Istruzioni per l'uso ZOOM G2

[. . . ] Manuale operativo © ZOOM Corporation E' vietata la riproduzione di questo manuale, sia pure parziale, con ogni mezzo effettuata. PRECAUZIONI D'USO E SICUREZZA Precauzioni per la sicurezza In questo manuale vengono usati dei simboli per evidenziare avvertenze e pericoli che è necessario leggere in modo da prevenire incidenti. I significati dei simboli sono i seguenti: Questo simbolo indica spiegazioni su questioni estremamente pericolose. Se gli utenti ignorano questo simbolo e adoperano l'apparecchio in modo errato, possono derivarne danni seri, anche mortali. Questo simbolo indica spiegazioni su questioni pericolose. [. . . ] With "PRESENCE" you can adjust the high frequency range that affects the projection of the sound and with "HARMONICS" you can tweak the overtone contained in the clipped sound. The overdriven sound of tube amplifiers is rich in overtone and this EXTRA EQ module is indispensable for the simulation of this aspect of the sound. With this effect, you can utilize up to eight independent delay lines whose delay times can be set separately to make rhythmical patterns. We also provided eight practical settings ranging from the constant rhythmic pattern to the random one. Try pattern 2 for example: the played notes are fed back like rhythmical patterns that will inspire you to come up with various phrases one after another. You could apply this effect to your solo performances as something different from the sound-on-sound effect. This effect is programmed as a stereo ping-pong delay and thus we strongly recommend you to try it using headphones. maximum. B2 d2 BG CRU N CH Early Reflection O RAN G E CRU SH B3 AC CLEAN d3 G U V' O R N B4 BI W ALL G d4 CLASS A CLEAN EXTRA EQ B5 Vi oCr br unch d5 BG D RI VE B6 1984 d6 VI BRATO B7 d7 M S D RI VE The SPY who l oved m e (orSpagettiW ester n) B8 H EAD LO N G d8 FEN D ER CLEAN Multi Tap Delay This is the so-called ducking effect: the mix balance of the dry signal and the effect signal of a delay or a flanger is controlled by the envelope of the original signal of the guitar. In the Dynamic Delay section, you can set the "SENSE" parameter to the minus value to get the ducking delay effect: the feedback component in the delayed signal is not put out while there is an input signal and the feedback component arises as soon as the input signal is muted. This effect is very handy when, for example, you play fast phrases on the guitar and the feedback component gets in the way. On the other hand, you can set the "SENSE" parameter to the plus value and you will have the feedback component while you are playing the guitar and you can cut off the feedback as soon as you mute the guitar, which should be very handy in the break of a song where you want to mute all of the sound. The same thing goes with the "Dynamic Flanger": you can set the "SENSE" parameter to the minus value and you will get no flanging effect while the input signal is high and you will get flanging effect when you lower the signal level of the input. You can get a unique effect like a long note that is completely dry at the beginning and then the flanging effect is gradually added as the signal level of the note decreases. On the other hand, you can have the flanging effect only when you play loud if you set the "SENSE" parameter to the plus value. This effect works great when you want to embellish the accents in your arpeggios and riffs or to add a hidden flavor to your lead guitar sound. Dynamic Delay/Dynamic Flanger B9 d9 STEP Note 1 : The default patches stored in the pre-set area from the bank No. 3 are the same as those stored in the banks from A to d. Note 2 : We recommend you to adjust the parameter for the noise reduction according to your guitars and amps. Suc h as produc t nam es and c om pany nam es are all (reg is t ered) brand nam es or t rade m arks of eac h res pec t ive holders , and Z oom Corporat ion is not as s oc iat ed or affiliat ed wit h t hem . All produc t nam es , explanat ion and im ag es are us ed for only purpos e of ident ifying t he s pec ific produc t s t hat were referenc ed during produc t developm ent . 10 BASS 10 10 10 9 10 10 A4 C4 8. 5 32 5 5 4. 5 5 5 21 654 10 9 M odelng D escr pt on i ii MESA/BOOGIE Mark III ·c Ref ence f drve ef ect t er or i f ypes and is orgi m odel t i nal s. E FFE CT TY PE : BC CRUNCH bC bC Fender Tweed Deluxe '53 E FFE CT TY PE : US BLUE S bL bL Marshall JCM800 E FFE CT TY PE : MS CRUNCH MC MC Marshall Guv'nor E F F E C T T Y P E : G U V 'N O R GV GV 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. [. . . ] In this G series, the program is modeled after the sound using the Hi input of the normal channel that will give you that clean guitar sound of the Beatles and the Shadows, which are the best examples of the distortion-free sound of the class-A operated amplifiers. "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. [. . . ]