User manual ZOOM B1

[. . . ] Operation Manual Thank you for selecting the ZOOM B1/B1X (hereafter simply called the "B1/B1X"). Please take the time to read this manual carefully to get the most out of this product and to ensure optimum performance and reliability. Keep this manual at hand for future reference. Contents SAFETY PRECAUTIONS / Usage Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Terms Used in This Manual . . . . . . . . . . 3 Controls and Functions / Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Selecting a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Using the Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Using the Rhythm Function . . . . . . . . 10 Editing a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Storing/Copying Patches . . . . . . . . . . . . 14 Changing the Way Patches Are Called Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Using a Foot Switch or Pedal . . . . . 16 Using the foot switch (FS01) (B1 only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] Higher setting values result in higher modulation frequency. Ring Mod (Ring Modulator) 18 ZOOM B1/B1X ZOOM B1/B1X 19 Effect Types and Parameters Effect Types and Parameters D1 S1 V1 Defret D 9 This effect makes the sound of a fretted bass resemble that of a fretless bass. Higher setting values result in higher effect sensitivity. When MONO SYN effect type is selected S 1 S 5 Variation S 9 This effect reduces the attack rate of each individual note, producing a violin playing style sound. Higher setting values result in slower attack times. Slow Attack P1 M1 P 5 Allows selection of the oscillator waveform type and tone variation. Available settings are "s" M 5 (sawtooth), "p" (square), and "m" (PWM = pulse width modulation). V 9 This effect simulates the half-open sound of a vintage Vox wah pedal. Higher setting values result in higher emphasized frequency. Pedal Vox MIX (Prm2) Sets the DRIVE module parameter 2. This parameter is the same for all effect types. DRIVE module This module includes 13 types of amp/stomp box modeling effects and a bass synthesizer. For this module, DRIVE (effect type), GAIN (parameter 1), and MIX (parameter 2) can be adjusted separately. 0 Mix 1 0 Sets the mixing balance between the signal before the DRIVE module and the signal after passing the module. Higher setting values result in more drive sound. DRIVE (Type) Selects the effect type for the DRIVE module. * Manufacturer names and product names mentioned in this listing are trademarks or registered trademarks of their respective owners. The names are used only to illustrate sonic characteristics and do not indicate any affiliation with ZOOM CORPORATION. AG SW BM TE SA OD AMPEG Effect modeled on the sound of the ultimate rock bass amp, the Ampeg SVT. SB AC HA TU TS DS SUPER BASS Simulation of the Marshall Super Bass head amp that has made rock history. EQ module This is a 3-band equalizer. For this module, the three items EQ LO, EQ MID, and EQ HI can be adjusted separately. SWR Simulation of the SWR SM-900, famous for its hi-fi sound. ACOUSTIC Effect modeled on the sound of the Acoustic 360 with its tight midrange. EQ LO (Prm) Adjusts the LO band of the EQ module. Lo EQ MID (Prm) Adjusts the MID band of the EQ module. Mid EQ HI (Prm) Adjusts the HI band of the EQ module. Hi BASSMAN Effect modeled on the sound of the Fender Bassman 100. HARTKE Simulation of the Hartke HA3500 famous for its aluminum cone. TRACE ELLIOT Effect modeled on the sound of the Trace Elliot AH-500. TUBE PRE ZOOM original tube preamplifier sound. 8 1 8 Adjusts the low range (70Hz) boost/ cut. 8 1 8 Adjusts the midrange (450 Hz) boost/cut. 8 1 8 Adjusts the high range (3 kHz) boost/ cut. SANSAMP Simulation of the Sansamp Bass Driver DI, highly popular among bass players. TS9 Simulation of the Tube Screamer used by many guitarists as a booster. ZNR/AMP (ZNR/Amp Simulator) module This module combines two elements. ZNR is a noise reduction circuit developed by ZOOM which removes noise during play pauses without affecting sound quality. The amp simulator recreates the sound of speaker cabinets. ODB-3 Simulates the ODB-3 overdrive bass machine from Boss. MXR BASS DI Simulates the MXR Bass D. I. + distortion channel. ZNR/AMP (Type&Prm) Selects ZNR sensitivity and amp simulator type at the same time. FUZZFACE MONO SYN FF Simulation of the Fuzz Face that made rock history with its zany look and smashing sound. MS This is a monophonic bass synthesizer (for single-note playing) that detects the pitch of the input signal. 0 A0 9 A9 ZNR (ZOOM Noise Reduction) This is the noise reduction function only. Higher setting values result in stronger effect. Set the value as high as possible without causing the sound to be cut off unnaturally. GAIN (Prm1) Sets the DRIVE module parameter 1. The parameter type depends on the currently selected effect type. When distortion effect type is selected Gain 0 30 Adjusts the gain (distortion depth). AMP&ZNR (Amp Simulator & ZNR) Combination of ZNR with bass amp cabinet simulator. The right-digit value controls ZNR sensitivity. 20 ZOOM B1/B1X ZOOM B1/B1X 21 Effect Types and Parameters Effect Types and Parameters MODULATION/DELAY module This module comprises modulation and delay effects such as chorus, flanger, delay, etc. For this module, the two items MODULATION/DELAY (effect type & parameter 1) and RATE/TIME (parameter 2) can be set separately. Vibrato Rate TAP C1 V1 C9 V 9 This is an automatic vibrato effect. Higher right-digit setting values result in deeper vibrato. Pitch Bend This effect allows using the expression B 9 pedal to change the pitch in real time. [. . . ] Simulates the sound of one of New York's top session bass players, Will Lee. The fat tone has a strong fusion character. Combination with Detune produces an expansive sound with moderate amounts of modulation. Famous for his work with King Crimson, Tony Levin played the kind of tricky inventive phrases that are the hallmark of progressive rock. [. . . ]