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Early Reflection
Early Reflection is the component of the reverb sound that reaches to the listener first
after the original sound has bounced off the wall. The reverb sound consists of this
early reflection and the late reflection, and the former characterizes the size of the
room. The early reflection effect extracted from the whole reverb sound has been
quite popular among the rack-mounted signal processors but we have arranged this
effect on the G series especially for the guitar. To get the most popular type of this
effect, you can set the “SHAPE” parameter to the plus value (decaying effect) and
adjust the “DECAY” parameter to decide the size of the simulated room. If you
would like a wild effect, set the “SHAPE” parameter to the extreme minus value and
you will get the special effect that sounds like the tape machine played in reverse.
EXTRA EQ
In addition to the frequency ranges of 160Hz, 800Hz and 3.2kHz (LOW, MID and
TREBLE respectively,) controlled by the normal EQ module, you can boost or cut the
ranges of 400Hz, 6.4kHz and 12kHz using the LOW MID, PRESENCE and HARMONICS
controls respectively in the EXTRA EQ module. These frequency ranges are rarely
controllable with other effect devices made for guitars. With “PRESENCE” you can
adjust the high frequency range that affects the projection of the sound and with
“HARMONICS” you can tweak the overtone contained in the clipped sound. The
overdriven sound of tube amplifiers is rich in overtone and this EXTRA EQ module is
indispensable for the simulation of this aspect of the sound.
Multi Tap Delay
With this effect, you can utilize up to eight independent delay lines whose delay
times can be set separately to make rhythmical patterns. We also provided eight
practical settings ranging from the constant rhythmic pattern to the random one. Try
pattern 2 for example: the played notes are fed back like rhythmical patterns that will
inspire you to come up with various phrases one after another. You could apply this
effect to your solo performances as something different from the sound-on-sound
effect. This effect is programmed as a stereo ping-pong delay and thus we strongly
recommend you to try it using headphones. The delay time can be set to 3 sec.
maximum.
Dynamic Delay/Dynamic Flanger
This is the so-called ducking effect: the mix balance of the dry signal and the effect
signal of a delay or a flanger is controlled by the envelope of the original signal of the
guitar.
In the Dynamic Delay section, you can set the “SENSE” parameter to the minus value
to get the ducking delay effect: the feedback component in the delayed signal is not
put out while there is an input signal and the feedback component arises as soon as
the input signal is muted. This effect is very handy when, for example, you play fast
phrases on the guitar and the feedback component gets in the way. On the other
hand, you can set the “SENSE” parameter to the plus value and you will have the
feedback component while you are playing the guitar and you can cut off the
feedback as soon as you mute the guitar, which should be very handy in the break of
a song where you want to mute all of the sound.
The same thing goes with the “Dynamic Flanger”: you can set the “SENSE”
parameter to the minus value and you will get no flanging effect while the input
signal is high and you will get flanging effect when you lower the signal level of the
input. You can get a unique effect like a long note that is completely dry at the
beginning and then the flanging effect is gradually added as the signal level of the
note decreases. On the other hand, you can have the flanging effect only when you
play loud if you set the “SENSE” parameter to the plus value. This effect works great
when you want to embellish the accents in your arpeggios and riffs or to add a
hidden flavor to your lead guitar sound.
Fender TWIN Reverb
Marshall JCM-2000
Roland JC-120
VOLUME
BRIGHT
TREBLE MIDDLE BASS
1
2
NORMAL
8.5 5 5
VOLUME
BRIGHT
TREBLE MIDDLE BASS
1
2
NORMAL
4.5 5 5
0
2
4
6
8
10
PRESEMCE
0
2
4
6
8
10
TREBLE
0
2
4
6
8
10
MIDDLE
0
2
4
6
8
10
BASS
0
2
4
6
8
10
CHANNEL B
0
2
4
6
8
10
EQUALISATION REVERB
DEEP TONE SHIFT
0
2
4
6
8
10
VOLUME
0
2
4
6
8
10
VOLUME
0
2
4
6
8
10
GAIN INPUT
0
2
4
6
8
10
GAIN CHANNEL
CLASSIC GAIN / CHANNEL A
CLEAN
CRUNCH
READ 1
READ 2
OFF OFF OFFOFF
0 2
5
4 2
0
2
4
6
8
10
PRESEMCE
0
2
4
6
8
10
TREBLE
0
2
4
6
8
10
MIDDLE
0
2
4
6
8
10
BASS
0
2
4
6
8
10
CHANNEL B
0
2
4
6
8
10
EQUALISATION REVERB
DEEP TONE SHIFT
0
2
4
6
8
10
VOLUME
0
2
4
6
8
10
VOLUME
0
2
4
6
8
10
GAIN INPUT
0
2
4
6
8
10
GAIN CHANNEL
CLASSIC GAIN / CHANNEL A
CLEAN
CRUNCH
READ 1
READ 2
OFF OFF OFFOFF
0 0 1
5
2
5
0 10
5
0 10
5
0 10
5
0 10
HIGH
BRI VOLUME TREBLE
CHANNEL-1
MIDDLE BASS
LOW
5 5 55 5 5
OFF
5
0 10
5
0 10
5
0 10
5
0 10
HIGH
BRI VOLUME TREBLE
CHANNEL-1
MIDDLE BASS
LOW
0 10 0~30 10 0~3
OFF
OFF OFF
This patch is modeled after the powerful sound which uses the silicone rectifier section of that popular amplifier. You
may want to play riffs and solos with this sound valued by heavy rock guitarists.
Referenced album: "Hybrid Theory" by Linkin Park (2001)
This sound features the high-quality sound of our G2’s signal processing technology with a clean and lush chorus plus
delay patch. Try to use it for accompaniments in pop music, or solo music with your favorite guitar.
We have already started to call this sound of the UK rock band “traditional”. This patch is modeled after the punchy
sound of the overdriven JCM 800 amplifier and thus it is suitable also for the hard plucking of modern punk rock guitar
style. This is the sound of Humble Pie in later years with Dave Clemson as its guitar player.
Referenced album: “Smokin’” by Humble Pie (1972)
We took advantage of a newly developed fast tracking pitch shift algorithm and created this simulated synthesizer sound.
We hope you will come up with great solos using this sound reminiscent of Jan Hammer’s exciting trades with Jeff Beck.
Referenced album: “Wired” by Jeff Beck (1976)
This patch is a straightforward modeling of the sound of that black-face Fender Twin Reverb and provides a clean sound
that is indispensable for the ensemble. With the EFX module switched on, you can add that unique tremolo effect to get
that retro-sound instantly. We have selected a room ambience as default to make this patch suitable for current musical
style but, of course, you can replace it with the spring reverb simulation.
This wildly fat sound with infinite sustain is modeled truthfully after the sound created by the combination of MXR’s Dyna
Comp and Dallas’ Fuzz Face. Designed for using your guitar’s front pick-up.
Referenced album: “In The Court Of The Crimson King” by King Crimson (1969)
This patch is suitable for the funky chordiing. The most popular effects for the funk guitar sound are the wah-wah pedals
but here we have chosen the phase shifter to create a unique feel. We have also refreshed the flavor of this vintage
stomp box sound to fit more modern styles.
Referenced album: “Ship Ahoy” by O’Jays (1973)
This patch is the simulation of the legendary tone of the BOSS OD-1 that is considered the de-facto standard for the
overdrive stomp box. The patch can provide high playability and retains the nuances of the guitarists’ touches. The
addition of the chorus effect will enable the guitar players to adapt to virtually any musical situations.
This patch provides a mild lead sound accompanied by the harmonies based on the C major scale and makes our G2 the
world’s first effective device in the class that features the HPS (harmonized pitch shifter) function. You can select the key
and the scale according to the phrase you play.
With this patch selected, your electric guitar will start to sound like an acoustic electric guitar. We would recommend you
to combine this patch with the single-coil type front pick-up. You can also use this patch actively to create the clean
ensemble effect.
Even if you are the type of guitar player who is proud of wailing solos, you may sometimes want to use thrash power
chords (with some muting-technique on the bridge). The distorted sound of this patch provides the best playability for
that purpose.
Referenced album: “Dookie” by Green Day (1994)
This patch provides you with a clean sound with effective use of the compressor. If you add the delay effect with delay
time set to synchronize with the 8th notes, you will get Andy Summers’ signature sound for arpeggios.
Referenced album: “Synchronicity” by the Police (1983)
Many people through the years have favored Carlos Santana’s guitar sound. This patch is modeled specifically after his
wailing lead sound with sweet distortion. Any of his hits like “Black Magic Woman”, “Europe” or “Adouma” will sound
pleasant if you make use of this patch.
Referenced album: “Amigos” (1976) and “Shaman” (2002) by Santana
This patch provides the jet sound from the good old days created by the combination of the edgy vintage distortion stomp
box and the flanger. We have rearranged that sound to give a hybrid tone that is retro sounding and refreshing at the
same time by combining the dry distortion, flanging jet-effect and lush reverb.
Referenced album: “Barracuda” by Heart (1972)
This patch is modeled after the classical Brit clean sound of the VOX AC series guitar amps operated in the class A
without the negative feedback. The sound of those amps became enormously popular in the British musical industry of
the 1960s, continued through many famous British groups in the 1970s and has remained popular to this day.
Referenced album: “1962-1966…Red Album” by the Beatles
This powerful sound is the result of the deepest distortion ever created by any multi-effect pedals. The overwhelming
presence of the power chords in lower registers and the smooth responses to the tapping technique will be favored by the
connoisseurs of the high-gain sound.
This patch is modeled after the sound that utilizes the so-called Leslie effect for its vibrato-like character and it is popular
among the American blues-rock players like the late S.R.V. It is suitable for crisp rhythm playing or the dynamic chording.
Referenced album: “Texas Flood” by Stevie Ray Vaughan (1983)
Recently E.V.H. is known as the user of the 5150 amps but in the past he used to create that big crunchy sound with his
specially modified Marshall amp. This patch is the consummate simulation of that E.V.H. sound from his early years. The
name of this patch is, of course, borrowed from that greatest album of V. H. with David Lee Roth.
Referenced album: “1984” by Van Halen (1984)
The sound will remind you of the soundtracks of the James Bond series or Spaghetti Western movies.
Referenced album: The soundtracks from “007, Dr. No” (1962)
This sound is ZOOM’S original that became a favorite of the guitarist Brian May. The patch has a very strong character
but you can hear how it is effectively used in his actual recordings. If you are big-fan of Brian May, you may also want to
try the sound with the “step” turned “off” and the “delay” turned “on”. You will be transported to the world of
“Brighton Rock” with that incredible guitar orchestration. With the additional use of the HPS set to the minor 3rd in the
key of E, you will be able to perfect the simulation!!
Referenced album: “Innuendo” by Queen (1991)
A0
A1
A2
A3
A4
A5
A6
A7
A8
A9
B0
B1
B2
B3
B4
B5
B6
B7
B8
B9
C0
C1
C2
C3
C4
C5
C6
C7
C8
C9
d0
d1
d2
d3
d4
d5
d6
d7
d8
d9
Note 1 : The default patches stored in the pre-set area from the bank No. 0 to No. 3 are the same as those stored in the banks from A to d.
Note 2 : We recommend you to adjust the parameter for the noise reduction according to your guitars and amps.