Princeton Digital USA Music Pedal G92tt2q User Manual
Operation Manual  
© ZOOM Corporation  
Reproduction of this manual, in whole or in part,  
by any means, is prohibited.  
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Features  
Terms Used in This Manual  
Thank you for selecting the ZOOM G9.2tt (simply called the "G9.2tt" in this manual). The G9.2tt is a  
This section explains some important terms that are used throughout the G9.2tt documentation.  
sophisticated Multi Effect Processor with the following features.  
■ Effect module  
50 patches, groups A, b, U, and u offer a total of  
200 patches.  
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.  
● 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.  
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.  
● 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.  
User groups  
Preset groups  
BANK 9  
1  
BANK 9  
1  
BANK 9  
1  
BANK 9  
1  
2  
2  
2  
2  
BANK 1  
BANK 0  
3  
1  
BANK 1  
BANK 1  
BANK 1  
BANK 0  
BANK 0  
BANK 0  
3  
1  
3  
1  
3  
1  
PATCH 1  
PATCH 1  
PATCH 1  
PATCH 1  
4  
5  
4  
5  
4  
5  
4  
2  
2  
2  
2  
PATCH 2  
3  
PATCH 2  
3  
PATCH 2  
3  
PATCH 2  
3  
5  
● Great for stage work or direct recording  
PATCH 3  
PATCH 3  
PATCH 3  
PATCH 3  
4  
4  
4  
4  
PATCH 4  
5  
PATCH 4  
5  
PATCH 4  
5  
PATCH 4  
5  
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 amplifier  
input of the guitar amp is no problem: simply set the -10 dBm/+4 dBm switch to the +4 dBm position.  
PATCH 5  
PATCH 5  
PATCH 5  
PATCH 5  
■ Effect type  
Group U  
Group u  
Group A  
Group b  
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.  
■ Modes  
The G9.2tt has five different operation modes, as  
listed below.  
● Built-in tuner supports special tuning requirements  
● Play mode  
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.  
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.  
■ 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 to the knobs on the device.  
● Two expression pedals built in as standard  
● Manual mode  
In this mode, you play your instrument while  
using the foot switches to turn modules on and off.  
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.  
● Edit mode  
In this mode, the effect parameters of a patch can  
be edited (changed).  
■ 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.  
● Tube powered Accelerator and Energizer  
● Store mode  
This mode serves for storing edited patches. It also  
allows changing the store positions of patches.  
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.  
● 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.  
■ Bank and group  
● Programmable function foot switches  
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  
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.  
SEND RETURN  
Pre-amp section  
Channel B  
Please take the time to read this manual carefully, in order to get the most out of your G9.2tt and to ensure  
optimum performance and reliability.  
ZNR PRE-AMP EQ  
ZNR PRE-AMP EQ  
CABINET  
COMP WAH/EFX1  
EXT LOOP  
MOD/EFX2  
DELAY  
REVERB  
INPUT  
OUTPUT  
Channel A  
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Controls and Functions  
Controls and Functions  
■ Control section  
Top panel  
[GROUP/BANK]  
indicator  
Display  
■ Control section  
■ Accelerator section  
■ Pre-amp section  
■ Energizer section  
Parameter knobs  
1 – 4  
[TYPE] knob  
[PEDAL 1 SETTING] key  
[PEDAL 2 SETTING] key  
[EXIT] key  
[STORE/SWAP] key  
[AMP SELECT/SYSTEM] key  
[BYPASS/TUNER] key  
[PAGE] key  
■ Pre-amp section  
[BASS] knob  
[LEVEL] knob  
[CHANNEL A/B] keys  
[MIDDLE] knob  
[TREBLE] knob  
[PRESENCE] knob  
BANK [W]/[Q] foot switches  
Function foot  
switch 1  
Function foot  
switch 2  
Expression pedal 2  
Foot switches 1 – 5  
Expression pedal 1  
[AMP TYPE] knob  
[GAIN] knob  
Rear panel  
OUTPUT GAIN (-10 dBm/  
+4 dBm) switch  
MIDI OUT connector  
MIDI IN connector  
Effect module keys  
USB port  
■ Accelerator section  
■ Energizer section  
INPUT jack  
OUTPUT R jack  
POWER switch  
AC IN connector  
OUTPUT L/MONO jack  
EXT LOOP RETURN jack  
PHONES jack  
EXT LOOP SEND jack  
[TUBE] control  
[TUBE] control  
EXT LOOP GAIN (-10 dBm/+4 dBm) switch  
AUX IN jack  
LEVEL knob  
[SOLID STATE] control  
[BOOST] control  
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Power-On  
Getting Connected  
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  
connecting to an instrument  
effect or a compact effect, use the  
"-10 dBm" setting.  
Refer to the examples shown below when making connections.  
External effect  
Connection example (1)  
OUTPUT  
GAIN  
Use mono cables for connection  
to guitar amplifiers. When using  
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  
the internal effects, it is  
supplied to the OUTPUT  
L/MONO and OUTPUT R  
jacks as is. The signal is also  
sent to the USB port.  
EXT LOOP GAIN switch  
switch  
Guitar amplifiers  
When connecting to  
the guitar input on the  
front panel of a guitar  
amplifier, set the  
Rhythm machine  
or similar  
Power-On  
switch to "-10 dBm".  
The steps for turning on the G9.2tt are described below.  
1. Make sure that any connected guitar  
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.  
amplifier is turned off.  
In addition, fully turn down the volume control at  
the guitar amplifier.  
AC adapter  
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.  
Computer  
Rear panel  
Guitar  
3. Use a monaural cable to connect the  
Use a monaural shielded  
cable to connect the  
guitar.  
Patch switching and  
pedal operation  
information can be  
sent and received as  
MIDI messages.  
guitar to the INPUT jack of the G9.2tt.  
MIDI interface  
LEVEL knob  
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).  
By connecting the USB  
port to a computer, the  
G9.2tt can be used as an  
audio interface.  
Headphones  
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).  
MTR  
Connection example (2) (Direct connection to power amplifier input on amp)  
When connecting to the power amplifier input on the rear  
panel of a guitar amplifier, set the switch to "+4 dBm". The  
G9.2tt incorporates a feature for matching its characteristics to  
the amplifier (amp select function). For details, see page 58.  
HINT  
To monitor with headphones, plug the headphone  
cable into the PHONES jack of the G9.2tt.  
OUTPUT GAIN switch  
7. To shut down the system, turn power to  
the respective components off in the  
reverse order than during power-up.  
5. Turn power on in the following order:  
→
G9.2tt  
guitar amplifier(s)  
Guitar  
HINT  
Guitar amplifier (rear panel)  
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).  
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  
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Quick Guide 1 (Play Mode/Manual Mode Operation)  
Quick Guide 1 (Play Mode/Manual Mode Operation)  
[Pre-amp section]  
Pre-amp operation  
The pre-amp section  
Pre-amp  
module  
output level  
This section explains various basic steps, allowing you to use the G9.2tt right away.  
Mid range  
boost/cut  
Ultra-high  
range boost/cut  
Distortion type  
allows you to adjust  
distortion type,  
[AMP TYPE] knob  
[LEVEL] knob  
[MIDDLE] knob [PRESENCE] knob  
Selecting a patch (play mode)  
Immediately after power-on, the unit will be in play mode.  
intensity, and EQ for  
two channels (A/B)  
separately.  
1. To select a patch, use  
[GAIN] knob  
Distortion  
intensity  
[BASS] knob  
Low range  
boost/cut  
[TREBLE] knob  
High range  
boost/cut  
foot switches 1 – 5.  
You can switch patches within the  
same group/bank. The number of  
the currently selected patch can be  
checked by checking which foot  
switch LED (1 - 5) is lit.  
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.  
[Indication in play mode]  
Group name/Bank number  
HINT  
You can switch between channel A and B  
with function foot switches 1 or 2 (→ p. 38).  
U0  
Patch level  
Patch name  
2. Turn the knobs of the pre-amp section to  
make adjustments.  
AmpDrive ™LLVL100  
É¡Ch.AB É™BpmTp  
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.  
Function foot switch 2  
assignment  
Function foot switch 1  
assignment  
Turning a module on and off  
with your foot (manual mode)  
In manual mode, you can use foot switches 1 - 5 to  
switch a module on and off.  
NOTE  
The changes that you have made to a patch  
HINT  
will be lost when you select another patch. To  
keep the changes, store the patch first (→ p.  
13).  
• You can switch patches within the  
same group/bank by turning  
parameter knob 1.  
• You can adjust the patch level  
(output level of the individual patch)  
by turning parameter knob 2.  
1. In play mode, keep the BANK [W] foot  
switch depressed for more than one  
second.  
2. Press the foot switch for the module to be switched on and off.  
[Foot switch and corresponding modules]  
2. To select a patch from  
another group/bank, use  
the BANK [W]/[Q] foot  
switches to select the  
group/bank and then use  
foot switches 1 – 5.  
The G9.2tt switches to manual mode.  
NOTE  
In manual mode, the foot switches do not select  
patches. However, the [TYPE] knob (group/bank  
selection) and parameter knob 1 (patch selection)  
function the same as in play mode. Note that when  
you switch a patch, the unit returns to play mode.  
WAH/EFX1 module  
PRE-AMP module  
MOD/EFX2 module  
DELAY module REVERB module  
You can switch the  
group/bank by turning the  
[TYPE] knob.  
HINT  
3. To return to play mode, press the BANK [W] foot switch.  
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Quick Guide 2 (Edit Mode/Store Mode Operation)  
Quick Guide 2 (Edit Mode/Store Mode Operation)  
Storing a patch (store mode)  
This section explains how to edit a selected patch and how to store the changes you have made.  
1. In play mode, manual mode, or edit mode, press the  
[STORE/SWAP] key.  
[Display in store mode]  
Store source patch name  
Editing a patch (edit mode)  
Store target group name/bank number  
1. Press the effect module key for the module to edit.  
NEWDrive £::PATCH  
™STORE?åUU0-1 é  
The unit switches to edit mode. By repeatedly pressing the  
effect module key, the respective module can be toggled  
between on and off.  
U0  
Store target group name, bank number,  
patch number  
[Display in edit mode ]  
2. The indication "PATCH" appears in the top  
right of the display and the indication  
Effect type name  
Module name  
"STORE?" in the bottom left. Make sure  
that the 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.  
MOD:Chorus  
¡Depthh =100 é  
Parameter value  
Parameter number/  
Parameter name  
In store mode, you can swap patches as well  
as store and swap entire banks (→ p. 28).  
HINT  
NOTE  
3. Use the BANK [W]/[Q] foot switches and  
foot switches 1 – 5 to select the store  
target bank and patch number.  
If you press the PRE-AMP/EQ  
module key, the display will be  
different. For details, see page 25.  
• Only user group patches can be specified as  
store target.  
NOTE  
2. Use the [TYPE] knob and parameter knobs 1 – 4 to make adjustments.  
• When a patch from a user group is selected,  
this patch becomes the default store target.  
• When a patch from a preset group is  
selected, the first user group patch becomes  
the default store target.  
[TYPE] knob  
Changes the effect type.  
HINT  
• The effect type (distortion type) of the PRE-AMP  
module can be changed with the [AMP TYPE]  
knob.  
• The major parameters of the PRE-AMP/EQ  
module can be edited with the knobs of the pre-  
amp section, in the same way as in play mode.  
4. Press the [STORE/SWAP] key once more.  
The store process is carried out, and the unit returns to  
play mode.  
NOTE  
Parameter knobs 1 – 4  
The changes that you have made to a patch  
You can return the user group patches easily  
Change the respective parameter.  
HINT  
will be lost when you select another patch. To  
to the factory default settings (→ p. 29).  
For information on parameters assigned  
keep the changes, store the patch first.  
to the knobs, see page 60 – 75.  
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Selecting Patches for Playing (Play Mode)  
Selecting Patches for Playing (Play Mode)  
HINT  
Adjusting the sound  
• In play mode, you can select a patch by turning  
parameter knob 1.  
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, 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.).  
• When you press a foot switch whose LED is lit,  
the same patch is called up once more.  
In play mode, the following information is shown  
2. To switch to a patch in another bank,  
use the BANK [W]/[Q] foot switches  
to change the bank and then use foot  
switches 1 – 5 to select the patch.  
on the panel.  
Panel display  
1. In play mode, select the patch.  
Group name (U, u, A, b)  
2. Press one of the [CHANNEL A/B] keys  
to select the pre-amp channel A or B  
for which to make the adjustment.  
Shows the number of the  
parameter knob that adjusts  
the patch output level.  
Groups A and b are read-only  
groups (preset groups). Groups U  
and u are read/write enabled  
groups (user groups).  
Patch level  
Shows the output level setting  
(2 – 100) for the currently  
selected patch  
Patch name  
"E" symbol  
BANK [W]/[Q]  
Foot switches  
1 – 5  
AmpDriive ™LVL100  
É¡Ch.AB É™BpmTpé  
If the currently displayed setting  
value differs from the original  
patch setting, the indication "E"  
(for "Edited") appears.  
foot switches  
A0  
Bank number (0 – 9)  
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.  
When you repeatedly press the BANK [Q] foot  
switch, the G9.2tt switches the group/bank as  
follows.  
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.  
User groups  
HINT  
You can switch between channel A and B with the  
FUNCTION foot switch 1/2 (→ p.38).  
Preset groups  
A0 A1 A9 B0 B9  
3. To change the distortion type, turn  
the [AMP TYPE] knob.  
HINT  
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.  
In play mode, you can switch the group/bank by  
turning the [TYPE] knob.  
Effect module  
keys  
Keys for modules that are active in the  
currently selected patch are lit in red.  
Foot switch  
1 – 5 LEDs  
The LED of the foot switch for the currently  
selected patch is lit.  
NOTE  
• When using the BANK [W]/[Q] foot switches to  
change banks, press and release the switch  
quickly.  
PRE-AMP œ–ø–––  
FD Clean é–œ–œµµ  
[AMP TYPE]  
• If you keep the BANK [W] foot switch depressed  
for more than one second, the G9.2tt switches  
to manual mode (→ p. 19).  
Type name  
"E" symbol  
knob  
• If you keep the BANK [Q] 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).  
Selecting a patch  
HINT  
• When you have changed the distortion type, the  
"E" symbol appears on the display, and the  
[STORE/SWAP] key lights up.  
This section explains how to select a patch in play  
mode.  
• If the currently displayed setting value differs  
from the original patch setting, the indication "E"  
(for "Edited") appears.  
The LED of the pressed switch lights up,  
indicating that a new patch has been called up.  
1. Press a foot switch 1 – 5 whose LED  
is not lit.  
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Selecting Patches for Playing (Play Mode)  
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.  
● [TUBE] control  
● Clean - Tube Mix  
This setting gives a mix of solid state clean  
sound and tube distortion sound.  
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).  
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.  
4. To change other major parameters in  
the pre-amp section, operate the  
respective knob (see illustration  
below).  
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).  
● [SOLID STATE] control  
NOTE  
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.  
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 setting is reflected  
in the graph on the right side of the display.  
When both controls are set to minimum, no signal  
will be input to the G9.2tt.  
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.  
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.  
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.  
Name of currently adjusted parameter  
Presence œ–ø–––  
-12dB é–œ–œµµ  
Parameter value  
Graphic representation of  
boost/cut setting in each band  
HINT  
The Accelerator is active in all modes. Accelerator  
settings are not stored as part of the patch.  
HINT  
● Normal Clean  
This setting gives a clean tone with minimal  
distortion.  
The Energizer is active in all modes. The Energizer  
settings are not stored as part of the patch.  
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.)  
To adjust the Accelerator, use the controls of the  
Accelerator section on the panel. The control  
functions are explained below.  
To adjust the Energizer, use the controls of the  
Energizer section on the panel. The control  
functions are explained below.  
5. To adjust the overall level of the patch,  
turn parameter knob 2 in play mode.  
● Tube Pre-amp  
[TUBE] control  
[SOLID STATE] control  
This setting emphasizes the tube-like  
compression feeling. Raising the [TUBE]  
control further will drastically increase the  
volume and distortion.  
[TUBE] control  
[BOOST] control  
● [TUBE] control  
[PRESENCE] knob  
Ultra-high range  
boost/cut  
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.  
[TREBLE] knob  
High range boost/cut  
[GAIN] knob  
Distortion intensity  
[MIDDLE] knob  
[LEVEL] knob  
Pre-amp module output level  
Mid range boost/cut  
[BASS] knob  
Low range boost/cut  
Normally, you should set the control to a  
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Selecting Patches for Playing (Play Mode)  
Switching Modules On and Off With Your Foot During Play (Manual Mode)  
position where distortion is not too audible, but  
you can set it higher when you purposely want  
to emphasize the tube distortion.  
The condition where foot switches 1 – 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.  
● [BOOST] control  
This control boosts specific frequency bands to  
make the sound more pronounced. When the  
knob is turned fully counterclockwise, the  
effect 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.  
1. In play mode, select a patch.  
appears on the panel (see illustration below).  
2. Press and hold the BANK [W] foot  
NOTE  
switch for at least 1 second.  
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.  
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.  
Hold down for 1 second  
or more  
3. To switch a module between on and  
off, press the foot switch for that  
module.  
The LED of the BANK [W] foot switch lights up  
and the G9.2tt switches to manual mode.  
In manual mode, the following information  
NOTE  
•
The intensity of the distortion achieved with the  
[TUBE] control depends on the guitar and type  
of pickup.  
Patch level  
Shows the output  
level of the currently  
selected patch.  
• When both controls are fully turned up, the  
volume level will be higher and excessive  
distortion may occur.  
[CHANNEL A/B] keys  
The key for the channel (A or B) that is  
currently selected for the pre-amp section is lit.  
Shows the number of the  
parameter knob that controls  
the patch level.  
AmpDrivee ™LVL100  
É¡Ch.ABB É™BpmTppé  
"E" symbol  
If the currently  
Function foot switch 1/2  
assignment  
Shows the function assigned  
to the function foot switch  
1/2 (→ p. 38).  
displayed setting  
Effect module keys  
Keys for modules that are active in the  
currently selected patch are lit in red.  
value differs from the  
original patch setting,  
the indication "E" (for  
"Edited") appears.  
BANK [W] foot switch LED  
This is always lit when the G9.2tt is in manual mode.  
Foot switch  
1 – 5 LEDs  
The LED of the foot switch for the currently  
selected patch is lit.  
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Switching Modules On and Off With Your Foot During Play (Manual Mode)  
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  
In manual mode, you can use foot switches 1 – 5  
to switch the major effect modules on or off. The  
module/switch allocation is shown below.  
MUTE  
To use the chromatic tuner function, proceed as  
follows.  
Release switch when "MUTE"  
is shown  
HINT  
1. In play mode, manual mode, or edit  
mode, press and hold the BANK [Q]  
foot switch.  
• When a module is switched on/off, the [STORE/  
SWAP] key lights up.  
After "BYPASS" or "MUTE" was shown, the  
display automatically switches to the tuning  
display.  
• 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 (→ p. 15).  
Tuner type Reference pitch  
™CHROMATC £440Hz  
>˙<  
• From manual mode you can switch to edit mode  
for editing patches. For details on edit mode,  
see page 24.  
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).  
NOTE  
You can switch to the mute condition by pressing  
and holding the [BYPASS/TUNER] key.  
4. To return to play mode, press the  
BANK [W] foot switch.  
● To switch to the bypass condition  
Hold the BANK [Q] 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.  
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.  
NOTE  
BYPASS  
• The number shown in reverse on the display  
indicates that the corresponding parameter  
knob can be used for adjustment.  
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).  
Release switch when  
"BYPASS" is shown  
2. Play the open string to tune.  
The [GROUP/BANK] indicator shows the note  
which is closest to the current pitch.  
HINT  
You can switch to the bypass condition by  
pressing the [BYPASS/TUNER] key.  
● To switch to the mute condition  
Hold the BANK [Q] foot switch until the  
indication "BYPASS" changes to "MUTE".  
Then release the foot switch. The G9.2tt is now  
in the mute condition.  
Foot switch 1  
WAH/EFX1 module  
Foot switch 3  
MOD/EFX2 module  
Foot switch 5  
REVERB module  
Foot switch 2  
PRE-AMP module  
Foot switch 4  
DELAY module  
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Using the Internal Tuner (Bypass/Mute Condition)  
Using the Internal Tuner (Bypass/Mute Condition)  
of "Using the chromatic tuner".  
The display shows the tuning indication.  
HINT  
Note  
E
When the G9.2tt is turned off and on again, the  
reference pitch will be reset to 440 Hz.  
2. Turn parameter knob 2 to select the  
tuner type.  
[GROUP/BANK]  
indicator  
[GROUP/BANK]  
Note  
indicator  
Note  
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.  
4. Play the open string of the indicated  
The available tuner types and the corresponding  
note names for each string are listed below.  
AbB  
A
BB  
B
C
DB  
D
EB  
E
F
GB  
G
number and adjust the pitch.  
If you select "OPEN A" as tuner type, the  
[GROUP/BANK] indicator and display indication  
will be as follows.  
5. Turn parameter knob 4 to switch to  
other strings.  
™CHROMATC £442Hz  
>˙<  
6. Tune other strings in the same way.  
Tuner type  
Reference pitch  
The > < symbols in the lower part of the display  
show by how much the pitch differs from the  
displayed note.  
7. When tuning is completed, press one  
™OPEN AA £440Hz  
>˙< ¢Str2  
HINT  
DB  
of the BANK [W]/[Q] foot switches.  
When the G9.2tt is turned off and on again, the  
reference pitch will be reset to 440 Hz.  
The G9.2tt returns to the previous mode. If the  
G9.2tt was in edit mode, it will be switched to  
play mode.  
Correct note for selected string String number  
5. When tuning is completed, press one  
™CHROMATC £440Hz  
>˙<  
3. If necessary, turn parameter knob 3  
to change the reference pitch of the  
tuner.  
of the BANK [W]/[Q] foot switches.  
Pitch is  
low  
HINT  
> ˙  
> ˙  
> ˙  
When the G9.2tt is turned off and on again, the  
tuner type setting will be reset to the default  
(chromatic tuner).  
The setting range is center A = 435 - 445 Hz, in  
1-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).  
>˙  
Pitch is  
correct  
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.  
Optional tuning to 1 - 3 semitones lower  
Pitch is  
high  
™GUITAR £  
>˙< ¢Str1  
3. Tune the string of your instrument  
while checking the note and pitch  
indication.  
Using other tuner types  
Tuner type GUITAR BASS OPEN A OPEN G OPEN E OPEN D DADGAD  
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.  
HINT  
STR1  
STR2  
STR3  
STR4  
STR5  
STR6  
STR7  
E
B
G
D
A
E
B
G
D
A
E
B
E
DB  
A
E
A
D
B
G
D
G
D
E
B
AB  
E
B
E
D
A
GB  
D
A
D
D
A
G
D
A
D
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.  
String  
number  
4. To change the reference pitch of the  
1. Switch the G9.2tt to the bypass or  
E
tuner, turn parameter knob 3.  
mute condition as described in step 1  
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Changing the Sound of a Patch (Edit Mode)  
Changing the Sound of a Patch (Edit Mode)  
Effect module keys  
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.  
[ZNR] key  
[EQ] key  
[MOD/EFX2] key [REVERB] key  
[WAH/EFX1] key  
[COMP] key  
[EXT LOOP] key [PRE-AMP] key [CABINET] key  
[DELAY] key  
[TOTAL/FUNCTION] key  
Patch configuration  
Basic edit mode steps  
a key to select a module, the key color changes to  
orange (or to green if the module is off).  
other item has been changed, the [STORE/  
SWAP] key remains lit.  
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.  
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.  
[PRE-AMP module ]  
NOTE  
The PRE-AMP, ZNR, and EQ modules can be set  
to on or off separately for each channel (A/B).  
PRE-AMP œ–ø–––  
FD Clean é–œ–œµµ  
4. To edit the selected module, proceed  
Effect type name Simplified graphical  
representation of EQ  
settings  
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.  
1. Select the patch to edit.  
as follows.  
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).  
[EQ module ]  
● When a module other than PRE-AMP/  
EQ is selected  
Equalizer ––––––  
––––––  
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).  
Off  
The elements 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.  
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.  
NOTE  
• 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.  
The G9.2tt switches to edit mode, and the display  
changes as follows.  
• When edit mode was activated from manual  
mode, the foot switches 1 – 5 can be used to  
switch a specific module on or off.  
[Module other than PRE-AMP/EQ]  
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/EFX1  
module or after the DELAY module (→ p. 58).  
For the ZNR, PRE-AMP and EQ modules,  
different settings can be made in two channels  
(A/B).  
Module name  
Effect type name  
MOD:Chorus  
¡Depthh =100  
[TYPE] knob  
Parameter knobs 1 - 4  
3. To switch the selected module  
between on and off, press the same  
module key once more.  
Parameter Currently selected  
When you turn a parameter knob, the display  
changes as follows.  
number  
parameter and its setting  
value  
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.  
MOD:Chorus  
¡Depth = 80 é  
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  
Number of operated  
parameter knob and  
parameter name  
Parameter value  
HINT  
• If any module on/off status, effect 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.  
[Patch configuration]  
SEND RETURN  
Pre-amp section  
Channel B  
HINT  
For effect modules with only one effect type (EQ  
module, CABINET module etc.), the effect type  
cannot be changed.  
ZNR PRE-AMP EQ  
ZNR PRE-AMP EQ  
• The "E" indication disappears when the item is  
returned to the original value. However, if any  
CABINET  
COMP WAH/EFX1  
EXT LOOP  
MOD/EFX2  
DELAY  
REVERB  
INPUT  
OUTPUT  
Channel A  
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Changing the Sound of a Patch (Edit Mode)  
Changing the Sound of a Patch (Edit Mode)  
is adjusted, the EQ module is automatically  
selected.  
● When PRE-AMP/EQ module is selected  
The PRE-AMP and EQ module parameters can  
always be adjusted with the knobs 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.  
Parameter knobs 1 – 3 select characters as  
follows.  
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).  
• 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.  
Parameter knob 1 (numerals): 0 – 9  
Parameter knob 2 (letters): A – Z, a – z  
Parameter knob 3 (symbols):(space)  
• The patch level (output level of individual patch)  
cannot be changed in edit mode. Use play mode  
or manual mode to set the level.  
$
5. Repeat steps 2 – 4 to edit other  
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.  
modules in the same way.  
4. Repeat step 3 until the patch name is  
HINT  
as desired. Then press the [EXIT] key.  
If edit mode was entered from play mode, you can  
return to play mode by pressing the BANK [W]/[Q]  
foot switches or foot switches 1 – 5. In this case,  
the bank/patch will be switched at the same time.  
6. When editing is finished, press the  
[EXIT] key.  
HINT  
• When the PRE-AMP parameter of the pre-amp  
section is adjusted, the PRE-AMP module is  
automatically selected. When an EQ parameter  
Changing a patch name  
The G9.2tt returns to the previous mode.  
You can change the name of an edited patch. To  
do this, proceed as follows.  
Figure 1  
[Editing PRE-AMP/EQ module with pre-amp section]  
1. In play mode, manual mode, or edit  
mode, press the [TOTAL/FUNCTION]  
effect module key.  
[PRE-AMP A/B] keys  
Select one of the two channels of the pre-amp section.  
2. Turn the [TYPE] knob to bring up the  
patch name on the lower part of the  
display.  
[GAIN] knob  
Adjusts the gain  
(distortion intensity) of  
the PRE-AMP module.  
[PRESENCE] knob  
[BASS] knob  
[TREBLE] knob  
Adjusts the ultra-high  
range boost/cut of the  
EQ module.  
Adjusts the high  
range boost/cut of  
the EQ module.  
Adjusts the low  
range boost/cut of  
the EQ module.  
The first character of the patch name is shown  
alternating with a black square.  
[AMP TYPE] knob  
[MIDDLE] knob  
[LEVEL] knob  
Selects the distortion  
type of the PRE-AMP  
module.  
Adjusts the mid range  
boost/cut of the EQ  
module.  
Adjusts the output  
level of the PRE-AMP  
module.  
¡:0 ™:A £:@ ¢:çå  
NAME:[ ewwDrive]  
The alternating black square ( ) indicates  
that this character can be changed.  
Figure 2  
[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.  
TONE parameter  
Adjusts the tonal  
quality of the PRE-  
AMP module.  
HARMONICS parameter  
Adjusts the harmonics  
component of the EQ  
module.  
PRE-AMP CHAIN parameter  
Selects the insert position of  
the pre-amp section.  
LO-MID parameter  
Adjusts the lower mid range  
boost/cut of the EQ module.  
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Storing Patches and Banks (Store Mode)  
Storing Patches and Banks (Store Mode)  
Store/swap source group name/bank number  
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.  
BANK U0 £::BANK  
™STORRE?åU1  
U1  
Store/swap  
or  
BANK [W]/[Q]  
é
foot switches  
Store/swap  
target group  
name/bank number  
target group  
indication "PATCH" in the top right of  
5. Use parameter knob 1 or the foot  
switches 1 – 5 to select the store/  
swap target patch number.  
name/bank number  
the display.  
Storing/swapping patches  
3. Turn parameter knob 2 to bring up the  
indication "STORE?" or "SWAP?" on  
the display.  
This section explains how to store and swap  
patches.  
NEWDrivee £:PATCH  
™STORE??åU0-1 é  
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.  
1. In play mode, manual mode, or edit  
mode, press the [STORE/SWAP] key.  
or  
Foot switches 1 - 5  
NOTE  
When "BANK" is shown, the subsequent operation  
will be carried out for the entire bank. Make sure  
that the correct indication is shown.  
6. Press the [STORE/SWAP] key once  
more.  
NOTE  
If the source bank is from a preset group, the  
indication "SWAP?" does not appear.  
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.  
The G9.2tt switches to the store standby  
condition, and the currently selected patch  
becomes the store/swap source.  
3. Turn parameter knob 2 to bring up the  
indication "STORE?" or "SWAP?" on  
the display.  
4. Use the [TYPE] knob or BANK [W]/  
[Q] foot switches to select the store/  
swap target bank.  
The [GROUP/BANK] indicator shows the store/  
swap target group name and bank number.  
NEWDrive £::PATCH  
™STORE??åU0-1 é  
Indicates that the patch was edited.  
Store/swap source patch name  
5. Press the [STORE/SWAP] key once  
NOTE  
more.  
The Energizer and Accelerator settings are not  
stored as part of the patch.  
The 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/SWAP] key, you can cancel the process  
and return to the previous mode.  
NEWDrive £::PATCH  
U0  
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.  
™STORE?åUU0-1 é  
Store/swap target  
group name, bank number,  
patch number  
Store/swap target  
group name/bank  
number  
Storing/swapping banks  
This section explains how to store and swap entire  
banks.  
NOTE  
If the source patch is from a preset group, the  
indication "SWAP?" does not appear.  
HINT  
Returning patches to  
factory default condition  
• In the factory default condition, the user groups  
(U, u) contain the same patches as the preset  
groups (A, b).  
1. In play mode, manual mode, or edit  
mode, press the [STORE/SWAP] key.  
4. Use the [TYPE] knob or BANK [W]/  
[Q] foot switches to select the store/  
swap target group name/bank  
number.  
The G9.2tt switches to the store standby  
condition, and the currently selected bank  
becomes the store/swap source.  
• If a patch has been edited, it will be stored or  
swapped in the edited 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 (All Initialize).  
• If a patch from a preset group was selected  
when you pressed the [STORE/SWAP] key,  
the first user group patch will automatically be  
selected as store target.  
2. To store/swap entire banks, turn  
parameter knob 3 to bring up the  
indication "BANK" in the top right of  
the display.  
NOTE  
When you perform the All Initialize function, all  
patches stored in the user area will be overwritten.  
Proceed with care.  
2. To store/swap individual patches,  
turn parameter knob 3 to bring up the  
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Storing Patches and Banks (Store Mode)  
Using the Expression Pedals  
1. Turn power to the G9.2tt on while  
holding down the [STORE/SWAP] key.  
This section explains how to use the two built-in expression pedals of the 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.  
About the expression  
pedals  
The indication "All Initialize?" appears on the  
display.  
The G9.2tt comes standard with two expression  
pedals that can be used to control specific effect  
parameters in real time.  
Expression  
All Initialize?  
Y:STORE N:EXIT  
pedal 2  
Control target parameters  
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 possible 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.  
● P2V1  
PRE-AMP module  
2. Press the [STORE/SWAP] key once  
more.  
Gain  
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.  
● P2H1  
MOD/EFX2 module  
Control target parameters  
Rate  
● P1-1  
PRE-AMP module  
Expression  
pedal-1  
Gain  
● P1-2  
MOD/EFX2 module  
HINT  
Rate  
• The parameter adjustment range covered by  
expression pedals 1 and 2 can be set for each  
control target separately.  
● P1-3  
DELAY module  
• 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.)  
Feed Back  
● P1-4  
REVERB module  
• In mute mode, both expression pedals have no  
effect.  
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.  
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.  
With a setting such as shown in the example at  
right, the pedal adjusts the Gain parameter of the  
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Using the Expression Pedals  
Using the Expression Pedals  
9. If required, store the patch.  
HINT  
Assigning control targets  
to expression pedal 1  
• The available range setting depends on the  
parameter selected in step 4.  
NOTE  
• 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.  
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 (→ p. 28).  
This section describes how to assign a control  
target to expression pedal 1.  
As you turn parameter knob 1, the effect  
parameter and effect module changes.  
1. In play mode, select the patch.  
Assigning control targets  
to expression pedal 2  
6. To use expression pedal 1 for  
switching the module on and off, turn  
parameter knob 4 and select "Enable".  
HINT  
• For information on which parameters can be  
selected as control targets, see "Effect Types  
and Parameters" on pages 60 - 75.  
HINT  
The parameters to be controlled by expression  
pedals 1/2 and the setting range can be set  
separately for each patch.  
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.  
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 parameter belongs will be  
switched on or off.  
• When "Volume" is selected as control target,  
expression pedal 1 functions as a volume pedal.  
• 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.  
2. Press the [PEDAL 1 SETTING] key.  
The display changes as follows.  
When you turn parameter knob 4, the display  
changes as follows.  
Control target indication  
(P1-1 - P1-4)  
Control target  
1. In play mode, select the patch.  
parameter name  
NOTE  
If you select "NOT Assign", steps 5 and 6 cannot  
be carried out.  
2. Press the [PEDAL 2 SETTING] key.  
The display changes as follows.  
¡P1-1=Reesonance  
WAH:AutoWah  
PDL1 :Target1 é  
¢Switch::Enable  
Module name  
Effect type name  
5. To set the adjustment range for the  
parameter to be controlled, use  
parameter knob 2 (minimum value)  
and parameter knob 3 (maximum  
value).  
Control target parameter name  
Control target indication  
(P2V1 – P2V4, P2H1 – P2H4)  
HINT  
HINT  
If you select "Disable" at the above display,  
module on/off switching is not available.  
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.  
¡P2V1=Reesonance  
WAH:AutoWah  
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).  
7. Repeat steps 3 – 6 to set the other  
Module name  
Effect type name  
control targets in the same way.  
3. Turn the [TYPE] knob to select one of  
HINT  
NOTE  
the four control targets (P1-1 to P1-4).  
The display changes as follows.  
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.  
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.  
■ When parameter knob 2 is operated  
PDL1 :Target1 é  
™min= 50  
8. When all settings for expression pedal  
1 have been made, press the [EXIT]  
key.  
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).  
Minimum value  
The operation steps for setting the control targets  
P1-1 to P1-4 are the same.  
■ When parameter knob 3 is operated  
PDL1 :Target1 é  
£MAX=100  
4. Turn parameter knob 1 to select the  
parameter that is to be controlled.  
Maximum value  
The unit returns to play mode.  
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Using the Expression Pedals  
Using the Expression Pedals  
12. If required, store the patch.  
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).  
■ When parameter knob 2 is operated  
NOTE  
PDL2-V:Target1 é  
™min= 50  
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 (→ p. 28).  
The display changes as follows.  
Minimum value  
The operation steps for setting the vertical  
direction control targets P2V1 to P2V4 are the  
same.  
■ When parameter knob 3 is operated  
Control target  
parameter name  
HINT  
Control target indication  
PDL2-V:Target1 é  
£MAX=100  
Expression pedal 2 incorporates a stopper for  
movement in the horizontal direction. If horizontal  
action is not required, using the stopper may be  
preferable.  
4. Turn parameter knob 1 to select the  
¡P2H1=Reesonance  
WAH:AutoWah  
parameter that is to be controlled.  
Maximum value  
Module name  
Effect type name  
HINT  
• The available range setting depends on the  
parameter selected in step 4.  
Adjusting the expression  
pedals  
The operation steps for setting the horizontal  
direction control targets P2H1 to P2H4 are the  
same.  
• 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.  
As you turn parameter knob 1, the effect  
parameter and effect module settings change.  
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.  
9. Repeat steps 4 – 5 to set the parameter  
and minimum and maximum values for  
the control target.  
HINT  
• For information on which parameters can be  
selected as control targets, see "Effect Types  
and Parameters" on pages 60 – 75.  
6. To use expression pedal 2 for  
switching the module on and off, turn  
parameter knob 4 and select  
"Enable".  
NOTE  
In the horizontal direction of expression pedal 2, no  
module on/off switching is possible. Therefore  
parameter knob 4 has no effect.  
• When "Volume" is selected as control target,  
expression pedal 2 functions as a volume pedal.  
■ Adjusting expression pedal 1  
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 "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.  
1. Hold down the [PEDAL 1 SETTING]  
key while turning on power to the unit.  
10. Repeat steps 8 – 9 to set the other  
control targets for the horizontal  
direction in the same way.  
The display indication changes as follows.  
When you turn parameter knob 4, the display  
changes as follows.  
NOTE  
NOTE  
If you select "NOT Assign", steps 5 and 6 cannot  
be carried out.  
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.  
PDL Calibration  
PEDAL1...min  
PDL2-V:Target1 é  
¢Switch::Enable  
5. To set the adjustment range for the  
parameter to be controlled, use  
parameter knob 2 (minimum value)  
and parameter knob 3 (maximum  
value).  
2. With expression pedal 1 fully raised,  
11. When all settings for expression pedal  
2 have been made, press the [EXIT]  
key.  
press the [STORE/SWAP] key.  
HINT  
If you select "Disable" at the above display,  
module on/off switching is not available.  
The display changes as follows.  
Pedal fully raised  
7. Repeat steps 3 – 6 to set the other  
control targets for the vertical  
direction in the same way.  
The unit returns to play mode.  
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Using the Expression Pedals  
Using the Expression Pedals  
The display indication changes as follows.  
■ Adjusting expression pedal 2  
PDL Calibration  
PEDAL2-H...min  
1. Hold down the [PEDAL 2 SETTING]  
key while turning on power to the  
unit.  
PDL Calibration  
PEDAL1...MAX  
4. Lift the stopper of expression pedal 2  
to secure the pedal. Then turn the  
pedal fully to the right and press the  
[STORE/SWAP] key.  
The display indication changes as follows.  
3. Push expression pedal 1 fully down  
and then lift your foot off the pedal.  
Push strongly,  
so that pedal  
touches here  
PDL Calibration  
PEDAL2-V...min  
(2) Turn pedal  
fully to the right  
(1) Enable  
stopper  
2. With expression pedal 2 fully raised,  
press the [STORE/SWAP] key.  
Expression pedal 2  
When foot is lifted,  
pedal returns slightly  
When you press the [STORE/SWAP] key, the  
display indication changes as follows.  
Pedal fully raised  
4. Press the [STORE/SWAP] key.  
PDL Calibration  
PEDAL2-H...MAX  
The display indication changes as follows.  
5. Push the stopper of expression pedal  
2 down, turn the pedal fully to the  
right, and press the [STORE/SWAP]  
key.  
PDL Calibration  
PEDAL2-V...MAX  
The adjustment is completed, and the unit returns  
to the play mode.  
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.  
HINT  
• 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.  
(1) Disable  
(2) Turn pedal fully  
Push strongly,  
so that pedal  
touches here  
stopper  
to the right  
• If the indication "ERROR" appears, return to  
step 2 and repeat the procedure.  
Expression pedal 2  
When you press the [STORE/SWAP] key, the  
adjustment is completed, and the unit returns to  
the play mode.  
When foot is lifted,  
pedal returns slightly  
HINT  
If the indication "ERROR" appears, return to step 2  
and repeat the procedure.  
The display indication changes as follows.  
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Using the Function Foot Switches  
Using the Function Foot Switches  
Original  
sound  
Delay sound  
Hold  
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.  
Function foot switch pressed  
Switch pressed again  
1. In play mode, select the patch.  
● PRE-AMP CH A/B  
The function foot switch toggles between pre-  
amp channels A and B.  
HINT  
HINT  
To use Hold Delay, the DELAY module must be  
active for that patch.  
The function foot switch 1/2 assignment can be set  
separately for each patch.  
● 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.  
2. Press the [TOTAL/FUNCTION] effect  
● Delay Mute  
The function foot switch toggles DELAY  
module input muting between on and off.  
NOTE  
module key.  
Any changes in assignment settings will be lost  
when you select a new patch. Be sure to store the  
patch if you want to keep the changes (→ p. 28).  
The function foot switch assignment is part of the  
[TOTAL/FUNCTION] module.  
The display changes as follows.  
● 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.  
When you next call up the stored patch, the  
function foot switch will control the selected  
function.  
HINT  
TOTAL:Tempo  
¡BPM =120  
Using the tempo set here, specific parameters  
(Time and Rate) can be synchronized in note units  
(→ p. 40).  
● Manual Mode  
The function foot switch toggles between play  
mode and manual mode.  
3. Turn parameter knobs 2/3 to select  
the function to be assigned to  
function foot switches 1/2.  
Specifying the tempo for a  
patch  
● Delay TAP  
The function foot switch can be used to specify  
the Time parameter for the DELAY module.  
● 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.  
Parameter knob 2 is used for function foot switch  
1 and parameter knob 3 for function foot switch 2.  
The display changes as follows.  
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.  
HINT  
• 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).  
■ When parameter knob 2 is turned  
TOTAL:Function1  
™PRE-AMMP CH A/BBé  
1. In play mode, select the patch.  
HINT  
• To use Delay TAP, the DELAY module must be  
active for that patch.  
• 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.  
Function assigned to function  
foot switch 1  
2. Press the [TOTAL/FUNCTION] effect  
module key.  
● Hold Delay  
■ When parameter knob 3 is turned  
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.  
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 is repeated.  
Pressing the function foot switch once more  
cancels hold, and the delay sound will decay  
naturally (see illustration on next page).  
• It is also possible to assign the same function to  
both function foot switches.  
TOTAL:Function2  
£BPM TAP  
é
4. After selecting a function to assign to  
the function foot switch, press the  
[EXIT] key.  
Function assigned to function  
foot switch 2  
TOTAL:Tempo  
¡BPM =120  
The following functions can be assigned to  
function foot switches 1/2.  
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Using the Function Foot Switches  
Using the Effect Loop  
3. Turn parameter knob 1 to set the  
Quarter note  
∑
tempo.  
Dotted quarter note  
∑ ∫  
∑x2  
The tempo setting range is 40 – 250.  
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.  
Quarter note x 2  
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.  
:
:
Quarter note x 20  
∑x20  
1. Connect the external effect to the  
EXT LOOP SEND/RETURN jacks.  
EXT LOOP  
¡SendLeevel= 50  
NOTE  
The actual available setting range depends on the  
parameter.  
External effect  
The setting value for effect parameters which  
support tempo synchronization can be selected in  
note units, using the patch specific tempo as a  
reference.  
NOTE  
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.  
When "EXT LOOP Module OFF" is shown, the EXT  
LOOP module is currently turned off. Press the  
[EXT LOOP] key to turn the module on.  
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.  
4. Use parameter knob 1 to adjust the  
level of the signal sent from the G9.2tt  
NOTE  
to the external effect (send level).  
HINT  
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).  
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.  
EXT LOOP  
¡SendLLevel= 80 é  
HINT  
In the section "Effect Types and Parameters" (→  
pages 60 – 75), parameters which support tempo  
synchronization are indicated by a note symbol.  
6. When the tempo and parameter  
setting is complete, press the [EXIT]  
key.  
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.  
NOTE  
• The external effect should always be set to ON,  
to allow effect on/off switching at the G9.2tt.  
5. Select a parameter value by selecting  
The unit returns to play mode. Store the patch as  
necessary.  
a note symbol.  
• If 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%.  
The following note settings for parameters which  
support tempo synchronization are available.  
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 performance and have the  
parameter change accordingly.  
5. Use parameter knob 2 to adjust the  
level of the signal sent from the  
external effect to the G9.2tt (return  
level).  
2. Select the patch in play mode.  
Thirty-second note  
Sixteenth note  
√
ƒ
HINT  
Quarter triplet note  
Dotted sixteenth note  
Eighth note  
∑ 3  
ƒ ∫  
π
Effect loop settings can be made individually for  
each patch.  
EXT LOOP  
™Ret Leevel= 80 é  
3. Press the [EXT LOOP] effect module  
Half triplet note  
Ø 3  
π ∫  
key to activate edit mode.  
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).  
Effect loop settings are made in the EXT LOOP  
module.  
The display changes as follows.  
Dotted eighth note  
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Using the Effect Loop  
MIDI Usage Examples  
EXT LOOP  
£Dry Levvel= 80 é  
This section describes the various MIDI functions of the G9.2tt.  
What you can do with MIDI  
Selecting the MIDI channel  
HINT  
• If 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.  
The G9.2tt lets you use MIDI in various ways, as  
described below.  
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.  
● Send and receive patch switching  
information via MIDI  
• 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 0 and the signal level should  
be adjusted with the return level parameter.  
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.  
1. In play mode, press the [AMP  
SELECT/SYSTEM] key.  
The AMP SELECT/SYSTEM menu for  
parameters that apply to all patches appears.  
7. When the effect loop settings have  
been made, press the [EXIT] key.  
AMP Select 1/28  
¡FRONT  
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.  
The unit returns to play mode.  
2. Turn the [TYPE] knob to select the  
“MIDI Rx Ch” (MIDI receive channel)  
parameter.  
8. Store the patch as necessary.  
● Send and receive pedal/switch/key  
operation information via MIDI  
When you next call up the stored patch, the  
external effect settings will also become effective  
again.  
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 the  
corresponding parameter.  
MIDI  
¡Rx Ch=1  
4/28  
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).  
3. Turn parameter knob 1 to select the  
MIDI channel (1 – 16) on which the  
G9.2tt will receive MIDI messages.  
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.  
MIDI  
¡Rx Ch=3  
4/28  
é
4. Turn the [TYPE] knob to select the  
“MIDI Tx Ch” (MIDI transmit channel)  
parameter.  
● 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  
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42  
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MIDI Usage Examples  
MIDI Usage Examples  
1. In play mode, press the [AMP  
and [EXIT] keys are active. By pressing the  
[EXIT] key, you can abort the changes and return  
to play mode without saving.  
SELECT/SYSTEM] key.  
Sending and receiving  
patch switching  
MIDI  
¡Tx Ch=1  
5/28  
information via MIDI  
(program change)  
AMP Select 1/28  
¡FRONT  
■ Using direct mode  
By using a combination of MIDI bank select and  
program change messages, you can specify a  
patch directly.  
5. Turn parameter knob 1 to select the  
MIDI channel (1 – 16) on which the  
G9.2tt will send MIDI messages.  
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.  
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.  
6. When the setting is complete, press  
the [EXIT] key to exit the AMP  
SELECT/SYSTEM menu.  
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).  
The indication “Store... ? ” appears on the display,  
to allow you to store the changes.  
● Direct mode  
1. In play mode, press the [AMP  
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.  
SELECT/SYSTEM] key.  
Store... ?  
Y[STORE]] N[EXIT]  
MIDI  
¡PC Rx=ON  
8/28  
é
AMP Select 1/28  
¡FRONT  
7. Press the [STORE/SWAP] key to save  
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.  
the changes.  
2. Turn the [TYPE] knob to bring up the  
“MIDI PCMODE” (program change  
mode) parameter.  
HINT  
• 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.  
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.  
MIDI PCMODE 6/28  
¡DIRECT  
• Normally, bank select is specified in two parts,  
using the MSB (most significant bit) and LSB  
(least significant bit) value.  
MIDI  
¡PC Tx=ON  
9/28  
é
3. Verify that “DIRECT” is selected as  
program change mode.  
4. When the setting is complete, press  
the [EXIT] key to exit the AMP  
SELECT/SYSTEM menu.  
● Mapping 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.  
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 patches,  
and patches are then selected using the  
mapping information. With this method, a  
maximum of 128 patches can be specified.  
The indication “Store... ?” appears on the display,  
to allow you to store the changes.  
HINT  
Store... ?  
Y[STORE] N[EXIT]  
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).  
■ Enable program change send/  
5. Press the [STORE/SWAP] key to save  
receive  
the changes.  
4. When the setting is complete, press  
the [EXIT] key to exit the AMP  
SELECT/SYSTEM menu.  
The procedure for enabling send/receive of  
program change (+ bank select) messages is  
described below.  
The setting is accepted, and the unit returns to  
play mode.  
In the above condition, only the [STORE/SWAP]  
If any setting on the AMP SELECT/SYSTEM  
ZOOM G9.2tt  
ZOOM G9.2tt  
44  
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MIDI Usage Examples  
MIDI Usage Examples  
(3) Repeat these steps to for other  
message, the most recently received complete  
bank select instruction (initial values: MSB = 0,  
LSB = 0) will be used.  
menu has been changed, the indication “Store... ?”  
appears on the display, to allow you to store the  
changes.  
program change numbers.  
MIDI PCMODE 6/28  
¡MAPPING  
• 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 = 0,  
LSB = 0) will be used.  
6. When the setting is complete, press  
the [EXIT] key to exit the AMP  
SELECT/SYSTEM menu.  
é
5. Press the [STORE/SWAP] key to save  
the changes.  
4. Turn the [TYPE] knob to bring up the  
“PC MAP” (program change map)  
parameter.  
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.  
The indication “Store... ?” appears on the display,  
to allow you to store the changes.  
Using this display, you can assign any patch of  
the G9.2tt to a program change number from 0 –  
127.  
7. Press the [STORE/SWAP] key to save  
NOTE  
the changes.  
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.  
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.  
Program change number  
6. To send and receive program change  
(+ bank select) messages, connect  
the G9.2tt and the other MIDI device  
as follows.  
PC MAP ¡Prg: 0  
™Bnk:U00 £Pat:1  
■ Using mapping mode  
In this mode, a program change map is used to  
assign patches, allowing patches to be specified  
by using program change messages only.  
Group name/bank number Patch number  
8. To send and receive program change  
messages, proceed as described in  
step 6 of “Using direct mode” (→ p.  
45).  
■ Example for sending program change  
5. To assign a patch to a program  
(+ bank select) messages  
change number, proceed as follows.  
NOTE  
(1) When a patch at the G9.2tt is switched...  
(2) Program change (+ bank select) message  
is sent  
(1) Turn parameter knob 1 until the  
program change number to use is  
shown on the top line of the display.  
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).  
Sending and receiving  
pedal/switch/keyoperation  
information via MIDI  
(control change)  
MIDI OUT  
connector  
MIDI IN  
connector  
Program change number  
1. In play mode, press the [AMP  
SELECT/SYSTEM] key.  
PC MAP ¡Prrg: 10  
™Bnk:U22 £Pat:1  
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#).  
Group name/bank number Patch number  
■ Example for receiving program change  
(+ bank select) messages  
AMP Select 1/28  
¡FRONT  
(2) Use parameter knobs 2 and 3 to  
select the group name/bank number  
and patch number to assign to the  
program change number.  
(1) When a program change (+ bank select)  
message is received...  
2. Turn the [TYPE] knob to bring up the  
“MIDI PCMODE” (program change  
mode) parameter.  
MIDI IN  
connector  
MIDI OUT  
connector  
■ Enable control change send/  
MIDI PCMODE 6/28  
¡DIRECT  
receive  
(2) Patch at the G9.2tt is switched.  
The procedure for enabling send/receive of  
control change messages is described below.  
3. Turn parameter knob 1 to bring up the  
indication “MAPPING”.  
PC MAP ¡Prrg: 10  
™Bnk:AA9é£Pat:3 é  
HINT  
1. In play mode, press the [AMP  
Patches can now be specified using program  
change messages according to the program  
change map.  
• 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  
SELECT/SYSTEM] key.  
ZOOM G9.2tt  
ZOOM G9.2tt  
46  
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MIDI Usage Examples  
MIDI Usage Examples  
■ Assigning control change  
Display  
PEDAL1  
Control target  
Default CC#  
CC# setting range  
numbers  
Expression pedal 1 operation  
7
OFF, 1 – 5, 7 – 31, 64 – 95  
AMP Select 1/28  
¡FRONT  
You can assign control change numbers to the  
expression pedal and keys of the G9.2tt as  
follows.  
Expression pedal 2 operation, vertical  
direction  
PEDAL2-V  
11  
12  
OFF, 1 – 5, 7 – 31, 64 – 95  
OFF, 1 – 5, 7 – 31, 64 – 95  
Expression pedal 2 operation, horizontal  
direction  
PEDAL2-H  
COMP  
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.  
COMP module on/off  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
OFF, 64 – 95  
NOTE  
WAH/EFX1 WAH/EFX1 module on/off  
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 (→ p. 47).  
EXT LOOP EXT LOOP module on/off  
ZNR  
PRE-AMP  
ZNR module on/off  
PRE-AMP module on/off  
EQUALIZER EQ module on/off  
1. In play mode, press the [AMP  
SELECT/SYSTEM] key.  
MOD/EFX2  
DELAY  
MIDI 10/28  
¡CTRL RRx=ON é  
MOD/EFX2 module on/off  
DELAY module on/off  
REVERB  
MUTE  
REVERB module on/off  
Mute mode on/off  
AMP Select 1/28  
¡FRONT  
3. To enable the G9.2tt to send control  
change messages, turn the [TYPE]  
knob to bring up the “MIDI CTRL Tx”  
(send control change) parameter and  
turn parameter knob 1 to select the  
“ON” setting.  
BYPASS  
CH A/B  
Bypass mode on/off  
Pre-amp section channel A/B switching  
2. Turn the [TYPE] knob to bring up the  
display for assigning a control change  
number.  
■ Example for sending control change  
messages  
4. Assign control change numbers to  
Operations to which a control change number can  
be assigned are listed in the table on the next  
page.  
other operations in the same way.  
(1) When the expression pedal or  
switches and keys at the G9.2tt  
are operated...  
MIDI 11/28  
¡CTRL TTx=ON é  
5. When the setting is complete, press  
the [EXIT] key to exit the AMP  
SELECT/SYSTEM menu.  
For example, to assign a control change number  
to expression pedal 1, the following display is  
used.  
(2) Control change  
message is sent  
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.  
MIDI OUT  
connector  
MIDI IN  
connector  
MIDI cc# 12/28  
¡PEDAAL1=7  
6. Press the [STORE/SWAP] key to save  
The indication “Store... ?” appears on the display,  
to allow you to store the changes.  
the changes.  
Control change number to be assigned  
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.  
Store... ?  
Y[STORE]] N[EXIT]  
Control change values sent from the G9.2tt  
change as follows.  
HINT  
The control change number assignment always  
applies both for sending and receiving.  
5. Press the [STORE/SWAP] key to save  
● When the expression pedal 1/2 is  
operated  
the changes.  
3. Turn parameter knob 1 to specify a  
7. To send and receive control change  
messages, connect the G9.2tt and the  
other MIDI device as follows.  
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.  
control change number.  
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 cc# 12/28  
¡PEDAAL1=7  
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MIDI Usage Examples  
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.  
● 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 0 of the control  
change number is sent.  
● 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  
is between 64 and 127, the module is switched  
on.  
MIDI  
IN  
MIDI  
OUT  
MIDI  
IN  
MIDI  
OUT  
While the target G9.2tt is receiving data, the  
display changes as follows.  
● 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.  
● 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.  
The steps at the target G9.2tt and source G9.2tt  
are explained separately below.  
PatchDataDump RX  
Receiving ...  
■ 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  
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 pre-amp section channel A/B  
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.  
● 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.  
receive) parameter on the display.  
When the patch data send/receive process is  
completed, both G9.2tt units return to the AMP  
SELECT/SYSTEM menu.  
BulkDumpRX 28/28  
ExctePress[PAGE]  
■ Example for receiving control  
change messages  
3. Press the [PAGE] key.  
HINT  
Sending and receiving  
G9.2tt internal data via  
MIDI  
The G9.2tt is switched to bulk dump target  
operation, and a MIDI message requesting data is  
sent repeatedly to the source G9.2tt.  
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.  
(1) When a control change message  
is received...  
MIDI IN  
connector  
MIDI OUT  
connector  
■ Source G9.2tt  
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.  
4. Set the G9.2tt to play mode and press  
the [AMP SELECT/SYSTEM] key.  
(2) The same operation as when the respective  
expression pedal or switch or key at the  
G9.2tt is operated occurs.  
AMP Select 1/28  
¡FRONT  
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.  
5. Use the [TYPE] knob to bring up the  
"BulkDumpTx" (bulk dump transmit)  
parameter on the display.  
According to the control change value received,  
the G9.2tt status and parameter values change as  
follows.  
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.  
● 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).  
BulkDumpTX 27/28  
ExctePress[PAGE]  
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Other Functions  
Other Functions  
MAX=100  
min=0  
Rising sawtooth  
(Up Saw)  
Parameter value  
Parameter value  
1
2
100  
0
Rising fin  
(Up Curve)  
Using the ARRM function  
Falling sawtooth  
(Down Saw)  
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.  
Time  
3
4
MAX=80  
min=20  
Falling fin  
(Down Curve)  
As you turn parameter knob 1, the effect  
parameter, effect type, and effect module change.  
80  
20  
Triangle  
(Triangle)  
5
6
Time  
Square triangle  
(Square Tri)  
HINT  
• 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.  
Sine wave  
(Sine)  
7
8
HINT  
Wah  
Frequency  
• The available range setting depends on the  
parameter.  
Square wave  
(Square)  
Wah Wah Wah  
• When “NOT Assign” is displayed, no parameter  
is assigned as control target and the ARRM  
function is disabled.  
• It is also possible to set “min” to a higher value  
than “MAX”. In that case, the control change  
direction will be reversed.  
7. Turn parameter knob 2 to select the  
control waveform cycle.  
Time  
Wow Wow Wow  
The display changes as follows.  
4. To set the adjustment range for the  
parameter to be controlled, use  
parameter knob 2 (minimum value)  
and parameter knob 3 (maximum  
value).  
5. To select the control waveform type  
and cycle, press the [PAGE] key once  
to switch the page.  
This section explains the use of the ARRM  
feature.  
TOTAL:ARRM SYNC  
ßSync=∑x2  
1. In play mode, select the patch.  
The settings selected with parameter knobs 2 and  
3 determine the value when the control waveform  
reaches minimum value and maximum value.  
The control waveform cycle uses the patch  
specific tempo (→ p. 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).  
HINT  
The ARRM settings can be made separately for  
each patch.  
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.)  
TOTAL:ARRM min  
™min= 0  
2. Press the [TOTAL/FUNCTION] effect  
module key to switch to edit mode,  
and then turn the [TYPE] knob to  
bring up the indication “ARRM” on  
the display.  
Minimum value  
TOTAL:ARRM MAX  
£MAX=100  
6. Turn parameter knob 1 to select the  
control waveform.  
Maximum value  
The display changes as follows.  
Control target parameter name  
8. When the ARRM setting is complete,  
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.  
press the [EXIT] key.  
¡ARRMM=Mix  
MOD:Chorus  
TOTAL:ARRM WAVE  
¢Type=Trriangle  
Control waveform type  
Module name  
Effect type name  
Available waveforms are shown at right.  
3. Turn parameter knob 1 to select the  
The unit returns to play mode. Store the patch as  
necessary.  
control target parameter.  
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Other Functions  
Other Functions  
When you play your guitar in this condition, the  
selected effect parameter will be modified  
cyclically by the internally generated control  
waveform.  
■ Sampling frequencies  
32 kHz / 44.1 kHz / 48 kHz  
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.  
USB Monitor 3/28  
¡USB++DIRECT  
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.  
3. Turn parameter knob 1 to select one  
NOTE  
of the following settings.  
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 (→ p. 28).  
For details on recording and playback, refer to the  
documentation of the DAW application.  
● USB+DIRECT  
NOTE  
The signal after effect processing appears at the  
OUTPUT jack also when USB connection is  
used.  
The USB port of the G9.2tt only serves for sending  
and receiving audio data. For MIDI messages, use  
the MIDI IN/OUT connectors.  
Using the G9.2tt as audio  
interface for a computer  
NOTE  
• If 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.  
● USB Only  
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.  
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 environment  
conditions for this type of use are as follows.  
The signal after effect processing at the  
OUTPUT jack is muted when USB connection  
is used.  
4. When the setting is complete, press  
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).  
• Use a high-quality USB cable and keep the  
connection as short as possible.  
the [EXIT] key.  
■ Compatible operating system  
• Windows XP  
• Mac OS X (10.2 and later)  
HINT  
Muting the direct output  
when using a USB  
connection  
The USB Monitor setting is reset to the default  
condition (USB+DIRECT) when power is turned off  
and on again.  
■ Quantization  
16-bit  
When performing playback with the DAW  
application, the playback sound from the audio  
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.  
Fig. 1: Signal flow during recording  
DAW  
software  
G9.2tt  
Effects  
[INPUT]  
USB  
[USB]  
1. In play mode, press the [AMP  
[OUTPUT]  
SELECT/SYSTEM] key.  
Fig. 2: Signal flow during playback (1)  
The AMP SELECT/SYSTEM menu for  
parameters that apply to all patches appears.  
DAW  
software  
G9.2tt  
Effects  
[INPUT]  
USB  
AMP Select 1/28  
¡FRONT  
[USB]  
[OUTPUT]  
Fig. 3: Signal flow during playback (2)  
2. Turn the [TYPE] knob to bring up the  
indication "USB Monitor" (output  
mode when USB connection is used)  
on the display.  
G9.2tt  
Effects  
DAW  
software  
[INPUT]  
USB  
[USB]  
[OUTPUT]  
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Other Functions  
Linking Effects  
3. Turn parameter knob 1 to adjust the  
contrast in the range from 1 – 3.  
About the editor/librarian  
software  
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.  
LCD 2/28  
¡Contrrast:33 é  
ZOOM CORPORATION makes an editor/  
librarian software application available for  
download on its web site.  
Pre-amp section  
B Channel  
ZNR  
PRE-AMP  
EQ  
4. When the setting is complete, press  
the [EXIT] key to exit the AMP  
SELECT/SYSTEM menu.  
FD Clean  
EQ  
ZNR  
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.  
COMP  
Compressor  
WAH/EFX1  
AutoWah  
EXT LOOP  
ZNR  
PRE-AMP  
EQ  
CABINET  
CABINET  
MOD/EFX2  
Chorus  
DELAY  
Delay  
REVERB  
Hall  
FD Clean  
EQ  
ZNR  
VX Clean  
RackComp  
Limiter  
A-Resonance  
Booster  
PingPongDly  
Echo  
Room  
Spring  
Arena  
Noise  
ST-Chorus  
Ensemble  
ModDelay  
Flanger  
Gate  
The indication “Store... ?” appears on the display,  
to allow you to store the changes.  
JC Clean  
Dirty  
Gate  
Tremolo  
HW Clean  
PingPongEcho  
AnalogDelay  
Phaser  
A Channel  
Store... ?  
Y[STORE] N[EXIT]  
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 recommended.  
● Web site of ZOOM CORPORATION  
http://www.zoom.co.jp  
5. Press the [STORE/SWAP] key to save  
the changes.  
● When CABINET module is on  
Adjusting the display  
contrast  
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.  
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 contrast setting is accepted, and the unit  
returns to play mode.  
If required, you can adjust the display contrast as  
follows.  
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.  
1. In play mode, press the [AMP  
SELECT/SYSTEM] key.  
Switching between live  
performance sound and  
direct recording sound  
The AMP SELECT/SYSTEM menu for  
parameters that apply to all patches appears.  
PRE-AMP  
Algorithm for  
direct recording  
EQ  
CABINET  
On  
Off  
Algorithm for  
live performance  
AMP Select 1/28  
¡FRONT  
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  
amounts to having access to 88 effect types.  
2. Turn the [TYPE] knob to bring up the  
indication "Contrast" (display  
contrast) on the display.  
NOTE  
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  
section.  
The respective algorithm is selected  
automatically, depending on the status of the  
CABINET module, as described below.  
LCD  
¡Contrrast:2  
2/28  
● When CABINET module is off  
The live performance algorithm is selected for  
ZOOM G9.2tt  
ZOOM G9.2tt  
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Linking Effects  
Linking Effects  
INPUT on the rear panel of a Marshall stack  
amp.  
4. When the setting is complete, press  
3. When the setting is complete, press  
the [EXIT] key.  
the [EXIT] key.  
Using the Amp Select  
Function  
The unit returns to the previous mode. To enable  
the changed setting, be sure to store the patch  
(→ p. 28).  
The unit returns to the previous mode. To enable  
the changed setting, be sure to store the patch  
(→ p. 28).  
3. When the setting is complete, press  
the [EXIT] key.  
The G9.2tt incorporates an Amp Select function  
that optimizes 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.  
The indication "Store... ?" appears on the display,  
to allow you to store the changes.  
■ Changing the insert position of  
NOTE  
the pre-amp section  
• 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.  
4. Press the [STORE/SWAP] key to save  
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.  
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.  
NOTE  
• 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 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, manual mode, or edit  
The module lineup with different settings for the  
WAH/EFX1 module and pre-amp section  
insertion position is shown below.  
Changing the insert position  
of the pre-amp section and  
WAH/EFX1 module  
mode, press the [PRE-AMP] key.  
The display changes as follows.  
1. In play mode, press the [AMP  
SELECT/SYSTEM] key.  
Chain  
Post  
œ–ø–––  
–œ–œµµ  
The 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.  
AMP Select 1/28  
¡FRONT  
Parameter value Parameter name  
2. Turn parameter knob 2 to select “Pre”  
(before MOD/EFX2 module) or “Post”  
(after DELAY module).  
2. Turn parameter knob 1 to select one  
of the following settings.  
■ Changing the insert position of  
the WAH/EFX1 module  
● FRONT  
To change the insert position of the WAH/EFX1  
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.  
Fig. 1 Pre-amp section = PRE, WAH/EFX1 = Befr  
This is the standard setting for using the  
GUITAR INPUT on the front of the guitar  
amp.  
Pre-amp section  
EXT LOOP  
ZNR  
PRE-AMP  
EQ  
CABINET  
COMP  
WAH/EFX1  
MOD/EFX2  
MOD/EFX2  
DELAY  
DELAY  
REVERB  
REVERB  
Fig. 2 Pre-amp section = PRE, WAH/EFX1 = Aftr  
● COMBO R1  
Pre-amp section  
This setting is suitable when using the POWER  
INPUT on the rear panel of a Roland JC-120  
guitar amp.  
1. In play mode, manual mode, or edit  
EXT LOOP  
ZNR  
PRE-AMP  
EQ  
CABINET  
COMP  
WAH/EFX1  
mode, press the [WAH/EFX1] key.  
2. Turn the [TYPE] knob and select an  
effect type other than Booster,  
Tremolo, or Octave.  
Fig. 3 Pre-amp section = POST, WAH/EFX1 = Befr  
● COMBO R2  
Pre-amp section  
This setting is suitable when using the POWER  
INPUT on the rear panel of a Fender combo  
amp.  
EXT LOOP  
ZNR  
PRE-AMP  
EQ  
CABINET  
COMP  
WAH/EFX1  
MOD/EFX2  
DELAY  
REVERB  
3. Turn parameter knob 1 to select  
“Befr” (before pre-amp section) or  
“Aftr” (after pre-amp section).  
Fig. 4 Pre-amp section = POST, WAH/EFX1 = Aftr  
Pre-amp section  
● STACK R  
This setting is suitable when using the POWER  
EXT LOOP  
ZNR  
PRE-AMP  
EQ  
CABINET  
COMP  
MOD/EFX2  
DELAY  
WAH/EFX1  
REVERB  
ZOOM G9.2tt  
ZOOM G9.2tt  
58  
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Effect Types and Parameters  
Effect Types and Parameters  
COMP module  
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.  
PARM1 PARM2  
How to read the parameter table  
PARM3  
PARM4  
Sense  
Attack  
Tone  
Level  
0 – 10  
Fast, Slow  
0 – 10  
2 – 100  
Effect parameters 1 – 4  
Adjusts the compressor  
sensitivity. Higher setting  
values result in higher  
sensitivity.  
Selects compressor attack  
speed in two levels: Fast or  
Slow.  
When this effect type is selected, the four parameters listed  
here can be adjusted with parameter knobs 1 - 4. The setting  
Adjusts the tonal quality of the Adjusts the signal level after  
sound.  
passing the module.  
Effect module  
Effect type  
range for each parameter is also shown. Some effect  
parameters are adjusted with the knobs of the pre-amp section.  
RackComp  
This effect type allows more detailed adjustment than "Compressor".  
PARM1 PARM2 PARM3  
Threshold  
WAH/EFX1 module  
This module comprises wah and filter effects as well as special effects such as ring  
modulator and octave.  
PARM4  
Ratio  
Attack  
Level  
0 – 50  
1 – 10  
1 – 10  
2 – 100  
AutoWah  
Adjusts the reference signal  
level for the compressor  
action.  
This effect varies wah in accordance with picking intensity.  
Adjusts the compressor attack Adjusts the signal level after  
speed.  
Adjusts the compression ratio.  
passing the module.  
A-Resonance  
This effect varies the resonance filter frequency in accordance with picking intensity.  
The above two effect types have the same parameters.  
PARM1  
PARM2  
PARM3  
PARM4  
PARM4  
Limiter  
-10 – -1,  
Position  
Resonance  
l  
Mix  
This is a limiter that suppresses signal peaks above a certain reference level.  
PARM1 PARM2 PARM3  
Threshold  
Befr, Af
0
0 – 10  
2 – 100  
0 – 100  
PARM4  
pe echo.  
The ao effect types have the same parameters.  
PARM1 PARM2  
Ratio  
Release  
Adjusts the delay between the  
Adjusts the compression ratio point where the signal level  
of the limiter. falls below the threshold level passing the module.  
and the limiter release.  
Level  
0 – 50  
1 – 10  
1 – 10  
2 – 100  
PARM3  
1 –  
2000  
mS  
Time  
HiDamp  
FeedBack  
0 – 100  
Adjusts the reference signal  
level for the limiter action.  
Adjusts the signal level after  
Adjusts the amount of feedback. Adjusts the treble attenuation  
rsa of the delay sound. Low
Adjusts the level of the effect  
Sets the delay time.  
AY module  
This is a delay module that allows use of the hold function.  
Delay  
WAH/EFX1 module  
This is a long delay with a maximum setting of 5000 ms.  
This module comprises wah and filter effects as well as special effects such as ring  
modulator and octave.  
Tempo sync  
AutoWah  
The note symbol (  
) in the table indicates that the parameter can be synchronized to the  
This effect varies wah in accordance with picking intensity.  
See A-Resonance (next effect) for effect parameters.  
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).  
A-Resonance  
This effect varies the resonance filter frequency in accordance with picking intensity.  
PARM1  
PARM2  
PARM3  
PARM4  
Expression pedal  
The pedal symbol (  
-10 – -1,  
1 – 10  
) in the table indicates that the parameter can be controlled with the  
Position  
Sense  
Resonance  
Level  
Befr, Aftr  
0 – 10  
2 – 100  
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. Parameters with the pedal symbol can also be selected as control targets  
for the ARRM function.  
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 intensity of the  
resonance sound.  
Adjusts the signal level after  
passing the module.  
Adjusts the effect sensitivity.  
Delay tap/hold delay/delay mute  
The tap (  
), hold (  
), and mute (  
) symbols in the table indicate that the  
Booster  
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.  
This is a booster for increasing signal gain.  
PARM1 PARM2  
PARM3  
PARM4  
Range  
Tone  
Gain  
Level  
1 – 5  
0 – 10  
0 – 10  
2 – 100  
Adjusts the frequency range to Adjusts the tonal quality of the  
Adjusts the signal level after  
passing the module.  
Adjusts the amount of boost.  
boost.  
sound.  
ZOOM G9.2tt  
ZOOM G9.2tt  
60  
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Effect Types and Parameters  
Effect Types and Parameters  
Tremolo  
PedalVox  
This effect periodically varies the volume level.  
Simulation of the vintage Vox pedal wah.  
PARM1  
PARM2  
PARM3  
PARM4  
See PedalCry (next effect) for effect parameters.  
PedalCry  
UP 0 – 9,  
DWN 0 – 9,  
TRI 0 – 9  
Depth  
Rate  
Wave  
Level  
0 – 100  
2 – 100  
Simulation of the vintage Crybaby pedal wah.  
0 – 50  
PARM1  
PARM2  
PARM3  
DryMix  
PARM4  
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.  
Position  
Frequency  
Level  
Befr, Aftr  
1 – 50  
0 – 10  
2 – 100  
Selects the connection position Adjusts the frequency that is  
of the WAH/EFX1 module.  
Available settings are "Befr"  
(before pre-amp section) or  
"Aftr" (after pre-amp section).  
emphasized. When the  
expression pedals are not  
Adjusts the level of the  
original sound mixed to the  
used, the effect is similar to a effect sound.  
half open pedal.  
Adjusts the signal level after  
passing the module.  
Adjusts the signal level after  
passing the module.  
Adjusts the modulation depth. Adjusts the modulation rate.  
MultiWah  
This is a wah effect that allows selection of the curve in which the emphasized frequency moves.  
PARM1 PARM2 PARM3  
Frequency  
Phaser  
PARM4  
This effect produces a swooshing sound.  
Position  
Curve  
Level  
Befr, Aftr  
1 – 50  
1 – 10  
2 – 100  
PARM1  
PARM2  
PARM3  
PARM4  
Selects the connection position Adjusts the frequency that is  
Position  
Color  
Rate  
Level  
Befr, Aftr  
1 – 4  
2 – 100  
of the WAH/EFX1 module.  
Available settings are "Befr"  
(before pre-amp section) or  
"Aftr" (after pre-amp section).  
emphasized. When the  
Adjusts the curve with which  
the frequency (PARM2)  
0 – 50  
Adjusts the signal level after  
passing the module.  
expression pedals are not  
used, the effect is similar to a moves.  
half open pedal.  
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 signal level after  
passing the module.  
Adjusts the modulation rate.  
Adjusts the sound color.  
P-Resonance  
Pedal wah with a strong character.  
FixedPhaser  
PARM1  
PARM2  
PARM3  
PARM4  
This effect provides a fixed phaser that can be used like an equalizer.  
PARM1 PARM2  
Frequency  
Position  
Frequency  
Resonance  
Level  
Befr, Aftr  
1 – 50  
0 – 10  
2 – 100  
PARM3  
PARM4  
Selects the connection position  
of the WAH/EFX1 module.  
Available settings are "Befr"  
(before pre-amp section) or  
"Aftr" (after pre-amp section).  
Position  
Color  
Level  
Befr, Aftr  
1 – 50  
1 – 4  
2 – 100  
Adjusts the modulation  
frequency.  
Adjusts the resonance  
intensity.  
Adjusts the signal level after  
passing the module.  
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.  
Adjusts the signal level after  
passing the module.  
Adjusts the sound color.  
Octave  
This effect adds a one-octave lower component to the original sound.  
PARM1 PARM2 PARM3  
OctLevel DryLevel  
RingModulate  
PARM4  
This effect produces a metallic ringing sound. Adjusting the "Freq" parameter results in a drastic change of sound  
character.  
Tone  
Level  
0 – 100  
0 – 100  
0 – 10  
2 – 100  
Adjusts the level of the one-  
octave lower sound  
component.  
PARM1  
PARM2  
Frequency  
PARM3  
Balance  
PARM4  
Adjusts the level of the  
original sound.  
Adjusts the tonal quality of the Adjusts the signal level after  
lower octave component. passing the module.  
Position  
Level  
Befr, Aftr  
1 – 50  
0 – 100  
2 – 100  
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 balance between  
original sound and effect  
sound.  
Adjusts the modulation  
frequency.  
Adjusts the signal level after  
passing the module.  
SlowAttack  
This effect slows down the attack rate of the sound, resulting in a violin playing style sound.  
PARM1 PARM2 PARM3  
Curve  
PARM4  
Position  
Time  
Level  
Befr, Aftr  
1 – 50  
0 – 10  
2 – 100  
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 rising volume  
change curve.  
Adjusts the signal level after  
passing the module.  
Adjusts the rise time.  
ZOOM G9.2tt  
ZOOM G9.2tt  
62  
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Effect Types and Parameters  
Effect Types and Parameters  
EXT LOOP (external loop) module  
PRE AMP 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 .  
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 and 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.  
PARM1  
PARM2  
PARM3  
DryLevel  
0 – 100  
SendLevel  
RetLevel  
0 – 100  
0 – 100  
FD Clean  
VX Clean  
Adjusts the volume of the  
original sound in the G9.2tt  
(the signal level that is input to  
the EXT LOOP module).  
Clean sound of a Fender Twin Reverb ('65 model) favored Clean sound of the combo amp VOX AC-30 operating in  
by guitarists of many music styles.  
Adjusts the external effect  
send level.  
Adjusts the external effect  
return level.  
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.  
ZNR module  
UK Blues  
US Blues  
This module serves for reducing noise during playing pauses. It offers a choice between  
noise reduction and noise gate (muting during pauses).  
Crunch sound of the 30-watt combo amp Marshall 1962  
Bluesbreaker.  
Crunch sound of a Fender Tweed Deluxe '53.  
ZNR (ZOOM NOISE REDUCTION)  
ZOOM original noise reduction which reduces noise in playing pauses without affecting the overall tone.  
TweedBass  
BG Crunch  
Crunch sound of the Fender Bassman, a bass amp with  
a strong presence.  
Crunch sound of the Mesa Boogie MkIII combo amp.  
NoiseGate  
This is a noise gate which cuts off the sound during playing pauses.  
VX Crunch  
Z Combo  
Zoom original combo amp crunch sound.  
DirtyGate  
Crunch sound of class A combo amp Vox AC30TBX.  
This is a vintage type gate with special closing characteristics.  
The above three effect types have the same parameter.  
PARM1  
MS #1959  
MS Crunch  
Crunch sound of the Marshall stack amp JCM800 that  
ranges from clean to crunch.  
Crunch sound of the Marshall 1959 that has become  
legendary.  
Threshold  
1 – 16  
MS Drive  
Rect Cln  
Adjusts the ZNR sensitivity. For maximum noise  
reduction, set the value as high as possible without  
causing the sound to decay unnaturally.  
Clean sound of the Mesa Boogie Dual Rectifier orange  
channel.  
High gain sound of the Marshall stack amp JCM2000.  
Rect Vnt  
Rect Mdn  
High gain sound of the Mesa Boogie Dual Rectifier red  
channel (Vintage mode).  
High gain sound of the Mesa Boogie Dual Rectifier red  
channel (Modern mode).  
HK Clean  
HK Crunch  
Clean sound of the Hughes & Kettner flagship model  
Triamp MKII (Amp 1).  
Crunch sound of the Hughes & Kettner flagship model  
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 & 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  
100.  
High gain sound of a Peavey 5150 developed in  
cooperation with a world-famous hard rock guitarist.  
Z Stack  
OverDrive  
Simulation of the Boss OD-1 that first created the  
"overdrive" concept.  
Zoom original head amp high gain sound.  
TS808  
Centaur  
Simulation of the often copied Ibanez TS808 used by  
many guitarists as a booster.  
Simulation of the Klon Centaur favored by many pros,  
also as a booster.  
ZOOM G9.2tt  
ZOOM G9.2tt  
64  
65  
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Effect Types and Parameters  
Effect Types and Parameters  
Guv'nor  
RAT  
EQ module  
Simulation of the PROCO Rat famous for its edgy  
distortion sound.  
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.  
Simulation of the Guv'nor distortion effect from Marshall.  
BASS  
MIDDLE  
TREBLE  
PRESENCE  
DS-1  
dist +  
12  
160Hz  
12  
800Hz  
12  
3.2kHz  
12  
6.4kHz  
Simulation of the Boss distortion DS-1, a long-time  
favorite.  
Simulation of MXR distortion+ that made distortion  
popular worldwide.  
Bass  
Middle  
Treble  
Presence  
Adjusts boost/cut in the low  
frequency range.  
Adjusts boost/cut in the  
middle frequency range.  
Adjusts boost/cut in the high  
frequency range.  
Adjusts boost/cut in the very  
high frequency range.  
HotBox  
FuzzFace  
PARM3  
PARM4  
Simulation of the compact Matchless HotBox preamp  
with built-in tubes.  
Simulation of the Fuzz Face that made rock history with  
its zany look and smashing sound.  
12  
400Hz  
12  
12kHz  
Low-Mid  
Harmonics  
BigMuff  
MetalZone  
Adjusts boost/cut in the lower- Adjusts boost/cut in the  
middle frequency range. harmonics frequency range.  
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-9  
sound.  
Combination of Marshall stack amp and Boss SD-1  
sound.  
CABINET module  
This effect simulates the sound obtained when recording an amp cabinet with a  
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 (→ p. 65).  
FZ+M_Stk  
Z OD  
Combination of Fuzz Face and Marshall stack amp sound. Zoom original overdrive with natural distortion.  
PARM1  
PARM2  
PARM3  
ExtremeDS  
High gain sound with the most powerful gain of any  
distortion effect in the world.  
DigiFuzz  
Dyna,  
Cond  
MicType  
MicPosi  
Depth  
0 – 2  
0 – 2  
High gain fuzz sound with strong character.  
Lets you select different  
characteristics according to the  
mic position. The following  
settings are available.  
0: Mic pointed at speaker  
center  
Z Clean  
Zoom original straight clean sound.  
The above 43 effect types have the same parameters.  
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.  
GAIN  
LEVEL  
1: Mic pointed halfway  
between speaker edge and  
center  
Gain  
Level  
0 – 100  
1 – 100  
Adjusts the preamp gain  
(distortion depth).  
Adjusts the signal level after  
passing the module.  
2: Mic pointed at speaker edge  
PARM1  
PARM2  
Tone  
Chain  
0 – 30  
Pre, Post  
MOD/EFX2 module  
This module comprises modulation effects such as chorus and flanger, delay effects, and  
pitch shifter effects.  
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).  
Chorus  
This effect mixes a variable pitch-shifted component to the original signal, resulting in full-bodied resonating sound.  
PARM1 PARM2 PARM3 PARM4  
Depth  
Tone  
Aco. Sim  
Rate  
Mix  
0 – 100  
1 – 50  
0 – 10  
0 – 100  
This effect makes an electric guitar sound like an  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the tonal quality of the  
sound.  
acoustic guitar.  
Adjusts the effect depth.  
Adjusts the modulation rate.  
GAIN  
LEVEL  
Top  
Level  
0 – 10  
1 – 100  
ST-Chorus  
This is a clear sounding stereo chorus.  
Adjusts the characteristic  
strings sound of an acoustic  
guitar.  
Adjusts the signal level after  
passing the module.  
PARM1  
PARM2  
PARM3  
PARM4  
Tone  
Depth  
Rate  
Mix  
0 – 100  
1 – 50  
0 – 10  
0 – 100  
PARM1  
PARM2  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Body  
Chain  
Adjusts the tonal quality of the  
sound.  
0 – 10  
Pre, Post  
Adjusts the effect depth.  
Adjusts the modulation rate.  
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).  
ZOOM G9.2tt  
ZOOM G9.2tt  
66  
67  
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Effect Types and Parameters  
Effect Types and Parameters  
Ensemble  
Vibe  
This is a chorus ensemble with three-dimensional movement.  
This is an effect with automatic vibrato.  
PARM1  
PARM2  
PARM3  
PARM4  
PARM1  
PARM2  
PARM3  
PARM4  
Depth  
Rate  
Tone  
Mix  
Tone  
0 – 100  
1 – 50  
0 – 10  
0 – 100  
Depth  
Rate  
Balance  
0 – 100  
0 – 10  
0 – 100  
0 – 50  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the balance between  
original sound and effect  
sound.  
Adjusts the tonal quality of the  
sound.  
Adjusts the tonal quality of the  
sound.  
Adjusts the effect depth.  
Adjusts the modulation rate.  
Adjusts the effect depth.  
Adjusts the modulation rate.  
ModDelay  
This is a delay that allows use of modulation.  
Step  
Special effect that changes the sound in a staircase pattern.  
PARM1 PARM2  
PARM3  
PARM4  
PARM1 PARM2  
PARM3  
PARM4  
1 –  
2000  
mS  
Depth  
Rate  
Resonance  
Shape  
0 – 100  
0 – 10  
0 – 10  
0 – 50  
Time  
FeedBack  
Rate  
Mix  
0 – 100  
1 – 50  
0 – 100  
Adjusts the resonance  
intensity.  
Adjusts the effect sound  
envelope.  
Adjusts the modulation depth. Adjusts the modulation rate.  
Adjusts the amount of  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
feedback. Higher setting values  
result in a higher number of  
delay sound repetitions.  
Sets the delay time.  
Adjusts the modulation rate.  
Delay  
This is a delay with a maximum setting of 2000 ms.  
See TapeEcho (next effect) for effect parameters.  
Flanger  
TapeEcho  
This effect simulates a tape echo.  
This effect produces a resonating and strongly undulating sound.  
PARM1 PARM2  
PARM3  
PARM4  
PARM1  
PARM2  
FeedBack  
PARM3  
PARM4  
-10 – -1, 0,  
1 – 10  
Depth  
Rate  
Adjusts the modulation rate.  
Resonance  
Manual  
0 – 100  
0 – 100  
0 – 50  
1 –  
2000  
mS  
Time  
HiDamp  
Mix  
0 – 100  
0 – 10  
0 – 100  
Adjusts the resonance  
intensity.  
Adjusts the frequency range  
on which the effect operates.  
Adjusts the effect depth.  
Adjusts the amount of feedback. Adjusts the treble attenuation  
Higher setting values result in a of the delay sound. Lower  
higher number of delay sound  
repetitions.  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
PitchShift  
This effect shifts the pitch up or down.  
Sets the delay time.  
setting values result in softer  
delay sound.  
PARM1  
PARM2  
PARM3  
PARM4  
DynamicDelay  
-12 – -1, 0,  
1 – 12, 24  
Shift  
Tone  
Fine  
Balance  
Adjusts the balance between  
0 – 10  
-25 – 25  
0 – 100  
This is a dynamic delay where the effect volume varies according to the input signal level.  
PARM1 PARM2 PARM3  
PARM4  
Allows fine adjustment of  
pitch shift amount in Cent (1/ original sound and effect  
100 semitone) steps. sound.  
Sets the pitch shift amount in Adjusts the tonal quality of the  
1 –  
2000  
mS  
semitones.  
sound.  
-10 – -1,  
1 – 10  
Time  
Amount  
FeedBack  
Sense  
0 – 100  
0 – 100  
PedalPitch  
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.  
This effect allows using a pedal to shift the pitch in real time.  
PARM1 PARM2  
PARM3  
PARM4  
PdlPosi  
0 – 100  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the amount of  
feedback.  
Sets the delay time.  
Color  
Mode  
Tone  
1 – 8  
Up, Down  
0 – 10  
Sets the pitch shift amount.  
Depending on the "Color"  
Selects the type of pitch  
change caused by the pedal  
(see Table 1).  
Sets the direction of the pitch Adjusts the tonal quality of the setting, the balance between  
change to Up or Down.  
sound.  
original sound and effect  
sound also changes  
accordingly.  
[Table 1]  
Pedal minimum value  
Pedal maximum value  
Pedal minimum value  
Pedal maximum value  
Color Mode  
Color Mode  
Up  
-100 cent  
Original sound only  
-100 cent  
Detune + DRY  
DOUBLING  
+1 octave  
Up  
-1 octave + DRY  
+1 octave + DRY  
-1 octave + DRY  
+500 cent + DRY  
-700 cent + DRY  
+1 octave  
-∞ (0 Hz) + DRY  
+1 octave + DRY  
-∞ (0 Hz) + DRY  
1
5
Down Original sound only  
Down +1 octave + DRY  
Up  
Down +500 cent + DRY  
Up  
Down  
Up  
Up  
Down  
Up  
Down  
Up  
DOUBLING  
Detune + DRY  
0 cent  
+1 octave  
0 cent  
-700 cent + DRY  
2
3
4
6
7
8
-∞ (0 Hz) + DRY  
+1 octave  
-∞ (0 Hz) + DRY  
0 cent  
-2 octaves  
0 cent  
Down  
-2 octaves  
Down +1 octave + DRY  
ZOOM G9.2tt  
ZOOM G9.2tt  
68  
69  
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Effect Types and Parameters  
Effect Types and Parameters  
DynamicFlang  
Cry  
This is a dynamic flanger where the effect volume varies according to the input signal level.  
This effect varies the sound like a talking modulator.  
PARM1  
PARM2  
PARM3  
PARM4  
PARM1  
PARM2  
PARM3  
PARM4  
-10 – -1, 0,  
1 – 10  
-10 – -1,  
1 – 10  
-10 – -1,  
1 – 10  
Depth  
Rate  
Resonance  
Sense  
Range  
Resonance  
Sense  
Balance  
Adjusts the balance between  
0 – 100  
1 – 10  
0 – 10  
0 – 100  
0 – 50  
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 frequency range  
processed by the effect.  
Adjusts the resonance  
intensity.  
Adjusts the effect sensitivity. original sound and effect  
sound.  
Adjusts the resonance  
intensity.  
Adjusts the modulation depth. Adjusts the modulation rate.  
ReverseDelay  
This is a special delay where the effect sounds as if playing in reverse.  
PARM1 PARM2 PARM3  
PARM4  
Balance  
0 – 100  
MonoPitch  
10 –  
1000  
Time  
HiDamp  
FeedBack  
0 – 100  
0 – 10  
This is a pitch shifter specifically for monophonic sound (single-note playing), with little sound fluctuation.  
PARM1 PARM2 PARM3 PARM4  
Balance  
Adjusts the balance between  
pitch shift amount in Cent (1/ original sound and effect  
100 semitone) steps. sound.  
Adjusts the balance between  
original sound and effect  
sound.  
Adjusts the amount of  
feedback.  
Adjusts the treble attenuation  
of the delay sound.  
Shift  
Tone  
Fine  
Allows fine adjustment of  
-24 – +24  
0 – 10  
-25 – 25  
0 – 100  
Sets the delay time.  
Adjusts the pitch shift amount Adjusts the tonal quality of the  
in semitones. sound.  
BendChorus  
This effect provides pitch bending that uses the input signal as trigger and processes each note separately.  
PARM1 PARM2 PARM3 PARM4  
Depth Attack Release Balance  
0 – 100  
H.P.S (Harmonized Pitch Shifter)  
This is an intelligent pitch shifter that automatically generates harmonies according to a preset key and scale.  
PARM1 PARM2 PARM3 PARM4  
-50 – 50  
1 – 10  
1 – 10  
Adjusts the release time for  
the bending effect. Higher  
setting values result in slower  
release.  
Adjusts the attack time for the  
bending effect. Higher setting  
values result in slower attack.  
Adjusts the balance between  
original sound and effect  
sound.  
C, C#, D,  
D#, E, F,  
F#, G, G#,  
A, A#, B  
-6, -5, -4,  
-3, -m, m,  
3, 4, 5, 6  
Adjusts the effect depth.  
Scale  
Key  
Tone  
Mix  
0 – 10  
0 – 100  
CombFilter  
Determines the interval for the  
pitch shifted sound (see Table  
2).  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Determines the tonic for the  
scale used for pitch shifting.  
Adjusts the tonal quality of the  
sound.  
This effect uses the comb filter characteristics generated by using fixed modulation on the flanger as an equalizer.  
PARM1  
PARM2  
PARM3  
PARM4  
[Table2]  
Setting Type of scale  
HiDamp  
Frequency  
Resonance  
Mix  
1 – 50  
-10 – 10  
0 – 10  
0 – 100  
Interval  
Sixth down  
Fifth down  
Fourth down  
Third down  
Third down  
Third up  
Setting Type of scale  
3
Interval  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the frequency to be  
emphasized.  
Adjusts the resonance  
intensity.  
Adjusts the treble attenuation  
of the effect sound.  
-6  
-5  
-4  
-3  
-m  
m
Third up  
Fourth up  
Fifth up  
4
5
Major scale  
Minor scale  
Major scale  
6
Sixth up  
Air  
This effect reproduces the ambience of a room, to create spatial depth.  
PARM1 PARM2 PARM3  
Reflex  
PARM4  
PdlMonoPitch  
Size  
Tone  
Mix  
1 – 100  
0 – 10  
0 – 10  
0 – 100  
This is a pitch shifter specifically for monophonic sound (single-note playing), which allows the pitch to be shifted in  
real time with an expression pedal.  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the size of the  
simulated space.  
Adjusts the amount of  
reflections from the wall.  
Adjusts the tonal quality of the  
sound.  
PARM1  
PARM2  
PARM3  
PARM4  
PdlPosi  
0 – 100  
Color  
Mode  
Tone  
1 – 8  
Up, Down  
0 – 10  
Sets the pitch shift amount.  
Depending on the "Color"  
Selects the type of pitch  
change caused by the pedal  
(see Table 1).  
Sets the direction of the pitch Adjusts the tonal quality of the setting, the balance between  
change to Up or Down.  
sound.  
original sound and effect  
sound also changes  
accordingly.  
ZOOM G9.2tt  
ZOOM G9.2tt  
70  
71  
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Effect Types and Parameters  
Effect Types and Parameters  
DELAY module  
REVERB module  
This is a delay module that allows use of the hold function. Effect parameters are described  
below, after effect types.  
This module comprises various kinds of reverb, early reflections, and multi-tap delay. Effect  
parameters are described below, after effect types.  
Hall  
Delay  
This reverb effect simulates the acoustics of a concert hall.  
This is a long delay with a maximum setting of 5000 ms.  
Room  
PingPongDly  
This reverb effect simulates the acoustics of a room.  
This is a ping-pong type delay where the delay sound alternates between left and right.  
Spring  
Echo  
This effect simulates a spring-type reverb.  
This effect simulates a tape echo with a long delay time of up to 5000 ms.  
Arena  
PingPongEcho  
This reverb effect simulates the acoustics of a large venue such as a sports arena.  
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.  
TiledRoom  
This reverb effect simulates the acoustics of a tiled room.  
AnalogDelay  
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.  
ModernSpring  
This effect simulates a bright, transparent spring-type reverb.  
The above six effect types have the same parameters.  
PARM1  
PARM2  
FeedBack  
Adjusts the feedback amount.  
PARM3  
PARM4  
PARM1  
Decay  
PARM2  
PARM3  
PARM4  
1 –  
5000  
Time  
HiDamp  
Mix  
0 – 100  
0 – 10  
0 – 100  
PreDelay  
Adjusts the delay between  
Tone  
Mix  
1 – 30  
1 – 100  
0 – 10  
0 – 100  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the treble attenuation  
of the effect sound.  
Adjusts the tonal quality of the  
sound.  
Sets the delay time.  
Sets the duration of the reverb. input of the original sound and  
start of the reverb sound.  
ReverseDelay  
This is a reverse delay with a long delay time of up to 2500 ms.  
E/Reflection  
This effect isolates only the early reflection components of the reverb.  
PARM1 PARM2 PARM3  
Shape  
PARM1 PARM2  
PARM3  
PARM4  
PARM4  
10 –  
2500  
Decay  
Tone  
Mix  
1 – 30  
10  
0 – 10  
0 – 100  
Time  
HiDamp  
FeedBack  
Adjusts the feedback amount.  
Balance  
0 – 100  
0 – 10  
0 – 100  
Adjusts the envelope of the  
effect sound. In the negative  
range, the envelope is  
Adjusts the balance between  
original sound and effect  
sound.  
Adjusts the treble attenuation  
of the effect sound.  
Sets the delay time.  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the tonal quality of the  
sound.  
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.  
Air  
This effect reproduces the ambience of a room, to create spatial depth.  
PARM1 PARM2 PARM3  
Reflex  
PARM4  
MultiTapDly  
Size  
Tone  
Mix  
1 – 100  
0 – 10  
0 – 10  
0 – 100  
This effect produces several components with different delay times.  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
PARM1 PARM2  
PARM3  
PARM4  
Adjusts the size of the  
simulated space.  
Adjusts the amount of  
reflections from the wall.  
Adjusts the tonal quality of the  
sound.  
1 –  
Time  
Pattern  
Tone  
Mix  
1 – 8  
0 – 10  
0 – 100  
3000  
Selects the combination  
pattern for the taps. The  
selection ranges from  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the tonal quality of the  
sound.  
Sets the basic delay time.  
rhythmical to random patterns.  
ZOOM G9.2tt  
ZOOM G9.2tt  
72  
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Effect Types and Parameters  
Effect Types and Parameters  
PanDelay  
TOTAL module  
This is a stereo delay with a delay time of up to 3000 ms.  
PARM1  
PARM2  
FeedBack  
Adjusts the feedback amount.  
PARM3  
PARM4  
This module comprises parameters that affect the entire patch.  
L50 – L2,  
0,  
R2 – R50  
1 –  
3000  
Time  
HiDamp  
Pan  
0 – 100  
0 – 10  
TOTAL  
Specifies the patch specific tempo and the action of the function foot switches 1/2.  
PARM1 PARM2 PARM3  
Adjusts the treble attenuation Adjusts the panning (left/  
of the effect sound. right) position of the sound.  
Sets the delay time.  
See page  
38  
See page  
38  
Tempo  
Function1  
Function2  
40 – 250  
PingPongDly  
This is a ping-pong delay with a delay time of up to 3000 ms.  
See PingPongEcho (next effect) for effect parameters.  
Specifies the patch specific  
Selects the action of function Selects the action of function  
foot switch 1. foot switch 2.  
tempo (→ p. 39).  
PingPongEcho  
NAME  
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.  
Specifies a name for the patch (→ p. 27).  
PARM1  
PARM2  
FeedBack  
Adjusts the feedback amount.  
PARM3  
PARM4  
ARRM  
Makes settings for the ARRM function (→ p. 52). Use the [PAGE] key to switch between page 1 and 2.  
1 –  
3000  
Time  
HiDamp  
Mix  
0 – 100  
0 – 10  
0 – 100  
PAGE1  
PARM2  
PARM1  
PARM3  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the treble attenuation  
of the effect sound.  
Sets the delay time.  
MAX  
min (minimum  
See page  
52  
See page  
52  
ARRM control target  
Selects the ARRM control  
target. When "NOT Assign" is that is set when the control  
selected, the ARRM function waveform reaches its lowest  
is disabled.  
(maximum  
value)  
value)  
AutoPan  
Specifies the parameter value Specifies the parameter value  
This effect cyclically moves the panning position of the sound.  
that is set when the control  
waveform reaches its highest  
point.  
PARM1 PARM2  
PARM3  
Depth  
PARM4  
point.  
PAGE2  
L50 – L2,  
0,  
R2 – R50  
Width  
Rate  
Wave  
0 – 50  
0 – 10  
0 – 10  
PARM1  
PARM2  
See page  
53  
See page  
53  
Specifies control waveform  
synchronization using the  
patch specific tempo as  
reference.  
Selects a waveform for  
Wave  
Sync  
modulation. Higher setting  
Adjusts the range of sound  
position movement.  
Adjusts the modulation rate.  
Adjusts the modulation depth. values result in stronger  
clipping, which emphasizes  
Selects the control target  
waveform.  
the auto-panning effect.  
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.  
PARM1  
PARM2  
PARM3  
PARM4  
Expression pedal control  
target  
min (minimum value)  
MAX (maximum value)  
Module on/off function  
Specifies the parameter value Enables or disables the  
Specifies the parameter value  
that is set when the pedal is  
fully pushed down, or when  
pedal 2 is fully turned to the  
right.  
module on/off function. This  
parameter is not available for  
P2H1 to P2H4 (pedal 2,  
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.  
horizontal direction setting).  
ZOOM G9.2tt  
ZOOM G9.2tt  
74  
75  
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Troubleshooting  
Specifications  
Number of effect types  
Number of effect modules 10 simultaneously usable modules  
Patch memory  
106  
■ No sound or very low volume  
• Make sure that the POWER switch is on.  
• Try adjusting the LEVEL knob.  
• Set the [TUBE] control in the Accelerator  
section to a setting lower than 3 o'clock.  
User area : 5 patches x 20 banks = 100 (read/write enabled)  
Preset area : 5 patches x 20 banks = 100 (read only)  
Total: 200 patches  
The Accelerator operates also in the bypass  
condition.  
• 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.  
Sampling frequency  
A/D conversion  
D/A conversion  
Signal processing  
Frequency response  
96 kHz  
■ Noise is noticeable  
• Make sure that only a ZOOM AC adapter is  
used.  
24-bit, 64-times oversampling  
24-bit, 128-times oversampling  
32-bit  
• Make sure that the shielded cable is not  
defective.  
20 Hz - 40 kHz +1.0 dB, -3.0 dB (10 kilohm load)  
• Adjust the ZNR setting.  
• Try adjusting the patch level (→ p. 16).  
• Move around the room to check for RF noise  
in relation to the pick ups, etc.  
Display  
2-digit 7-segment LED display  
16-digit 2-line backlit LCD  
• Make sure that the G9.2tt is not in mute  
condition (→ p. 21).  
• Try lowering the Gain and Level parameters  
of the PRE-AMP module.  
Inputs  
Guitar input  
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  
• 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.  
• Check the settings of expression pedals 1/2  
(→ p. 33 – 35).  
AUX input  
Depending on the parameter assigned to  
expression pedals 1/2, a pedal action causing  
drastic parameter change may result in noise.  
• 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.  
External Return  
Rated input level: -10 dBm/+4 dBm (switchable)  
■ 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.  
Outputs  
Line output  
Standard monaural phone jack x 2  
Rated output level: -10 dBm/+4 dBm (switchable)  
Maximum output level: +19 dBm (into load impedance of 10 kilohms or  
more)  
Output impedance: 1 kilohm or less  
Standard stereo phone jack  
■ 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.  
Headphone output  
Rated output: 60 m W (into 32-ohm load), 20 m W (into 300-ohm load)  
Output impedance: 47 kilohm  
• Check the MIDI channel setting (→ p.43).  
• Try lowering the setting of the [TUBE]  
control in the Accelerator section.  
• Check whether send/receive of the respective  
type of MIDI message is enabled  
(→ p. 44, 47).  
External Send  
Tube circuitry  
Standard mono phone jack  
Rated output level: -10 dBm/+4 dBm (switchable)  
12AX7 x 2  
■ Foot switches do not operate properly  
• Check the setting of function foot switches  
1/2 (→ p. 38).  
Control connectors  
MIDI OUT, MIDI IN  
■ On/off switching with expression pedal  
does not work properly  
USB interface  
PC interface  
Sampling frequencies  
• 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).  
• Check the current operation mode. The foot  
switch action is different in play mode and  
manual mode.  
16-bit (record/play, stereo)  
32 kHz, 44.1 kHz, 48 kHz  
Power requirements  
Dimensions  
15 V AC, 1.5 A (from supplied AC adapter AD-0012)  
■ Sound in bypass condition is strange  
• Try lowering the setting of the [TUBE]  
control and [BOOST] control in the  
Energizer section.  
• The module on/off function is not available  
for pedal 2, horizontal direction setting  
(P2H1 to P2H4).(→ p. 34).  
235 (D) x 595 (W) x 85 (H) mm  
5.5kg  
Weight  
The Energizer operates also in the bypass  
condition.  
* 0 dBm = 0.775 Vrms  
* Design and specifications subject to change without notice.  
ZOOM G9.2tt  
ZOOM G9.2tt  
76  
77  
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Specifications  
Specifications  
■ G9.2tt patch/bank number + program number assignment table  
MIDI implementation chart  
PATCH No.  
1
2
Bank No.  
MSB LSB  
3
Bank No.  
MSB LSB  
4
Bank No.  
MSB LSB  
5
GROUP BANK  
Bank No.  
MSB LSB  
Bank No.  
Program  
No.  
MSB LSB  
Program  
No.  
Program  
No.  
Program  
No.  
Program  
No.  
[EFFECTOR  
Model G9.2tt  
]
MIDI Implementation Chart  
Date : 08.Oct.,2005  
Version :1.00  
0
1
2
3
4
5
6
7
8
9
0
1
2
3
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
6
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
7
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
3
8
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
4
9
+---------------------+--------------------+--------------------+---------------------+  
|
|
|
|
Transmitted  
|
|
Recognized  
|
|
Remarks  
|
|
Function ...  
10  
15  
20  
25  
30  
35  
40  
45  
50  
55  
60  
65  
70  
75  
80  
85  
90  
95  
0
11  
16  
21  
26  
31  
36  
41  
46  
51  
56  
61  
66  
71  
76  
81  
86  
91  
96  
1
12  
17  
22  
27  
32  
37  
42  
47  
52  
57  
62  
67  
72  
77  
82  
87  
92  
97  
2
13  
18  
23  
28  
33  
38  
43  
48  
53  
58  
63  
68  
73  
78  
83  
88  
93  
98  
3
14  
19  
24  
29  
34  
39  
44  
49  
54  
59  
64  
69  
74  
79  
84  
89  
94  
99  
4
+---------------------+--------------------+--------------------+---------------------+  
|Basic Default  
|Channel Changed  
| 1-16,OFF  
| 1-16,OFF  
| 1-16,OFF  
| 1-16,OFF  
|
|
|
|
U
+---------------------+--------------------+--------------------+---------------------+  
|
Default  
Messages  
Altered  
| 3  
| x  
| 3  
| x  
|
|
|
|
|
|
|Mode  
|
| ****************** |  
+---------------------+--------------------+--------------------+---------------------+  
|Note  
|Number | True voice | ****************** |  
+---------------------|--------------------|--------------------|---------------------|  
|Velocity Note ON  
Note OFF  
| x  
| x  
|
|
|
|
| x  
| x  
| x  
| x  
|
|
|
|
|
+---------------------+--------------------+--------------------+---------------------+  
|After  
|Touch  
Key's  
Ch's  
| x  
| x  
| x  
| x  
|
|
|
|
4
5
+---------------------+--------------------+--------------------+---------------------+  
|Pitch Bend | x | x  
+---------------------+--------------------+--------------------+---------------------+  
u
|
|
6
7
8
9
0
1
2
3
|
| o  
| 0,32  
| 1-5,7-31,64-95  
| o  
| 0,32  
| 1-5,7-31,64-95  
|
|Bank select  
|
|
|
|Control  
|Expression Pedal 1, |  
|Expression Pedal 2  
|
|
| 64-95  
|
| 64-95  
|
|
|Change  
|Effect module on/off,|  
|Signal mute,Bypass, |  
|
|
|
|
|
|
|
|
|
|
5
6
7
8
9
|
|
|
|
|Channel A/B  
| (See Note 1)  
|
|
|
|
10  
15  
20  
25  
30  
35  
40  
45  
50  
55  
60  
65  
70  
75  
80  
85  
90  
95  
11  
16  
21  
26  
31  
36  
41  
46  
51  
56  
61  
66  
71  
76  
81  
86  
91  
96  
12  
17  
22  
27  
32  
37  
42  
47  
52  
57  
62  
67  
72  
77  
82  
87  
92  
97  
13  
18  
23  
28  
33  
38  
43  
48  
53  
58  
63  
68  
73  
78  
83  
88  
93  
98  
14  
19  
24  
29  
34  
39  
44  
49  
54  
59  
64  
69  
74  
79  
84  
89  
94  
99  
|
|
4
5
+---------------------+--------------------+--------------------+---------------------+  
|Prog  
|Change | True #  
+---------------------+--------------------+--------------------+---------------------+  
|System Exclusive | o | o  
+---------------------+--------------------+--------------------+---------------------+  
|System | Song Pos  
| Song Sel  
|Common | Tune  
A
| o 0-99 | o 0-127  
| ****************** |  
|
|
|
|
6
7
8
9
0
1
2
3
4
5
6
7
8
9
|
|
| x  
| x  
| x  
| x  
| x  
| x  
|
|
|
|
|
|
|
+---------------------+--------------------+--------------------+---------------------+  
|System | Clock  
|Real Time | Commands | x  
| x  
| x  
| x  
|
|
|
|
+---------------------+--------------------+--------------------+---------------------+  
|Aux  
|
| Local ON/OFF | x  
| All Notes OFF| x  
| x  
| x  
| x  
| x  
|
|
|
|
|
|
|
|
b
|Mes- | Active Sense | x  
|sages | Reset | x  
+---------------------+--------------------+--------------------+---------------------+  
|Notes  
| 1. Control # 1-5,7-31,64-95 is assignable.  
| 2. Transmit Control # and Recognized Control #  
|
|
|
|
|
|
|
|
|
that used in some function are same.  
+---------------------+--------------------+--------------------+---------------------+  
Mode 1 : OMNI ON, POLY  
Mode 3 : OMNI OFF, POLY  
Mode 2 : OMNI ON, MONO  
Mode 4 : OMNI OFF, MONO  
o : Yes  
x : No  
ZOOM G9.2tt  
ZOOM G9.2tt  
78  
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The FCC regulation warning (for U.S.A.)  
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to  
Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful  
interference in a residential installation. This equipment generates, uses, and can radiate radio frequency  
energy and, if not installed and used in accordance with the instructions, may cause harmful interference to  
radio communications. However, there is no guarantee that interference will not occur in a particular  
installation. If this equipment does cause harmful interference to radio or television reception, which can be  
determined by turning the equipment off and on, the user is encouraged to try to correct the interference by  
one or more of the following measures:  
• Reorient or relocate the receiving antenna.  
• Increase the separation between the equipment and receiver.  
• Connect the equipment into an outlet on a circuit different from that to which the receiver  
is connected.  
• Consult the dealer or an experienced radio/TV technician for help.  
ZOOM CORPORATION  
ITOHPIA Iwamotocho 2chome Bldg. 2F, 2-11-2, Iwamoto-cho,  
Chiyoda-ku, Tokyo 101-0032, Japan  
Web Site: http://www.zoom.co.jp  
G9.2tt - 5000-2  
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Operating Dedicated Effects With the Z-Pedal  
MOD/EFX2 module  
Z-Echo  
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.  
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.  
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  
affected.)  
PARM1  
PARM2  
PARM3  
PARM4  
HiDamp  
Time  
FeedBack  
Mix  
10 ñ 1000  
0 ñ 100  
0 ñ 10  
0 ñ 100  
WAH/EFX1 module  
X-Wah  
Adjusts the amount of feedback. Adjusts the amount of treble  
Higher setting values result in a damping in the delay sound.  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the delay time.  
higher number of delay sound  
repetitions.  
Lower setting values result in  
softer delay sound.  
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.  
X-Flanger  
PARM1  
PARM2  
PARM3  
PARM4  
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.  
Position  
Level  
Frequency  
X-Fade  
Befr, Aftr  
1 ñ 50  
0 ñ 100  
2 ñ 100  
Selects the connection position  
of the WAH/EFX1 module.  
Available settings are "Befr"  
(before pre-amp section) or  
"Aftr" (after pre-amp section).  
PARM1  
PARM2  
PARM3  
PARM4  
Adjust the level balance  
between original sound and  
effect sound.  
Adjusts the frequency that is  
emphasized.  
Adjusts the signal level after  
passing the module.  
Depth  
Manual  
Rate  
X-Fade  
0 ñ 100  
0 ñ 100  
0 ñ 100  
0 ñ 50  
Adjust the level balance  
between original sound and  
effect sound.  
Adjusts the frequency range in  
which the effect operates.  
Adjusts the modulation depth. Adjusts the modulation rate.  
X-Phaser  
This effect allows cross-fading of original sound and effect sound (Phaser), 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.  
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 (P2V1 - P2V4) to the "Rate" parameter and the horizontal direction (P2H1 - P2H4) to the "X-  
Fade" parameter.  
PARM1  
PARM2  
PARM3  
PARM4  
PARM1  
PARM2  
PARM3  
PARM4  
Bef1 ñ 4,  
Aft1 ñ 4  
Color  
Level  
Rate  
X-Fade  
0 ñ 100  
2 ñ 100  
0 ñ 50  
Depth  
Shape  
Rate  
X-Fade  
0 ñ 100  
0 ñ 100  
0 ñ 10  
0 ñ 50  
Selects the connection position  
Adjust the level balance  
between original sound and  
effect sound.  
and the sound type. With  
Adjusts the envelope of the  
effect sound.  
Adjusts the modulation depth. Adjusts the modulation rate.  
settings "Bef1" to "Bef4", the  
Adjusts the level balance  
between original sound and  
effect sound.  
Adjusts the signal level after  
passing the module.  
position is before the PRE-AMP Adjusts the modulation rate.  
module, and with settings  
Z-Step  
"Aft1" to "Aft4" after the PRE-  
AMP module.  
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.  
X-Vibe  
This effect allows cross-fading of phaser and tremolo action, using the pedal. Try assigning the vertical direction of the  
Z-pedal (P2V1 - P2V4) to the "Rate" parameter and the horizontal direction to (P2H1 - P2H4) the "X-Fade" parameter.  
PARM1  
PHA Rate  
PARM2  
TRM Rate  
PARM3  
X-Fade  
PARM4  
PARM1  
PARM2  
PARM3  
PARM4  
Level  
Depth  
Shape  
Frequency  
Mix  
0 ñ 100  
2 ñ 100  
1 ñ 50  
0 ñ 100  
0 ñ 10  
0 ñ 100  
0 ñ 50  
0 ñ 50  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the phaser modulation Adjusts the tremolo  
Adjusts the level balance  
Adjusts the signal level after  
passing the module.  
Adjusts the emphasized  
frequency.  
Adjusts the envelope of the  
effect sound.  
Adjusts the modulation depth.  
rate.  
modulation rate.  
between phaser and tremolo.  
Z-Oscillator  
Z-Pitch  
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.  
This is a pitch shifter that allows setting a different pitch shift amount in the vertical and the horizontal direction of the  
Z-pedal.  
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 0 - 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.  
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.  
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 amount in the  
PARM1  
PARM2  
PARM3  
Vibrato  
Adjusts the vibrato depth.  
PARM4  
Balance  
0 ñ 100  
vertical and the horizontal direction of the Z-pedal.  
0 ñ 60,  
A-Bf, A-Af  
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.  
Frequency  
Portament  
0 ñ 10  
0 ñ 10  
PARM1  
PARM2  
PARM3  
PdlPosi V  
Adjusts the pitch shift amount Adjusts the pitch shift amount  
PARM4  
Adjust the level balance  
between original sound and  
effect sound.  
Selects the oscillator frequency Adjusts the smoothness of the  
Color  
Tone  
(see Table 1).  
pitch change.  
PdlPosi H  
1 ñ 8  
0 ñ 10  
0 ñ 100  
0 ñ 100  
Selects the pitch change type  
caused by the pedal (see Table Adjusts the tone.  
2).  
(vertical direction of pedal). (horizontal direction of pedal).  
Frequency parameter  
Note  
Frequency parameter  
Note  
A5 – Ab6  
A6 – Ab7  
A7  
[Table 1]  
0 ñ 11  
12 ñ 23  
24 ñ 35  
A2 – Ab3 36 ñ 47  
A3 – Ab4 48 ñ 59  
A4 – Ab5 60  
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2
[Table 2] The table below shows an example for Z-pedal operation when vertical direction is assigned to "PdlPosi V"  
Adjusting the Expression Pedal Torque  
and horizontal direction to "PdlPosi H".  
Horizontal  
direction  
Horizontal  
direction  
Vertical  
direction  
Vertical  
direction  
Color  
Color  
min  
max  
min  
max  
Adjus ting horiz onta l torque for e xpre s s ion pe da l 2  
max  
min  
max  
min  
max  
min  
max  
min  
1000 cent  
+1 octave  
max  
min  
max  
min  
max  
min  
max  
min  
700 cent  
+1 octave  
1
2
3
4
5
6
7
8
-200 cent  
+1 octave  
0 cent  
300 cent  
0 cent  
0 cent  
1500 cent  
300 cent  
+1 octave  
0 cent  
0 cent  
+1 octave  
0 cent  
+1 octave  
0 cent  
0 cent  
+2 octave  
0 cent  
Fully raise the expression pedal 2  
1
Pedal adjustment fitting is visible  
(0 Hz)  
0 cent  
-
at the right side of the unit.  
on rear of expression pedal 2.  
500 cent  
0 cent  
+1 octave  
0 cent  
500 cent  
-700 cent  
-1 octave  
+1 octave  
Z-Talking  
This effect changes the guitar sound into a talking sound. When using the Z-pedal, vowels can be changed in 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.  
Tighten  
Insert a 3mm size hex wrench into the fitting  
on the outside of the panel. To increase  
pedal firmness, turn the wrench clockwise.  
To decrease pedal firmness, turn the wrench  
counterclockwise.  
2
PARM1  
PARM2  
PARM3  
PARM4  
Formant H  
0 ñ 100  
Variation  
Tone  
Formant V  
1 ñ 5  
0 ñ 10  
0 ñ 100  
Adjusts the formant [peaks in Adjusts the formant [peaks in  
Selects the sound variation  
the acoustic frequency  
the acoustic frequency  
type caused by the pedal (see Adjusts the tone.  
Table 3).  
spectrum that characterize  
spectrum that characterize  
vowels] (vertical direction of vowels] (horizontal direction  
Loosen  
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".  
Horizontal  
direction  
Horizontal  
direction  
Adjus ting ve rtic a l torque for e xpre s s ion pe da l 1 /2  
Vertical  
direction  
Vertical  
direction  
Variation  
Variation  
min  
max  
min  
max  
max  
min  
max  
min  
max  
min  
i
u
e
e
o
o
a
max  
min  
max  
min  
o
e
a
o
a
i
i
1
2
3
4
5
Turn power to the G9.2tt off,  
1
a
u
i
e
u
3 mm size hex wrench  
40 mm or longer  
disconnect the AC adapter  
from the unit, and turn the  
unit upside down.  
u
G9.2tt bottom view  
REVERB module  
Z-Delay  
This is a delay effect which allows adjustment of panning and mix level using the pedal.  
Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Mix" parameter and the horizontal direction  
(P2H1 - P2H4) to the "Pan" parameter.  
PARM1  
PARM2  
PARM3  
PARM4  
Tighten  
1 ñ  
3000  
Time  
FeedBack  
Pan  
Mix  
0 ñ 100  
Adjusts the amount of feedback.  
L50 ñ R50  
0 ñ 100  
Adjusts the level of the effect  
sound mixed to the original  
sound.  
Adjusts the delay sound left/  
right panning.  
Insert a 3 mm size hex wrench into the hole on  
the underside of the left or right expression  
pedal. To increase pedal firmness, turn the  
wrench clockwise. To decrease pedal firmness,  
turn the wrench counterclockwise.  
Adjusts the delay time.  
2
Loosen  
Z-Dimension  
This is a spatial effect which allows adjustment of depth, panning, and reverberation using the pedal.  
Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Depth" parameter and the horizontal direction  
(P2H1 - P2H4) to the "Pan" parameter.  
PARM1  
PARM2  
PARM3  
PARM4  
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.  
If you loosen the pedal too much, the internal screw may come off, and you will no longer be  
able to tighten the pedal. Perform this operation with care.  
If the screw should have come off inside the unit, contact your dealer or an authorized Zoom  
service station.  
Never try to open the cabinet of the G9.2tt yourself, and never turn power to the G9.2tt on if  
the screw is unsecured inside the unit. Otherwise the electronic circuitry may be seriously  
damaged.  
Decay  
Mix  
Pan  
Depth  
L50 ñ R50  
0 ñ 100  
1 ñ 30  
0 ñ 100  
Adjusts the left/right panning Adjusts the sound position  
Adjusts the mixing level of the  
reverb sound.  
Wa r ning  
Adjusts the reverb duration.  
of the sound.  
depth.  
Z-Tornado  
This is a delay effect which causes the effect sound to swirl like a tornado.  
Try assigning the vertical direction of the Z-pedal (P2V1 - P2V4) to the "Rate" parameter and the horizontal direction  
(P2H1 - P2H4) to the "Width" parameter.  
PARM1  
PARM2  
PARM3  
PARM4  
1 ñ  
3000  
Time  
Rate  
Width  
Mix  
L50 ñ R50  
0 ñ 100  
1 ñ 50  
© ZOOM Corporation  
G9.2tt-Pedal Adjust-E-1  
Adjusts the sound movement Adjusts the mixing level of the  
Adjusts the delay time.  
Adjusts the modulation rate.  
range. delay sound.  
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Reference for drive effect types and its original models.  
G9.2tt Modeling Description  
VX Clean  
VX Crunch  
FD Clean  
US Blues  
TweedBass  
Fender Twin Reverb '65  
Fender Tweed Deluxe '53  
Fender BASSMAN  
VOX AC30TBX  
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 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.  
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 characteristic 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.  
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&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 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.  
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.  
MS Drive  
MS #1959  
UK Blues  
MS Crunch  
Marshall 1959 SuperLead100  
Marshall 1962 Bluesbreaker  
Marshall JCM800  
Marshall JCM2000  
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 everybody 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.  
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.  
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&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&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 “1960A” cabinet that has  
four 12” loudspeakers and works very well with the “2203”.  
“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.  
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 perfectly captured by the simulation.  
Rect Cln  
Rect Vnt  
BG Crunch  
JC Clean  
HW Clean  
Rect Mdn  
Roland JAZZ CHORUS  
HIWATT Custom 100  
MESA/BOOGIE Mark III  
MESA/BOOGIE Dual Rectifier  
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 a 4-band  
equalizer to give wider variety to the guitar tone. The special feature of this model was an  
accomplished simul- power circuitry (the operation could be switched between class A and  
class 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 II, 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.”  
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.  
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  
another 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.  
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, much favored by Pete  
Townshend of The Who and Pink Floyd's David Gilmour.  
HK Clean  
DZ Clean  
HK Crunch  
DZ Crunch  
ENGL Drv  
PV Drive  
HK Drive  
DZ Drive  
ENGL E650 Ritchie Blackmore Signature 100  
PEAVEY 5150 STACK  
Hughes & Kettner TriAmp MK2  
Diezel Herbert  
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 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.  
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”!  
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 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.  
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.  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Reference for drive effect types and its original models.  
G9.2tt Modeling Description  
OverDrive  
TS808  
Centaur  
Guv'nor  
Ibanez TS808  
KLON CENTAUR  
BOSS OD-1  
Marshall Guv'nor  
The “OD-1” released by BOSS in 1977 was originally developed for the simulation of the  
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.  
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  
a slight peak in the midrange results in a softer tone.  
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.  
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.  
This pedal is also famous for being used by blues guitar legend Stevie Ray Vaughan who  
tragically perished in a helicopter crash.  
RAT  
DS-1  
dist+  
HotBox  
PROCO RAT  
MXR Distortion+  
BOSS DS-1  
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 mirror and the “MATCHLESS” logo lights up when you  
turn it on. This “Hot Box” is literally a magic box: you can get the signature sound of the  
“MATCHLESS” amps regardless of the guitar amplifier you connect it to.  
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).  
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 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 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.  
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.  
FuzzFace  
BigMuff  
MetalZone  
TS+F_Cmb  
Electro-Harmonix BIG MUFF  
Fender Combo + TS9  
Dallas-Arbiter FUZZ FACE  
BOSS MT-2  
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 on 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.  
“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.  
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.  
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!  
SD+M_Stk  
FZ+M_Stk  
Z Combo  
Z Stack  
Marshall Stack + SD-1  
Marshall Stack + FUZZ FACE  
Z Combo  
Z Stack  
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 various 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, using the Boss SD-1 as overdrive pedal.  
At the Monterey Pop Festival in 1967, a guitar was smashed and burnt on stage, helped  
along by Zippo lighter fluid. Just before 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.  
The Bluesbreaker or Bassman 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 with a 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.  
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 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.  
Z OD  
ExtremeDS  
DigiFuzz  
Z Clean  
Z OD  
Extreme Distortion  
Digital Fuzz  
Z Clean  
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.  
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?).  
This is a clean sound that makes the drive module virtually 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.  
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 level 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.  
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.  
Download from Www.Somanuals.com. All Manuals Search And Download.  
USB/Cubase LE Startup Guide  
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.  
Cubase LE Installation  
Connections and Preparations  
Recording with Cubase LE  
Cubase LE Installation  
Connections and Preparations  
Recording with Cubase LE  
Cubase LE Installation  
Connections and Preparations  
Recording with Cubase LE  
Windows XP  
MacOS X  
To connect this unit to a computer running Windows XP and to  
enable audio input/output, proceed as follows.  
To connect this unit to a computer running MacOS X and enable  
audio input/output, proceed as follows.  
Start Cubase LE.  
A window asking whether to check the audio input/output port  
appears. Click OK to perform the check.  
Insert the CD-ROM supplied with this product into the  
CD-ROM drive of the Macintosh computer.  
Install Cubase LE on the computer.  
After Cubase LE has started up, access the "Devices"  
menu, select "Device Setup..." and click "VST  
Multitrack" in the list of devices.  
The "Cubase LE" icon appears on the desktop.  
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.  
Double-click the icon to open it, and use the "Cubase  
LE Installer" to install Cubase LE.  
Connect this unit to the computer using a USB cable.  
AC adapter  
Guitar or other instrument  
Computer  
If another device is selected, use the pull-down menu to change the  
selection to "USB Audio CODEC".  
[INPUT] jack  
When the setting has been made, close Audio MIDI Setup.  
or  
This unit  
USB cable  
Start Cubase LE.  
[OUTPUT] jack  
Audio system or  
Check whether "ASIO Multimedia Driver" is selected as ASIO driver  
in the right part of the device setup window.  
other hi-fi playback  
Batteries  
equipment  
HINT  
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.  
The Cubase LE program is installed in the "Applications" folder.  
Connect this unit to the computer using a USB cable.  
NOTE  
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.  
• If 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.  
• 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.  
AC adapter  
Guitar or other instrument  
Macintosh  
[INPUT] jack  
or  
This unit  
USB cable  
[OUTPUT] jack  
Audio system or  
other hi-fi playback  
Batteries  
equipment  
HINT  
No special steps are necessary for canceling the USB connection.  
Simply disconnect the USB cable from the computer.  
NOTE  
• If 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.  
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.  
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.  
• 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.  
If another item is selected, use the pull-down menu to change  
HINT  
the selection.  
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  
default device for audio playback and recording.  
• 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.  
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.  
• 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.  
HINT  
No special steps are necessary for canceling the USB connection.  
Simply disconnect the USB cable from the computer.  
Access the "Devices" menu and select "VST Inputs".  
The VST inputs window appears. Check whether the  
input port is active.  
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.  
Active button  
Active button  
If the Active button is Off (grayed out), click the button to set it to On.  
If the Active button is Off (grayed out), click the button to set it to On.  
Continued overleaf  
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.  
HINT  
When multiple input ports are available for selection, you should scroll  
or enlarge the window and check the enable/disable settings for all  
ports.  
Continued overleaf  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Continued from front  
Cubase LE Installation  
Connections and Preparations  
Recording with Cubase LE  
Windows XP  
MacOS X  
To start recording, click the Record button in the  
transport panel.  
Access the "File" menu and select "New Project".  
Make the following settings for the new audio track.  
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).  
2.  
The new project window appears. Here you can select a project  
template.  
Drag the audio track boundary to the right  
to display all buttons.  
1.  
Record button  
Mixer window  
To adjust the playback level after  
recording, click this button to bring  
up the master channel of the mixer.  
1.  
Verify that the Monitoring On button is  
2.  
Off (grayed out). If the button is On,  
click the button to turn it Off.  
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.  
Check the recorded content.  
Click here to set the  
4.  
To play the recording, perform the following steps.  
audio output port of  
the master channel  
to "USB Audio  
CODEC".  
Click the Stereo/Mono button to set the audio track to  
Stereo. When the button is not grayed out and has changed  
from [ ] to [ ], the track is active as a stereo track.  
3.  
Make sure that the "Empty" template is selected, and  
click the OK button.  
A window for selecting the project file save location appears.  
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.  
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.  
Move the fader  
of the master  
channel (as  
1.  
Channel assigned to audio track  
Master channel  
Raise the fader of  
the master channel  
to obtain a suitable  
volume.  
4.  
You can perform the following steps here.  
displayed in step  
15) fully down.  
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.)  
3.  
Verify that the Active button for USB Audio CODEC  
2.  
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.  
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.  
Go to beginning of project  
Play button  
While playing your instrument, adjust the output level  
of this unit to achieve a suitable recording level for  
Cubase LE.  
Click the Play button in  
the transport panel to  
start playback.  
3.  
Use the controls on the  
transport panel to move to  
the beginning of the project.  
2.  
Project window  
VST input window  
To create a new audio track, access the "Project"  
menu and select "Add track". In the submenu that  
appears, select "Audio".  
When there are multiple input ports,  
drag here to enlarge the window.  
1.  
Level meter  
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.  
A new audio track is added to the project window.  
When the audio track 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.  
Connect the guitar or other instrument to the [INPUT]  
jack of this unit and select the desired patch.  
The sound selected here will be recorded on the computer via the  
[USB] port.  
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.  
NOTE  
Access the "Devices" menu and select "Mixer".  
• 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.  
The mixer window appears.  
This window shows the channels assigned to created tracks.  
(1) Shut down other applications besides Cubase LE.  
You can perform the following steps here.  
In particular, check for resident software and utilities.  
• 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.  
(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.  
HINT  
You can add several tracks at once by accessing the "Project" menu,  
selecting "Add track" and then selecting "Multiple..." in the submenu.  
(3) Power the unit from an AC adapter  
Verify that the transport panel is shown.  
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. Then reconnect the USB cable and start Cubase LE  
again.  
Transport panel  
If the transport panel is not shown, access the "Transport" menu and  
select "Transport Panel".  
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USB/Cubase LE 4 Startup Guide  
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.  
Cubase LE 4 installation  
Connections and preparation  
Use Cubase LE 4 to record  
Cubase LE 4 installation  
Connections and preparation  
Use Cubase LE 4 to record  
Windows Vista / XP  
Cubase LE 4 installation  
Connections and preparation  
Use Cubase LE 4 to record  
MacOS X  
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.  
To connect this unit to a computer running MacOS X and enable  
audio input/output, proceed as follows.  
Bring up the "Sound" window from the Control Panel  
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".  
Insert the supplied "Cubase LE 4" DVD-ROM into the  
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  
4" icon shown on the desktop.  
Download the latest ASIO driver from the web site of  
ZOOM Corporation (http://www.zoom.co.jp) and install  
the driver.  
The ASIO driver software is required to enable use of Cubase LE 4 for  
audio input and output with a computer. Refer to the read_me file  
included in the download package for instructions on how to install  
the driver correctly.  
Install Cubase LE 4 on the Macintosh.  
When the contents of the DVD-ROM appear, open the "Cubase LE 4  
for MacOS X" folder by double-clicking it, and then double-click the  
"Cubase LE 4.mpkg" file to start the installation process.  
Insert the supplied "Cubase LE 4" DVD-ROM into the  
DVD drive of the computer, and perform the  
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 for Windows" folder by double-clicking on it, and then double-  
click the executable "Setup" ("Setup.exe") file to start the installation  
process.  
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.  
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.  
Start Cubase LE 4. Then access the "Devices" menu,  
select "Device Setup..." and click "VST Audio  
System".  
Start Cubase LE 4. Then access the "Devices" menu,  
select "Device Setup..." and click "VST Audio  
System".  
To start Cubase LE 4, double-click on the Cubase LE 4 icon that was  
placed in the "Applications" folder during installation.  
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.  
Connect this unit to the computer using a USB cable.  
To start Cubase LE 4, double-click the Cubase LE 4 shortcut icon that  
was created on the desktop. After startup, select "ZOOM ASIO  
Driver" as the ASIO driver in the right section of the Device Setup  
window. When you change the ASIO driver selection, a confirmation  
message appears. Click the "Switch" button.  
AC adapter  
or  
Guitar or other instrument  
HINT  
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.  
Macintosh  
[INPUT] jack  
ASIO driver  
USB cable  
This unit  
[OUTPUT] jack  
Audio system or other  
hi-fi playback equipment  
NOTE  
Batteries  
When the installation of Cubase LE 4 is complete, a screen asking  
about installation of activation (software license authentication)  
management software appears. Install this software, because it is  
required for registering Cubase LE 4.  
NOTE  
The device indication in the left section of the window now shows  
"ZOOM ASIO Driver" as the ASIO driver.  
• If 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.  
• 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.  
Click on this indication to select it, and then click the "Control Panel"  
button in the right section of the Device Setup window.  
Connect this unit to the computer using a USB cable.  
Then click here  
Guitar or other instrument  
AC adapter  
or  
Computer  
Click here...  
[INPUT] jack  
USB cable  
This unit  
[OUTPUT] jack  
Audio system or other  
hi-fi playback equipment  
HINT  
Batteries  
No special steps are necessary for canceling the USB connection.  
Simply disconnect the USB cable from the computer.  
NOTE  
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  
recording and playback.  
• If 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.  
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.  
If another item is selected, use the pull-down menu to change the  
selection to "USB Audio CODEC (2)".  
When the setting has been made, click the OK button to close the  
window.  
• 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.  
Continued overleaf  
HINT  
When the setting is complete, click the OK buttons in the respective  
windows to return to the startup condition of Cubase LE 4.  
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.  
Continued overleaf  
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Continued from front  
MacOS X  
Cubase LE 4 installation  
Connections and preparation  
Use Cubase LE 4 to record  
Windows Vista / XP  
From the "Devices" menu of Cubase LE 4, select "VST  
HINT  
Check the recorded content.  
Connections" and select the device containing the  
string "Zm In (Out)" ( "USB Audio CODEC" for MacOS  
X) as input port and output port.  
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.  
To play the recording, perform the following steps.  
New audio track  
While playing your instrument, adjust the output level  
of this unit to achieve a suitable recording level for  
Cubase LE 4.  
Make the following settings for the newly created  
audio track.  
Move the fader of  
1.  
Raise the fader of the  
master channel to obtain  
a suitable volume.  
4.  
the master channel  
(as displayed in  
step 13) fully  
down.  
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.  
If the Inspector is not shown, click here to  
toggle the Inspector show/hide setting.  
Level meter  
Access the "File" menu and select "New Project".  
The new project window appears. Here you can select a project  
template.  
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.  
Inspector (area for making detailed  
track settings)  
Play button  
Make sure that the "Empty" template is selected, and  
click the OK button.  
A window for selecting the project file save location appears.  
Go to beginning of project  
Use the button in the  
transport panel to move  
to the beginning of the  
project.  
2.  
Click the Play button in the  
transport panel to start  
playback.  
3.  
To adjust the level, do not use the fader of Cubase LE 4. Instead  
change the recording level and gain settings at this unit.  
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.  
Select the input/output path 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.  
NOTE  
• 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".  
HINT  
If no sound is heard when you click the Play button after recording,  
check the VST connection settings (step 6) once more.  
NOTE  
• 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.  
HINT  
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.  
The Inspector shows information about the currently selected track. If  
nothing is shown, click on the track to select it.  
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.  
Connect the guitar or other instrument to the [INPUT]  
jack of this unit and select the desired patch.  
The sound selected here will be recorded on the computer via the  
[USB] port.  
For optimum enjoyment  
Access the "Devices" menu of Cubase LE 4 and  
select "Mixer".  
The mixer window appears.  
This window shows the channel assigned to the created track, and the  
master channel.  
While using Cubase LE 4, other applications may slow down  
drastically 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.  
Verify that the transport panel is being shown.  
(1) Shut down other applications besides Cubase LE 4.  
Project window  
Perform the following steps here.  
In particular, check for resident software and other utilities.  
To create a new audio track, access the "Project"  
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.  
Mixer window  
If the transport panel is not shown, access the "Transport" menu and  
select "Transport Panel".  
(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.  
To start recording, click the Record button in the  
transport panel.  
(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.  
Click monitoring button so  
that it lights up in orange.  
Record button  
Stop button  
Recording starts.  
Click recording standby  
button so that it lights up in  
red, to activate recording  
standby condition.  
Select number of tracks  
Select stereo/mono setting  
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.  
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.  
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.  
Master channel  
Channel assigned to audio track  
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