily distorted Marshall sound A patch that adds harmony in C major and delay to lead crunch sound The Z pedal lets you freely control the mixing ratio of delay and harmonized pitch shifter Why not try your hand at guitar orchestration using delay tap and the Z pedal Channel A is a clean sound based on the same Vox This patch uses the acoustic effect to modify the sound of an electric guitar in electroacoustic style The beautiful ambience creates a Jazzy feel Recommended for use wi
142. oot switches 1 2 Parameter knob 2 is used for function foot switch and parameter knob 3 for function foot switch 2 The display changes as follows E When parameter knob 2 is turned Q PRE AMP CHAIN Function assigned to function foot switch 1 E When parameter knob is turned PARM 3 Q Function assigned to function foot switch 2 The following functions can be assigned to function foot switches 1 2 PRE AMP CH A B The function foot switch toggles between pre amp channels A and B e BPM TAP The function foot switch can be used to specify the individual tempo for a patch p 39 When the switch is pressed repeatedly the interval between the last two presses is detected automatically and taken as the new tempo setting HINT Using the tempo set here specific parameters Time and Rate can be synchronized in note units p 40 Delay TAP The function foot switch can be used to specify the Time parameter for the DELAY module HINT e While BPM TAP specifies the tempo for an individual patch Delay TAP uses the foot switch operation interval to directly set the Time parameter value delay time e To use Delay TAP the DELAY module must be active for that patch Hold Delay The function foot switch toggles hold delay between on and off When you press the function foot switch in a patch for which hold delay is active the hold function is turned on and the current delay sound
143. or liquids can enter the unit Connecting cables and input and output jacks You should always turn off the power to the G9 2tt 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 G9 2tt Caution Alterations Never open the case of the G9 2tt or attempt to modify the product in any way since this can result in damage to the unit Warning Volume Do not use the G9 2tt at a loud volume for a long time since this can cause hearing impairment Caution Usage Precautions Electrical interference For safety considerations the G9 2tt 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 G9 2tt as the possibility of interference cannot be ruled out entirely With any type of digital control device the G9 2tt included electromagnetic interference can cause malfunctioning and can corrupt or destroy data Care should be taken to minimize the risk of damage Cleaning Use a soft dry cloth to clean the G9 2tt If necessary slightly moisten the cloth Do not use abrasive cleanser wax or solvents such as paint thinner or cleaning alcohol since these may dull the finish or damage t
144. ower is supplied to a device designed to use USB power via a USB cable that is more than 3 meters in length the low voltage warning indication may appear HINT No special steps are necessary for canceling the USB connection Simply disconnect the USB cable from the computer Open the Applications folder and then the Utilities folder and double click Audio MIDI Setup The Audio MIDI Setup screen appears Click Audio Devices and check whether USB Audio CODEC is selected as default input default output e OO Audio MIDI Setup Audio Devices MIDI Devices System Output Built in Audio ES Properties Built in Audio MJ Clock Source Default z Audio Output Master Stream E Source Internal speakers m Input is not supported Format 44100 0Hz w 2ch 16bit If another device is selected use the pull down menu to change the selection to USB Audio CODEC When the setting has been made close Audio MIDI Setup O Start Cubase LE HINT The Cubase LE program is installed in the Applications folder When Cubase LE has started up access the Devices menu select Device Setup and click VST Multitrack in the list of devices Check whether USB Audio CODEC 2 is selected as ASIO driver in the right part of the device setup window
145. p DryLevel 0 100 Adjusts the volume of the Adjusts the external effect Adjusts the external effect original sound in the G9 2tt send level return level the signal level that is input to the EXT LOOP module ZNR module This module serves for reducing noise during playing pauses It offers a choice between noise reduction and noise gate muting during pauses ZNR ZOOM NOISE REDUCTION ZOOM original noise reduction which reduces noise in playing pauses without affecting the overall tone NoiseGate This is a noise gate which cuts off the sound during playing pauses DirtyGate This is a vintage type gate with special closing characteristics The above three effect types have the same parameter Threshold Adjusts the ZNR sensitivity For maximum noise reduction set the value as high as possible without causing the sound to decay unnaturally 64 ZOOM G9 2tt Effect Types and Parameters PRE AMP module This module comprises 43 types of distortion and an acoustic simulator In edit mode the module is adjusted using the GAIN and LEVEL knobs of the pre amp section and the parameter knobs 1 2 For each effect type in this module there are 2 algorithms for live playing and direct recording The algorithms are automatically selected according to the on off status of the CABINET module p 67 Effect parameters are described below after effect types FD Clean VX Clean Clean sound of a Fender Twin
146. painted in a garage and set out to dry in the garden As the story goes sometimes small insects would get stuck on the surface and the lot would be shipped out as is The pedals soon gained worldwide fame in the seventies but eventually lost their market share to Made in Japan products from Boss and others that provided high performance at lower cost MXR disappeared from the scene but in the late eighties Jim Dunlop bought the rights and is now producing a number of re issue models This pedal much beloved by Randy Rhoads who made the distortion moniker and sound famous the world over The hard edged tone stays detailed also when playing fast solos or riffs with the lower strings muted The world of heavy metal and hard rock wouldn t be the same without it HotBox O MATCHLESS HOT BOX The HOT BOX was released as a pedal preamp bearing the MATCHLESS brand It uses two 12AX7A tubes for the truthful reproduction of the sound of the MATCHLESS guitar amplifiers It has the compressed sound and the quick response which are distinctive characteristics of tube amps Its sound is fat and cuts through very well too Even if you crank up the gain to get a distorted sound you will retain the nuances of the original guitar sound Although it is categorized as preamp the ideal way to get the best possible sound is to connect it like usual stomp boxes to the input of your guitar amp Its design is also attractive the case is polished like a mir
147. parameter belongs will be switched on or off When you turn parameter knob 4 the display changes as follows HINT If you select Disable at the above display module on off switching is not available 7 Repeat steps 3 6 to set the other control targets in the same way NOTE It is also possible to specify the same parameter for more than one control target but in some cases extreme parameter value changes may lead to noise This is not a defect 8 Whenall settings for expression pedal 1 have been made press the EXIT key EXIT The unit returns to play mode ZOOM G9 2tt Using the Expression Pedals 9 if required store the patch NOTE Any changes in pedal settings will be lost when you select a new patch Be sure to store the patch if you want to keep the changes 28 Assigning control targets to expression pedal 2 This section describes how to assign a control target to expression pedal 2 For the vertical direction and the horizontal direction four control targets each can be assigned Module on off switching is available for the vertical direction only 1 In play mode select the patch 2 Press the PEDAL 2 SETTING key The display changes as follows Control target parameter name Control target indication P2V1 P2V4 P2H1 P2H4 PEDAL2 SETTING Module name Effect type name HINT The expression pedal 1 2 setting is included in the TOTAL FUNCTION module
148. pecified type may damage the unit and pose a safety hazard Connect the AC adapter only to an AC outlet that supplies the rated voltage required by the adapter When disconnecting the AC adapter from the AC outlet always grasp the adapter itself and do not pull at the cable During lightning or when not using the unit for an extended period disconnect the AC adapter from the AC outlet Do not pinch the power cord bend it forcedly or place heavy objects on the power cord Warning Environment To prevent the risk of fire electric shock or malfunction avoid using your G9 2tt in environments where it will be exposed to Warning Extreme temperatures Heat sources such as radiators or stoves High humidity or moisture Excessive dust or sand Excessive vibration or shock Keep a minimum distance of 5 cm around the unit for sufficient ventilation Do not impede the ventilation openings with objects such as newspapers or curtains Handling Never place objects filled with liquids such as vases on the G9 2tt since this can cause electric shock Do not place naked flame sources such as lighted candles on the G9 2tt since this can cause fire The G9 2tt is a precision instrument Do not exert undue pressure on the keys and other controls Also take care not to drop the unit and do not subject it to shock or excessive pressure Warning Caution Take care that no foreign objects coins or pins etc
149. r Windows folder by double clicking on it and then double click the executable Setup Setup exe file to start the installation In the Sound window verify that USB Audio CODEC is listed under the Play and Record devices and that the device is checked To switch between Play and Record click the tabs at the top of the window If the device is not checked right click on the icon for the device and click Set as Default Device so that a check mark appears w Cubase LE 4 mpkg M n a 1 eo 0 00 12 00 1 n a 0 51 19 86 2 eM 0 00 12 00 2 If another device is selected use the pull down menu to change the selection to USB Audio CODEC process Start Cubase LE 4 Then access the Devices menu When the setting has been made close Audio MIDI Setup select Device Setup and click VST Audio System Connect this unit to the computer using a USB cable an gen bius DEVICES select Device Setup and click VST Audio To start Cubase LE 4 double click the Cubase LE 4 shortcut icon that System was created on the desktop After startup select ZOOM ASIO y Driver as the ASIO driver in the right section of the Device Setup To start Cubase LE 4 double click on the Cubase LE 4 icon that was HINT window When you change the ASIO driver selection a confirmation AC adapter placed in the Applications folder dur
150. r section E Foot switches do not operate properly Check the setting of function foot switches 1 2 p 38 Check the current operation mode The foot switch action is different in play mode and manual mode Sound in bypass condition is strange Try lowering the setting of the TUBE control and BOOST control in the Energizer section The Energizer operates also in the bypass condition e Set the TUBE control in the Accelerator section to a setting lower than 3 o clock The Accelerator operates also in the bypass condition E Noise is noticeable Make sure that only a ZOOM AC adapter is used Adjust the ZNR setting e Move around the room to check for RF noise in relation to the pick ups etc Try lowering the Gain and Level parameters of the PRE AMP module Check the settings of expression pedals 1 2 p 33 35 Depending on the parameter assigned to expression pedals 1 2 a pedal action causing drastic parameter change may result in noise E Cannot send or receive MIDI messages Make sure that the MIDI IN connector of the G9 2tt and the MIDI OUT connector of the other MIDI device and the MIDI OUT connector of the G9 2tt and the MIDI IN connector of the other MIDI device are connected properly e Check the MIDI channel setting p 43 Check whether send receive of the respective type of MIDI message is enabled p 44 47 E On off switching with expression pedal does
151. rack is in recording standby mode its recording level is shown by the level meter for the assigned channel The level should be set in such a way that the meter registers to a fairly high value but remains below the maximum point Emm B NOTE e The level meter shows the signal level after internal processing by Cubase LE Therefore a slight time lag may occur between playing a guitar or other instrument and the meter registering the change in level This is normal and not a defect e The audio tracks of Cubase LE will be recorded with correct timing exactly matched to your instrument play There will be no lag between already recorded tracks and newly added tracks 17 Verify that the transport panel is shown Normal A L 0001 01 01 000 f 0001 01 01 000 J 120 00 R 0001 01 01 000 6 Master NS To M aT ra D offine Transport panel If the transport panel is not shown access the Transport menu and select Transport Panel To start recording click the Record button in the transport panel Record button As you play your instrument the waveform appears in real time in the project window To stop recording click the Stop button in the transport panel Recording stops ey Check the recorded content To play the recording perform the following steps Move the fader of the master channel as displayed in step 15 fully down 4
152. reates the clean sound for the intro This flanger based jet sound is the signature sound of hard Move the Z pedal the horizontal direction to adjust the flanger amount The REC patch u8 2 gives you two fighter planes that cross the stage from right and left when you move the Z pedal horizontally Channel A is a clean sound suitable for arpeggios This patch lets you move the effect sound with the Z pedal to create an intriguing space effect In addition Z Echo gives you a time stretch that resembles analog delay Channel A is a high gain sound modeled on the Diezel Herbert channel 3 Spectacular rotary speaker simulation using three types of modulation Use function foot switch 1 to change from the drive sound of channel B modeled on the Marshall Bluesbreaker amp to the Z Clean sound The vertical direction of the Z pedal controls the rotation speed and movement in the horizontal direction adds delay This patch produces an enigmatic sound that uses the oscillator effect The Z pedal lets you choose between guitar sound and synthesizer sound Channel A is a crunch sound modeled on the Fender Essa Clean sound featuring ZOOM s traditional bend chorus Play a with a Pop style bend great match for bands with alluring female vocals Channel is a clean sound variation using JazzChorus In the REC patch u9 2 Z Delay is assigned to the pedal allowing you to change the position of the delay sound only G9 2tt Patchlist E 1 S
153. ristic glittering sound of this Twin Reverb This guitar amplifier has two 12 loudspeakers by Jensen and pus out 80w power On the program in this Zoom G series you can have the sound with the Bright switch on by tweaking the Harmonics parameter in the 6 band EQ section When you turn the reverb effect on you will get that Twin Reverb sound you have been longing for US Blues Fender Tweed Deluxe 53 The very first Fender amplifier was developed by Leo Fender and his trusty partner the engineer Doc Kaufman in 1945 46 Actually the earliest models were not made under the Fender brand but the K amp F Manufacturing Corporation named after the Initials of the two The first amplifier using the Fender brand was the Model 26 in 1947 In 1949 the entry models called Champion 400 600 series followed The so called Tweed Amps covered literally with tweeds all over were developed during the 1950s and the 1960s In these years the company put out various tweed models like the Bassman or the Bandmaster The program of this Zoom G series is modeled after among others the most representative Tweed Deluxe aka the Wide Panel from 1953 This amplifier has a 12AY7 and a 12AX7 pre tubes two 6V6GT power tubes a 5Y3GT rectifier tube and a 12 Jensen loudspeaker and its output power is 10w Recently the original amplifier is priced quite highly and is very difficult to find in good condition This amp has two inputs
154. rning parameter knob 1 e When you press a foot switch whose LED is lit the same patch is called up once more 2 To switch to a patch in another bank use the BANK V A foot switches to change the bank and then use foot switches 1 5 to select the patch BANK 4 Foot switches foot switches 1 5 When you repeatedly press the BANK A foot switch the G9 2tt switches the group bank as follows User groups Uu 4 a era Preset groups A Aba ay HINT In play mode you can switch the group bank by turning the TYPE knob NOTE When using the BANK A foot switches to change banks press and release the switch quickly f you keep the BANK F foot switch depressed for more than one second the G9 2tt switches to manual mode p 19 e f you keep the BANK A foot switch depressed for more than one second the G9 2tt switches to the bypass condition effects off If you keep the switch depressed further the G9 2tt switches to the mute condition original sound and effect sound both off p 21 ZOOM G9 2tt Selecting Patches for Playing Play Mode Adjusting the sound In play mode you can use the knobs on the panel to adjust the basic parameters of the pre amp section distortion type and intensity EQ boost cut etc 1 In play mode select the patch 2 Press one of the CHANNEL A B keys to select the pre amp channel A or B for which
155. ror and the MATCHLESS logo lights up when you turn it on This Hot is literally a magic box you can get the signature sound of the MATCHLESS amps regardless of the guitar amplifier you connect it to FuzzFace O Dallas Arbiter FUZZ FACE FUZZ FACE was originally released from the Dallas Arbiter company in 1966 encased in a uniquely designed housing that literally looked like a face It is also famous as legendary guitarist Jimi Hendrix s favorite gear He combined this FUZZ FACE with his Marshall amps because it was hard to get distorted sound from them at that time and created avant garde tones The heavy and fat low end and the fuzz sound with long sustain are the characteristics of this effective device The earliest model used two PNP germanium transistors and was very different in sound from the later models using silicon transistors The theory of creating distorted sound is simple Have you tried to connect the guitar to a microphone input on your radio cassette recorder to emulate that sound You cannot go too wrong if you think that the circuitry of this device is similar to that The program on this Zoom G series is modeled after this earliest version most satisfactorily SD M Stk O Marshall Stack SD 1 Ever since the dawn of rock Marshall has been recognized as the best brand of amp for this genre With the JCM800 series that appeared in the eighties Marshall again pulled ahead of the pack Among the vario
156. rs with the pedal symbol can also be selected as control targets for the ARRM function Delay tap hold delay delay mute The tap hold HOLD and mute MUTE symbols in the table indicate that the respective function foot switch 1 2 can be used to specify the delay time TAP toggle hold delay on and off HOLD or toggle mute between on and off MUTE These functions apply only to the DELAY module To use these functions the respective function must be assigned to the function foot switch 1 2 p 38 and the respective effect type must be enabled 60 ZOOM G9 2tt COMP module CO Attenuates high level signal components and boosts low level signal components to keep the overall signal level within a certain range Compressor This is an MXR Dynacomp type compressor Adjusts the compressor sensitivity Higher setting values result in higher sensitivity RackComp Selects compressor attack speed in two levels Fast or Slow Effect Types and Parameters Adjusts the tonal quality of the sound This effect type allows more detailed adjustment than Compressor Threshold Adjusts the reference signal level for the compressor action Limiter PAR O maio 1 10 Adjusts the compression ratio PARMS O Attack 1 10 Adjusts the compressor attack speed This is a limiter that suppresses signal peaks above a certain reference level Adjusts the reference sign
157. rtually jumps from the speaker in a way that is just not possible with other amps Channel A gives the beautiful clean tone that is another hallmark of a class A amp HK Clean HK Drive DelayTAP amp 8 AnalogDelay 2 4 AnalogDelay FeedBack 7 4 This patch simulates the smooth drive sound of the Hughes amp Kettner Triamp Let the powerful low end and ample distortion propel your lead play Ip Channel A recreates the sound of the class A amp in the clean channel of the Triamp MKII Ultimate clean tone recreating the saturation of a tube lt amp Select either American Fender sound channel A or British Vox sound channel B making use of the Energizer tube circuitry the sound can be given additional sheen Versatile overdrive sound very popular in Fusion and umm of the nineteen eighties When playing a guitar solo increase the gain by pushing down the Z pedal Add delay by moving the Z Pedal sideways Channel A offers Z Clean sound for cutting TS F_Cmb SD M_Stk AB DelayTAP P Resonance Frequency ed 4 AnalogDelay Mix ring Z Clean MS Drive NB P Resonance on E ReverseDelay Balance 4 P Resonance Frequency emet c De G9 2tt Patchlist E 1 Compression phaser sound great for funky cutting Cross fade the regular phaser with the original sound by moving the Z pedal sideways Add brushing and single note riffs to really build that groove Channel A is a clean sound variation based
158. s change as follows When control change for expression pedal 1 2 is received The value of the parameter assigned to the pedal changes according to the control change value 0 127 When control change for module on off Is received If control change value is between 0 and 63 the module is switched off If control change value 1s between 64 and 127 the module is switched on When control change for bypass mute on off is received If control change value is between 0 and 63 bypass mute is switched off If control change value is between 64 and 127 bypass mute is switched on When control change for pre amp section channel A B switching is received If control change value is between 0 and 63 the pre amp section switches to channel A If control change value is between 64 and 127 the pre amp section switches to channel B Sending and receiving G9 2tt internal data via MIDI The patch data stored in a G9 2tt can be sent and received as MIDI messages system exclusive When two G9 2tt units are connected via a MIDI cable this allows copying of patch data from the sending unit to the receiving unit NOTE When patch data are received all existing patch data in the G9 2tt will be overwritten Perform the following steps with care to avoid accidentally overwriting important data 1 Connect the MIDI OUT connector on the source G9 2tt to the MIDI IN connector on the target G9 2tt using a MIDI cable
159. s control target and the ARRM function is disabled 4 setthe adjustment range for the parameter to be controlled use parameter knob 2 minimum value and parameter knob 3 maximum value The settings selected with parameter knobs 2 and 3 determine the value when the control waveform reaches minimum value and maximum value PRE AMP CHAIN Minimum value Maximum value The difference between a parameter setting range of 0 minimum 100 maximum and 20 minimum 80 maximum is evident from the graph on the next page ZOOM G9 2tt MAX 100 Parameter value min 0 MAX 80 Parameter value min 20 HINT e The available range setting depends on the parameter e t is also possible to set min to a higher value than MAX In that case the control change direction will be reversed D To select the control waveform type and cycle press the PAGE key once to switch the page PAGE The ARRM function has a total of five parameters To set parameters 4 and 5 press the PAGE key first and then use parameter knobs 1 and 2 To return to adjusting parameters 1 3 press the PAGE key once more 6 Turn parameter knob 1 to select the control waveform The display changes as follows Available waveforms are shown at right Control waveform type ZOOM G9 2tt Other Functions Rising sawtooth 1 Up Saw 2 Rising fin Up Curve 3 Falling sawtooth
160. st the contrast in the range from 1 3 4 Whenthe setting is complete press the EXIT key to exit the AMP SELECT SYSTEM menu The indication Store appears on the display to allow you to store the changes EXIT 5 Press the STORE SWAP key to save the changes STORE SWAP The contrast setting 1s accepted and the unit returns to play mode In the above condition only the STORE SWAP key and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving ZOOM G9 2tt The patches of the G9 2tt can be thought of as ten serially linked effect modules as shown in the illustration below You can use all effect modules together or selectively set certain modules to off to use just specific effect modules r Pre amp section MR COMP WAH EFX1 il 4 PRE AMP 24 EQ g CABINET gt MOD EFX2 S DELAY ST Chorus PingPongDly Limiter Booster JC Clean Echo Tremolo HW Clean ModDelay PingPongEcho A Channel Flanger For some effect modules you can select an effect type from several possible choices For example the MOD EFX2 module comprises CHORUS FLANGER and other effect types from which you can choose one the PRE AMP module This algorithm optimizes the sound for playing through a guitar amp When the G9 2tt is connected to a guitar amp this setting is r
161. store swap process is carried out and the G9 2tt then returns to play mode with the store swap target bank being selected By pressing the EXIT key instead of the STORE SW AP key you can cancel the process and return to the previous mode Returning patches to factory default condition Even if you have made changes to the user group patches you can return all patches to the factory default condition at any time AII Initialize NOTE When you perform the All Initialize function all patches stored in the user area will be overwritten Proceed with care Storing Patches and Banks Store Mode 1 Turn power to the G9 2tt on while holding down the STORE SWAP key STORE SWAP POWER EX The indication All Initialize appears on the display 2 Press the STORE SWAP key once more All patches are returned to the factory default condition and the G9 2tt switches to play mode By pressing the EXIT key before performing step 2 you can cancel the process 30 ZOOM G9 2tt Using the Expression Pedals This section explains how to use the two built in expression pedals of the G9 2tt About the expression pedals The G9 2tt comes standard with two expression pedals that can be used to control specific effect parameters in real time Expression pedal 1 on the left side has four control targets P1 1 to P1 4 and a parameter can be assigned for each control target This makes it possibl
162. t in Adjusts the tonal quality of the semitones sound PedalPitch TAE Adjusts the effect sensitivity This effect allows using a pedal to shift the pitch in real time With positive setting values the PARM1 PARM2 _ PARM4 Adjusts the level of the effect dist effect sound level increases at Sets the delay time sound mixed to the original higher input signal levels With Mode Down ax PdiPosi 0 100 en feedback xus ut Sets the pitch shift amount effect sound level decreases at Depending on the Color higher input signal levels eR E dal Sets the direction of the pitch Adjusts the tonal quality of the setting the balance between E 1 y nep change to Up or Down sound original sound and effect sound also changes accordingly Table 1 Color Mode Pedal minimum value zz Pedal maximum value Color Mode Pedal minimum value Pedal maximum value 100 cent Original sound only 1 octave DRY 1 octave DRY Down Original sound only 100 cent 1 octave DRY 1 octave DRY DOUBLING Detune DRY 700 cent DRY 500 cent DRY Detune DRY DOUBLING 500 cent DRY 700 cent DRY 0 cent 1 octave oo 0 Hz DRY 1 octave 1 octave 0 cent 1 octave 0 Hz DRY cent 2 octaves oo 0 Hz DRY 1 octave DRY 2 octaves 0 cent 1 octave DRY oo 0 Hz DRY 68 ZOOM G9 2tt ZOOM G9 2tt 69 Effect Types and Parameters DynamicFlang This is a dyn
163. tches and patches are then selected using the mapping information With this method a maximum of 128 patches can be specified E Enable program change send receive The procedure for enabling send receive of program change bank select messages is described below ZOOM G9 2tt 1 In play mode press the AMP SELECT SYSTEM key AMP SELECT SYSTEM 2 To enable the G9 2tt to receive program change bank select messages turn the TYPE knob to bring up the MIDI PC Rx receive program change parameter and turn parameter knob 1 to select the ON setting e 3 To enable the G9 2tt to send program change bank select messages turn the TYPE knob to bring up the MIDI PC Tx send program change parameter and turn parameter knob 1 to select the ON setting 4 Whenthe setting is complete press the EXIT key to exit the AMP SELECT SYSTEM menu The indication Store appears on the display to allow you to store the changes EXIT D Press the STORE SWAP key to save the changes The setting is accepted and the unit returns to play mode In the above condition only the STORE SWAP ZOOM G9 2tt MIDI Usage Examples and EXIT keys are active By pressing the EXIT key you can abort the changes and return to play mode without saving E Using direct mode By using a combination of MIDI bank select and program change messages you can specify a patc
164. ted WAH EFX1 module X Wah This effect allows cross fading of original sound and effect sound VOX type wah using the pedal Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Frequency parameter and the horizontal direction P2H1 P2H4 to the X Fade parameter Position Befr a Frequency X Fade 0 fi 100 Selects the connection position of the WAH EFX1 module Available settings are Befr before pre amp section or Aftr after pre amp section Adjust the level balance between original sound and effect sound Adjusts the frequency that is emphasized Adjusts the signal level after passing the module This effect allows cross fading of original sound and effect sound Phaser using the pedal Try assigning the vertical Adjusts the signal level after passing the module direction of the Z pedal P2V1 P2V4 to the Rate parameter and the horizontal direction P2H1 P2H4 to the X Color fi 4 X F Level Afi 0550 X Fade 0 100 21100 and sound type With settings to the Adjusts the level balance module and with settings effect sound Aft1 to Aft4 after the PRE Fade parameter PARMA Selects the connection position position is before the PRE AMP Adjusts the modulation rate between original sound and AMP module This effect allows cross fading of phaser and tremolo action using the pedal Try assigning the v
165. th single coil front pickups Channel B provides the Fender Twin Reverb clean sound A patch modeled on the legendary Marshall 1959 SuperLead 100 used extensively by numerous rock guitarists Enjoy distortion that is slightly different from modern high gain stack amps Pushing the Z pedal all the way down turns vibrato on Channel A is a variation of the same amp with lower gain setting This patch simulates the sound of the ENGL E650 Ritchie Blackmore Signature 100 Ample distortion but never muddy that is what Ritchie Blackmore s sound is all about Moving the Z pedal horizontally brings X WAH into play Channel A is a variation of the same amp with lower gain setting Simulates the high gain sound of the Mesa Boogie Rectifier a world wide standard for heavy music Warm sound with a strong presence provides a mighty buildup whether playing riffs or lead Channel A provides the clean channel sound Rect A simulation of the Roland JazzChorus sound with its beautiful chorus based clean tone Every guitarist needs a transparent clean sound with a wide range of uses for cutting arpeggios and many other situations Stereo chorus can be turned on and off with the function foot switch Channel A offers a tone variation of the same JazzChorus This patch recreates both the Marshall JCM800 and JCM2000 Channel A is modeled on the characteristically solid crunch sound of the 800 while channel B brings you the higher gain sound of the JCM2000 To
166. ting to the power amplifier input on the rear panel of a guitar amplifier set the switch to 4 dBm The OUTPUT GAIN switch G9 2tt incorporates a feature for matching its characteristics to qm the amplifier amp select function For details see page 58 lodBm L 4dBm Guitar Guitar amplifier rear panel 7 e un T p door mom 6 0 Qm c om 2494 N2609 MODEL G9 2tt SERIAL NO M 8 ZOOM G9 2tt Computer Power On Connection example 3 External effect connection When an external effect is connected to the SEND RETURN jacks settings such as effect on off and send return level can be stored as part of a patch For details see page 41 When connecting to an effect that has a rated input level of 4 dBm rack mount effect or similar use the 4 dBm setting When heh External effect connecting to an instrument 104 1 L 4dBm EXT LOOP GAIN switch effect or a compact effect use the 10 dBm setting 2 ee 7 MI Power On The steps for turning on the G9 2tt are described below 1 Make sure that any connected guitar amplifier is turned off In addition fully turn down the volume control at the guitar amplifier 2 Plug the AC adapter into an AC outlet and plug the cable from the adapter into the AC IN connector of the G9 2tt 3 Use
167. tually disappear The bass is tight and a very slight treble emphasis creates vigor Why choose this effect type then Try it when creating patches for arpeggios and cutting You should get smoother and more rounded sound If you want to produce clean guitar sound via a line input excessive bass may make it sound as if the pick got caught between the strings This effect type should solve such problems 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 USB Cubase LE Startup Guide This USB Cubase LE Startup Guide explains how to install Cubase LE on a computer how to make the connection and settings of this unit and how to record your instrument play USB Cubase LE Startup Guide Cubase LE Installation gt Connections and Preparations Cubase LE Installation gt Connections and Preparations To connect this unit to a computer running Windows XP and to enable audio input output proceed as follows o Install Cubase LE on the computer When you insert the CD ROM supplied with this product into the CD ROM drive of the computer the installer will start up automatically Follow the on screen instructions to install Cubase LE e Connect this unit to the
168. type selection or a parameter setting value has been changed at least once the STORE SWAP key lights up and the indication E appears next to the item e The E indication disappears when the item is returned to the original value However if any ZOOM G9 2tt TOTAL FUNCTION key other item has been changed the STORE SWAP key remains lit NOTE The PRE AMP ZNR and EQ modules can be set to on or off separately for each channel A B 4 To edit the selected module proceed as follows When a module other than PRE AMP EQ is selected Switch the effect type as needed with the TYPE knob for modules having several effect types and use the parameter knobs 1 4 to adjust the parameters of the effect type Which parameters are assigned to the parameter knobs 1 4 differs depending on the module and effect type p 60 75 BANK PATCH LEVEL TYPE PARM 1 PARM PARM 3 PARM 4 C TONE nz 10 MID HARMONICS knob Parameter knobs 1 4 When you turn a parameter knob the display changes as follows Number of operated Parameter value parameter knob and parameter name HINT For effect modules with only one effect type EQ module CABINET module etc the effect type cannot be changed Changing the Sound of a Patch Edit Mode When PRE AMP EQ module is selected The PRE AMP and EQ module parameters can always be adjusted with the knobs
169. ulates the loud and super distorted sound of Slipknot a major band on the modern heavy music scene Moving the Z pedal vertically gives the sound a more metallic ring while the horizontal direction adds ambience for solos Channel A provides Z Clean sound This patch simulates the heavy auto wah sound of Stevie Salas It uses the compressor auto wah combination indispensable for true funk Make free use of brushing and single note cutting to play those groovy phrases Channel A contains a clean sound Simulates the octaver sound cherished by Jeff Beck It s the ideal patch for playing passages in the fluid driving style of his famous song Led Boots Adjust the octaver level with the pedal Channel A provides a Fender Twin Reverb clean sound Clean tone like the choking guitar of the king of Blues Mr BB King Recreate the moody solo from The Thrill Is Gone and use the pedal to control the ambience Channel B has a drive sound modeled on the Marshall Bluesbreaker Continued overleaf gt G9 2tt Patch List The amp channel indicated by shading will be selected when the patch is called up The Z pedal setting indicates the effect type name and the parameter name Expression pedal 1 is always assigned to the Volume parameter ARTI ST The symbol indicates the vertical direction setting and the p symbol the horizontal direction setting An effect listed in brackets in the Z pedal setting can be turned on by depressing the ped
170. us models of the series the most successful must be the 100 watt 2203 featuring a master volume control With its crisp and solid sound it makes the guitar stand out gloriously in a band even over the vocals something that hard rock guitarists really appreciate However for dashing leads with heavy riffs or right hand playing gain with this amp alone was still not enough Driving the Marshall JCM800 with an overdrive pedal was the answer This effect type recreates the sound of those glitzy hairspray bands from the eighties sing the Boss SD 1 as overdrive pedal BigMuff O Electro Harmonix BIG MUFF There are several versions of this pedal The Zoom G series simulation is based on the so called Ram s Head from the early seventies characterized by very long sustain and rich distortion tapestry Major names from the 70 s associated with this sound are Carlos Santana and Robert Fripp of King Crimson From the late eighties into the nineties the grunge movement took over with Nirvana s Cobain and J Mascis of Dinosaur Jr using the pedal to do their thing Compared to an ordinary fuzz pedal the BIG MUFF offers rich midrange and detailed distortion that maintain presence also when playing chords The result is a wholly unique sound somewhere between distortion and fuzz FZ M_Stk O Marshall Stack FUZZ FACE At the Monterey Pop Festival in 1967 a guitar was smashed and burnt on stage helped along by Zippo lighter fluid Just before
171. various ways by moving the pedal in the vertical or the horizontal direction Try assigning the vertical direction of the Z pedal P2V1 P2V4 to the Formant V parameter and the horizontal direction P2H1 P2H4 to the Formant H parameter 2 Insert a 3mm size hex wrench into the fitting ENS on the outside of the panel To increase EE arse On E gt 107 pedal firmness turn the wrench clockwise justs the formant peaks 1n justs the formant peaks 1n Selects the sound variation the acoustic frequency the acoustic frequency To decrease pedal firmness turn the wrench type caused by the pedal see Adjusts the tone spectrum that characterize spectrum that characterize counterclockwise Table 3 vowels vertical direction of vowels horizontal direction pedal of pedal Table 3 The table below shows an example for Z pedal operation when vertical direction is assigned to Formant V and horizontal direction to Formant H H e e e e veis 070 Adjusting vertical torque for expression pedal 1 2 direction direction MIN max ai 4 Turn power to the G9 2tt off u e max disconnect the AC adapter mm size hex wrench 40 mm or longer from the unit and turn the pes e unit upside down REVERB module Z Delay This is a delay effect which allows adjustment of panning and mix level using the pedal Try assigning the verti
172. ve Marshall JCM2000 JCM2000 is based on the reputed Plexi amp aka Old Marshall whose rich overtones and powerful sound were legendary It has very flexible sound and can produce the traditional Marshall sound modern heavy metal sound or sounds suitable for any musical genre It has the modern Marshall s standard circuit with four ECC83 pre tubes and four EL34 power tubes It is an all tube amplifier that can produce clean or heavily distorted sound and you can use it in all kinds of music The sound is rather grainy but the response is fast and the guitar sound cuts through very well JCM2000 series has two different models the TSL and the DSL The program on the Zoom G series is modeled after the simply designed DSL 100 As with the modeling of the JCM800 we combined the head with a 1960A cabinet and used the Lead channel that has more distortion JC Clean O Roland JAZZ CHORUS Simply put the Roland JC 120 is the most familiar guitar amplifier among both professionals and amateurs Released in 1975 from Roland this amp became known as portable loud and almost trouble free which are the very characteristics Japanese products are known for You are pretty sure to find one in any live houses or studios all over the world The key to that sound of JC 120 is its unique chorus effect the slightly delayed vibrato sound comes from one of two 12 loudspeakers and the dry sound from anoth
173. vel of the effect Adjusts the modulation rate sound mixed to the original sound Sets the delay time Delay This is a delay with a maximum setting of 2000 ms See TapeEcho next effect for effect parameters Flanger This effect produces a resonating and strongly undulating sound PARM 1 PARM2 _ 2 0 PARMS PARM4 effect simulates a tape echo Depth 0 100 Rate 0 505 Resonance Mx Manual 0 100 1 Time 2000 J lt lt amp FeedBack 0 100 Adjusts the effect depth Adjusts the modulation rate Adj vs mS intensity on which the effect operates Adjusts the amount of feedback Adjusts the treble attenuation Adjusts the level of the effect PitchShift Sets the delay time Higher setting values result in a of the delay sound Lower higher number of delay sound setting values result in softer eae msec to This effect shifts the pitch up or down repetitions delay sound ae PARMM PARM PARM4 12 1 0 DynamicDelay 112 24 Tone 0 10 25 25 Balance 0 100 This is a dynamic delay where the effect volume varies according to the input signal level Allows fine adjustment of Adjusts the balance between PARM2 PARMS pitch shift amount in Cent 1 original sound and effect 100 semitone steps sound lt Amount 0 100 FeedBack 0 100 Sets the pitch shift amoun
174. vel to the maximum at the input stage and gets the wild distortion sound at the clipping stage In fact you won t change the distortion rate even if you lower the volume on your guitar Its distortion is that deep Contrary to the usual distortion effects whose sound gets thinner as you raise the gain this Extreme Distortion won t lose the fatness and tightness of the sound DigiFuzz O Digital Fuzz Forty years ago my fellow guitar player used to crank up his amp trying to distort his guitar sound and make other guys of the band virtually deaf at the end of the rehearsal When it was difficult to get the distorted sound out of the amplifiers like in those days some guys made cuts in the cone loudspeakers to make the sound distorted which was the origin of the sound of fuzz effects The fuzz pedals were developed to reproduce that distortion like sound In other words the trick of fuzz effect is to simulate the dirty distortion and that broken feel This Digital Fuzz has the very effect described above Its drastic distortion relentless cut offs and noises in the decay are the characteristics that one could simply describe as broken Its fat and tight sound can be seriously recommended for the fuzz maniacs to try This is literally the Digital Dirty Fuzz that is only possible in the digital domain are you brave enough to make cuts in your loudspeakers Z Clean 1 Clean This is a clean sound that makes the drive module vir
175. y groups preset groups Groups U and u are read write enabled groups user groups Shows the number of the parameter knob that adjusts the patch output level Patch level Shows the output level setting 2 100 for the currently Patch name selected patch r EQ MONITOR AEn EAT Ge E symbol Limgbge pide PM EDP Leib If the currently displayed setting value differs from the original patch setting the indication E Bank number 0 9 for Edited appears Function foot switch 1 2 assignment Shows the function assigned to the function foot switch 1 2 p 38 CHANNEL A B keys The key for the channel A or B that is currently selected for the pre amp section is lit an CHANNEL JA C B PRE AMP AMP TYPE GAIN LEVEL TREBLE PRESENCE OO OID OO ZNR PRE AMP EQ CABINET MOD EFX2 DELAY REVERB TOTAL FUNCTION Effect module Keys for modules that are active in the keys currently selected patch are lit in red Foot switch The LED of the foot switch for the currently 1 5LEDs selected patch is lit 0005 oO 1 2 3 oa 4 5 Selecting a patch WAH EFX1 This section explains how to select a patch in play mode 1 Press a foot switch 1 5 whose LED The LED of the pressed switch lights up is not lit indicating that a new patch has been called up 14 ZOOM G9 2tt HINT e In play mode you can select a patch by tu
176. ybody has heard the sound of this amp at least once By way of circuitry it uses three ECC83 preamp tubes and four EL34 power tubes Two cabinets with four Celestion 12 speakers complete the package that is the epitome of British Rock With the volume full up the aggressive transients and distortion sound complemented by smooth harmonics are the dream of every guitarist The only drawback could be seen in the fact that a very high volume level is needed to get that sound But the Zoom G9 2tt overcomes this problem letting you duplicate the sound by simply raising the gain parameter After all even Rock guitarists should be kind to their ears UK Blues Marshall 1962 Bluesbreaker Since it was used by Eric Clapton when recording the album John Mayall and the Blues Breakers with Eric Clapton commonly known as the Beano album this amp has acquired the moniker Bluesbreaker Up to then guitar amps aimed for a clean sound with minimal distortion but the fat and sweet tone of this amp driven by Eric Clapton s Les Paul fascinated guitarists the world over They liked it so much that it has become the defining sound of the rock guitar While different from the distortion produced by modern high gain amps the long sustain and distortion following each picking nuance is ideal for playing the blues The creamy sound of this amplifier with its four ECC83 pre stage tubes two 5881 power tubes and a GZ34 tube in the rectifier circuit is perf

Princeton Digital (USA) G9.2tt2q User's Manual

Contents

Download Pdf Manuals

Related Search

Related Contents