Showing posts with label boss. Show all posts
Showing posts with label boss. Show all posts

Digitech Jam Man Delay Looper Bundle w/FS3X Footswitch Review

Digitech Jam Man Delay Looper Bundle w/FS3X Footswitch
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What can I say The Digitech Jam Man Delay Looper Bundle w/FS3X Footswitch,was a great purchase for me, this pedal is simply awesome,and the deal I got through Amazon is beyound belief,product arrived within 2 days of placing the order,and I haven't had any regrets.This Digitech JamMan ROCKS MY WORLD.Thank You

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Boss ME-50B Bass Multiple Effects with COSM Review

Boss ME-50B Bass Multiple Effects with COSM
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I've used this for about 6 years now. the COSM Compressor/Limiter works amazingly well. Also there is a noise supressor, which works very well. All the effects sound great, and you can highly customize and save them. This unit is great for gigs. The base unit is very solid, the expression pedal is very solid also. Nothing about this unit feels cheap, it is heavy! It also has grips on the bottom to keep it from sliding around.
My only con is that "Octave Up" and "Octave Down" effect have a noticable delay, a few milliseconds max, but you can hear it if you are playing. Not sure if a listener would notice.

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Boss Dr. Rhythm DR-880 Rhythm Machine Review

Boss Dr. Rhythm DR-880 Rhythm Machine
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Okay, so there's a bit of a learning curve with this drum machine. You have to go into it knowing that. Also, you'd be an absolute fool to not also invest in the DVD manual. The DVD walks you through every single nuance of the DR-880 and you can easily index any portion of the DVD to learn the specific skill you need to learn for what you're trying to accomplish.
That being said, this thing is untouchable! There is no reason why anyone can't achieve the precise sound they're looking for with this drum machine. You can make it sound as synthetic or authentic as you need it to, depending upon the style of music you're creating. The bass guitars can be made to sound like fingers are sliding on the strings. The drums can be made to sound like there's a real drummer in the room inadvertently brushing and tapping his (or her) sticks on the snare between actual strokes. For those in the know, these are called "ghost notes," and the DR-880's got 'em!
You can record in step mode or real time... or a combination of both to get the exact sound quality, timing precision, velocity, and little nuiances you're looking for.
For guitarists, there are pre-programmed grooves, or you can use the EZ Compose feature to quickly give your jam a sick backbone in like seconds. So while there is a learning curve for composers, this thing is also very much a plug-and-play unit for someone who just needs a quick rhythm section to jam with. And check this out: This thing even has built-in Roland effect pedals and amp simulations built right in! From metal to jazz, chorus, distortion, 60's, 70's, and whatever the hell you need! You're getting literally thousands of dollars worth of top of the line Roland pedals built-in to it.
I use mine every single day and simply cannot recommend it enough to... well, anyone who is serious about recording, jamming out, or composing a professional sounding piece of music with complete and total control of the situation. I strongly urge anyone who buys this drum machine to get the DVD as well. Frankly, you'd be an idiot not to.
If you want to know what kind of amp is best for the DR-880, I run mine through a Roland KC-350 120W Keyboard Mixing Amp, and it sounds absolutely brilliant!

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Boss EBand JS-8 Audio Player Review

Boss EBand JS-8 Audio Player
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I've owned a lot of Boss guitar products over the years. Before getting the JS-8, I was using a Boss ME-30 and a Korg Pandora PX4D. I never thought anything could replace my ME-30 until now. Simply put... The JS-8 is an amazing device! The jam tracks installed at the factory are top notch and you can add your own. If you run out of storage space on the included SD card, buy a high capacity SD card and store your entire music or backtrack library on the machine. Personally, the included jam tracks will keep me occupied for months.
The other impressive feature(s) are the guitar effects, which are based on the GT-10 effect engine. The designers included dozens of preset effects, but you can also make up your own. Now if you're a tone junkie like me, the JS-8 will allow you to dial in just about any guitar sound. The amp modeling is simply amazing! The first distortion patch I made included a Peavey 5150 amp model as the foundation. It took me about 40 minutes to set up my first patch because you can tweak so many sound parameters. After learning the interface real well, I could probably design an effect patch in under 15 minutes. The buttons and knobs make everything associated with the unit a cinch to use.
The only negative thing I could say about this device is the speakers. A lot of reviewers have also commented about them. But don't let this turn you away. The speakers are really a positive thing because you can take it on the road and play quietly in a motel or dorm room. You can also attach headphones and achieve satisfying results. The unit also comes with a USB cable that will allow you to use it as an interface with your computer. After setting the driver parameters, I was playing it through my Mixcraft software. And Boss, (unlike other companies out there), provide 64 bit drivers for both Vista and Windows 7. They also have firmware updates and add-on jam tracks. This was a very big selling point because I use Windows 7 x64. I should also mention that I saw several Mac OS drivers on their website.
Furthermore, the unit has RCA jacks on the side which allow you to play it through a regular stereo or boom box. That worked fine for me, but I had to try it with my Crate 4x12 amp. I simply ran a mini-stereo cable out of the unit's headphone jack, and added a 1/4" guitar adapter on the other end, which I plugged into the amp. With a little sound tweaking, I got VERY impressive results. So much that I dumped the ME-30 and just use the JS-8 with my main amp. I've even read about players running this thing directly into a PA system at gigs. From what I've experienced, I think that would work well because the JS-8 really shines when plugged into higher-end speaker systems.
So who would really benefit from this device?
1) Players who like to play along and improvise with good jam and rhythm tracks
2) Players who use computer software to write music and need a solid, versatile digital interface
3) Players who are real fanatical about their tone and don't mind digital/solid state devices
4) Players who need something relatively portable and easy to use
5) Players who will only buy things that are sturdy and well constructed
6) Players who need a new toy and can afford 300-400 bucks
The JS-8 has many other features such as a nice tuner and the ability to record. I suggest you check out some of the videos on YouTube and read the spec's on the Roland/Boss website. My personal favorites are Jack Thammarat's YouTube videos.

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DigiTech JML2 Bass Pedal Tuner, Blue Review

DigiTech JML2 Bass Pedal Tuner, Blue
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(Note: Why several sites have this listed as a "Bass Pedal Tuner" is a mystery to me. It's not specifically for bass, and it's certainly not any kind of "tuner." What it is, is a stereo digital sample-and-playback looping unit.)
I like this unit, mostly. I knew what I was looking for in a looper, and I researched the available options before settling on the Jamman Stereo. For the most part I got what I was expecting.
The pros:
+ The unit is compact, and very solidly built
+ Controls are (mostly) self-explanatory
+ Excellent sound quality on the samples, with very low noise
+ Good internal memory capacity
+ Expandable memory, using common SD digital camera memory chips
+ Simple to use; shallow learning curve
+ True stereo input and output available
+ Adjustable tempo and quantization available
+ "Single play" and "infinite repeat" options
+ Accepts direct input from: instrument, mike, audio-player
+ No batteries needed
* I found it very easy to start working with this unit, record, playback, overdub, and erase functions are simple to implement through footswitch control. Sound is clean and high quality, and most of what I need to do can be done with hands-free operation. The unit accepts SD memory up to 32GB, which provides for 6-hours of storage; more than sufficient for any of my planned applications.Indifferent/personal taste:
+/- "Reverse playback" option is kind of silly and useless
+/- "Snap"-type footswitches, rather than soft-touch
+/- No way to set a loop for a specific number of repeats
+/- No phantom power on mike XLR input
+/- No "on/off" switch
+/- Need for wall-wart & power cord offsets the convenience of not needing batteries.
* I might use the "reverse" once in a blue moon for a special effect, just becuase it's there, but if it wasn't there, I wouldn't miss it. Still, people were apparently clamoring for this feature, so I suppose they had to put it in.
* More of an annoyance for me is the use of small snap-type buttons for the footswitches. I find this particularly awkward (and noisy) when tapping in tempos. For that function I greatly prefer a soft-touch, more or less silent switch, and also the large rubber pad of the original Jamman. But then, I don't use the tap-tempo feature that much, so it really isn't that big an issue.
* It also would have been nice to be able to pre-program a loop to repeat a specific number of times -- 3, 6, 15 repeats, etc. -- and automatically stop. Instead, your choice is single play, or infinite repeat until the "stop" switch is hit. Again, not a big deal.
* I rarely use mikes, so lack of phantom power is NBD for me.
* I prefer devices I can /turn-off/ without having to unplug them.
But... I can live with all of this.The cons:
- Many "fingers only" controls and the unit sits on the floor
- No quick way to switch from internal memory to SD card memory
- Loops stored in memory are designated only by number
- Quantization is touchy and not always accurate
- No way to trim or boost input signal level
- Significant tempo adjustments seriously degrade the sound
- Can't switch loops in "real time"
The first three of these are not a big deal for me, but they may be for some people.
* A lot of the controls on this unit are not footswitch-accessible, so if you do a lot of post-loop manipulation (I don't), you're going to be bending over a lot. For $35, you -can- buy an optional 3-button footswitch to put a few more of these functions at your toe-tips.
* Internal loops are numbered 1-99, and SD-card loops are 1-99 plus a "card" LED lit. If you need to get from loop #78 in internal memory to #14 on the SD card, there seem to be only two ways to do it: you can use the loop up/down footswitches to step through either 35 or 178 loops, one at a time; or you can use the knob on the unit to scroll through all of the internal loop-slots until you get to the SD-card loop-slot you need. I've not found any way to quickly jump from one loop to another if they're not adjacent numbers.
* If you actuallly store 198 loops (or even more than 20), remembering that you need to call up # c-35 in the chorus of the 5th song of your 2nd set might be challenging in a performance situation. Would have been nice if the Jamman had a slightly larger display and a feature for assigning a short mnemonic -name- to each loop. I deal with this by having a coded "loop playlist," but this is definitely an area that could stand improvement.
* Quantization (theoretically) works by setting a time signiture, tapping in a tempo, and then recording your material, which is then auto-quantized to the beat you set. However, I found the unit a little flakey in setting the end/repeat point of the loop. With some practice you can get the quantized endpoints to work right; but with the same amount of practice you can get the endpoints right manually, /without/ quantization, so this feature, as implemented, is rather useless.
* Input level: In transfering audio tracks from my computer to the Jamman I ran into a problem that I've experienced with other digital-audio devices. With a fixed input level, audio signals with long fade-ins often start out too faint to trigger the recording circuitry, so the first part of your loop will be cut-off. I've devised various work-arounds for this, but having an input level boost/cut trim-pot on the Jamman itself would make the process much simpler. Of course, if everything you do is at death-metal volume, this probably won't be an issue for you. :-)
* Tempo of loops may be adjusted, but outside of a limited range the sound will rapidly and noticably degrade. (To some extent, this is to be expected with any digital recording device costling less than several thousand dollars.) Depending on the particular kinds of sounds recorded, I found that tempo changes of about +/- 5-10% were the cutoff for acceptable sound. If you want a loop to play back at, say, half-speed, you're better off recording it at that speed to begin with.
* Again, for me all of the above quirks are relatively minor, and I can live with them. I saved the most annoying for last: Hitting the "loop-up" or "loop-down" footswitch while a loop is playing does /not/ switch loops in real time; it changes only the display. To change loops you have to 1) select the new loop; 2)stop the currently playing loop, and 3) start the new loop -- each step requires a separate footswitch operation.
...This last quirk is the main reason I give the Jamman four stars instead of five. It would be immensely useful (to me) to be able to switch loops either in the middle of a loop, or even at the end of a loop, by hitting only one switch, with no loss of continuity in the sound. Instead, you have to hit /three/ switches, and -- no matter how fast you do this -- there will be a noticable break in the sound. Essentially, each loop is treated as an independent, stand-alone entity, and the concept of using several loops in a single piece apparently didn't enter the engineers' heads when they designed this unit.
==
To summarize: I spent more time discussing "cons" than "pros" because my experience has been that not knowing what your equipment /can't/ do can be more of a show-stopper in performance, than not knowing something that it /can/ do. But, bottom line:
...I like this unit, it does 95% of what I need, and
most of what it does, it does very well.
For me, it represents good value for the money, and I highly recommend it for those whose needs are as uncomplicated as mine.
One final tip: Shop around -- I've seen this unit sold for anywhere between $229 and $339. It's worth the $299 list price, but not more.


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BOSS ME-70 Guitar Multiple Effects Pedal Board Review

BOSS ME-70 Guitar Multiple Effects Pedal Board
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"Excelent item!.. but, no where in specs did it let you know that this came without AC Adaptor and needed to run on batteries...disappointed when arrived". Este multiefectos es excelente, facil de usar. Tiene lo justo y necesario, algunos gabinetes y preamplificadores, los mas comunes.

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Zoom G9.2tt Twin Tube Guitar Effects Console Review

Zoom G9.2tt Twin Tube Guitar Effects Console
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I would like to share with other guitar players my first impressions and usage experience owning this product by describing it the best way I can because the product really deserves respect.
Here is my review. I tried to organize in topics for fast reading.
Review Summary:
^^^^^^^^^^^^^^^
Amazed and surprised by Zoom build quality and equally about sounds you get out of this tone factory.
Absolutely convinced that is the best bang for buck guitar pedal.
Twin valves combined with the solid state circuit and fast 32bit processor delivers to your physical amp/headphones vivid and professional tones.
USB Interface works great. You can use it as recording interface with any sound application that supports ASIO (low latency sound drivers)
Buy with confidence. Build Quality and Finish:
^^^^^^^^^^^^^^^^^^^^^^^^^^
Solid body / All metal construction;
Heavy duty foot switches;
Average quality connectors on the back of the unit;
Even if you fight with this pedal you may lose because it is strong and a bit heavy.
The unit plus power supply weights about 9 kilograms / 20 pounds.Usability:
^^^^^^^^^^
Before plugging it on the wall and your axe on the Input take some relaxed time to read the small manual that comes with the unit.
The way you choose banks and patches or edit/store the variables are comfortably smart and very logic after you understand it.
For example. If you edit a preset, the led inside "Store Preset" switch and "Exit" switch will turn on so you know which options you have easily.
You don't have to be a tech guy or a sound engineer. Goodwill and enthusiasm will do the job.
Even in low light environments you can operate the unit because of it's design and leds.
I have friends that got Boss GT-10 and says that he create a tone in a couple of minutes with EZ-Tone feature.
But I believe the following:
- Every effect or function have at least 3 or 4 sub-settings for fine tuning.
- Stacking up to 10 FX;
- Select over dozens of amps and mics setups.
I really don't care if it will take a minute or ten because "any tone" is fast on both units.
But the tone you really want for sure is a tailoring job. You have to bring a sound straight out of your head and save it as patch when satisfied. This take time at least for me.
Small LCD seems to be a con but I'm satisfied.
It's equipped with a small two lines classic blue/white screen but the info you get is useful.
So if you see what you need is just fine. Sometimes less is more ;)
For live action the patch selection is easy, instant and smooth.
There are UP/DOWN bank foot-switches and for each bank you may choose 5 patches using the lower five foot-switches.
So it's easy to memorize and recall.
All small buttons are translucent and have leds inside that goes from green to orange or fade off.
I like that because you know just by looking the pedal if the delay, reverb, pre-amp, etc are enabled or disabled.
All small buttons act the same way.
For sure it's easier to spot a "Green Led" near your right foot while stand-up playing than trying to read a big LCD screen with lot's of info on it. It's just a guess because I don't have any other pedal with huge screen.
G9.2tt is simple to use but powerful and the most important. Works.
There are dozens of patches ready to use as read-only.
The same patches are available to be changed on the user area of the internal memory. This is good because you can use the variety of built-in tones as base for yours.
Never edited the patches using Midi cable. But specs says it's possible.
Price:
^^^^^^
It's a fair price for what you get. No fancy stuff but good equipment.
This unit have dual valve that just freak you out even using a training 20watt cube. (BTW I use a Roland 20-X Cube)
Zoom G9.2TT is affordable on the price tag but does not have a fragile construction neither a work as noise generator machine.
Some guys I know says that old Zoom products were bad quality but the same people and also they really changed the product quality for better now.
Sound Quality:
^^^^^^^^^^^^^^
I'm not a sound engineer or audiophile but really love hi-fi audio and this unit delivers that.
The solid state circuit mixed with analog valves create great pre-amp output and pleasant sounds.
Also never noticed any kind of delay between input/output sound like we have when doing DSP using computers.
My opionion is that you still get a pretty a warm sounds even digitally processed. Maybe because of the Accelerator/Energizer twin valves.
I just cannot compare the digital processing of Zoom unit to software DSP like Guitar Rig or Amplitube.
Even using high quality sound card I just don't feel the same.
Overall conclusion:
I feel great using this product daily while practicing. No problems at all since I bought.
Also the built-in patches are enough to entertain yourself playing and playing for hours. P.s.: If you love guitars or classic rock you must watch the movie "It might get Loud";
Where The Edge from U2, the legend Jimmy Page (Led) and Jack White from White Stripes talk about their first music experiences and influences; How they started loving this great instrument. The electric guitar.
It's really deep and moving. Rent, buy or borrow!!
Appreciate your time!
Bruno Ratnieks

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The G9.2tt is a multi-effects powerhouse. With sophisticated amplifier and stompbox modeling, 120 different effects, a built-in tuner, the ability to optimize for particular amps, and plenty more, it's ideal for studio and stage alike. The Z-pedal officially takes it to the next level, allowing you to control up to four parameters by moving your foot on two different axis (up and down or side to side).

Energizer using 12AX7 tube Giving body to the guitar sound and adding supple power and intensity--that is the task of the Energizer. Turning up the TUBE control to drive the 12AX7 produces warm crunch with rich harmonics. The BOOST control spruces up highs and lows, resulting in more transparency. Enjoy a powerful tone also when recording directly to a line input or via USB on a computer.
ZFX-3--a 32-bit DSP designed by ZOOM The heart of any multi-effect device is its processor and decoder section. ZOOM has started a fresh chapter with its new ZFX-3 chip. The 32-bit architecture ensures outstanding performance and allows smooth and detailed signal processing. Accuracy and speed ensure that even delicate picking and fingering work come across with impressive clarity.
DSP sound modeling plus tube circuitry create the ultimate in distortion 96 kHz sampling and 24-bit A/D/A conversion assure super high resolution sound. An abundance of signal processing power allows accurate recreation of the complex upper-range harmonics that are the hallmark of tube amplifiers. Analog circuitry using a 12AX7 tube then adds that classic warmth and sonic impact to the DSP sound. The result combines the best of the digital and analog worlds: distortion so advanced and sophisticated it elevates your guitar playing to the next level.
Preamp section with two channels The preamp section, comprised of the amp/drive-modeling, and EQ modules offers two channels per patch. You can easily select a channel by simple foot switch operation. Toggle between a Fender clean sound for rhythm and a Marshall drive sound for lead, while keeping modulation and spatial effect settings the same. The user interface with analog knobs lets you shape the sound with the same facility as on a guitar amp.
Great for stage work or direct recording The amp/drive-modeling blocks have two dedicated algorithms for each amp/drive type, designed for live playing and direct recording. The CABINET effect simulates amp and mic recording characteristics as well, and the algorithm is automatically switched according to the CABINET on/off setting.This lets you bring the same guitar sound that you used during practice or recording right on to the stage. Alternatively, sound settings that were determined during a session with the band can be used seamlessly in the studio as well.
Amp select feature This function optimizes frequency response to match the amp that you are using. Settings are available to get the best out of popular models such as Roland JC-120, a Fender combo, and a Marshall stack. The -10 dBm/+4 dBm output level switch allows the G9.2tt to be used as a preamp, directly connected to the power amp input of a guitar amplifier.
6-band graphic equalizer The built-in EQ module has six frequency bands optimized for electric guitar. Peaking type filters in the crucial middle range (400 Hz, 800 Hz, 3. 2 kHz, 6.4 kHz) are augmented by shelving type filters at the low and high end (160 Hz and 12 kHz). This ensures the shortest possible route from inspiration to actual sound.
Guitar amplifier/stomp box modeling Analog devices such as tubes and diodes have unique clipping characteristics. Sophisticated digital simulation finally makes it possible to recreate the sound of vintage tube amps and effect devices with astonishing realism. From popular names such as Fender, Marshall, and VOX to modern amps including MESA BOOGIE, Hughes & Kettner, and Diezel--the list of choices is extensive. The cabinet simulator even has settings for mic position, to achieve totally natural sounding performance.
32-bit processing for a wide choice of high-quality guitar sound effects Ranging from trusty old standards to advanced choices for specialized needs, the effect collection of the G9.2tt comprises 120 effects in 10 modules. Pick an MXR Dynacomp, famous for its unusual compression action, or select wah pedal simulations such as VOX and CRYBABY. Choose from three types of chorus for creating a solid, wide sound stage. Access seven types of reverb with transparent, unblurred sound. And the list goes on: tremolo with selectable modulation waveform, bend chorus with individual pitch bending, harmonized pitch shifter, multi-tap delay even reverse delay. These professional quality effects will fuel the creativity of every guitarist. The preamp section and wah/filter effects allow changing the module insert position for even more advanced tonal control.
Preset patches ready to use for recording or live performance Whether you are after a true-blue vintage tone or fat high-gain sound, you will find a choice here. There are settings that accurately simulate well-known amps and stomp boxes, settings that are modeled on the signature sound of famous guitarists, as well as totally original ZOOM effect sounds. The past and the future of guitar sound is right there at your fingertips. The G9.2tt comes preprogrammed with a total of 80 preset patches. For creative leeway, a user area capable of storing the same number of patches is also provided.
Intuitive interface great for stage use Each of the four analog style rotary knobs let you directly edit parameters on-the-fly, a total of four simultaneously. The LCD panel clearly shows patch and parameter names. Direct access keys are provided for each module. The advanced user interface is designed to ensure hassle-free operation, while not getting in the way of your creativity. On stage, the foot switches allows easy effect bank selection, module and hold delay on/off switching or tap tempo input. The self-lit switches show module status at a glance.
Real-time modulation for 4 simultaneous parameters fosters lively playing The built-in expression pedal allows control over effect parameters in realtime. Common pedal effects such as wah, pitch, and volume control are ofcourse supported, but you can also opt to adjust drive gain, modulationrate, delay/reverb mix level, and other parameters. Up to four parameterscan be assigned to a single pedal, allowing dramatic techniques such asraising the chorus, delay, and reverb at the same time. Create a rotary speaker style sound by varying tremolo, chorus, and auto-panning rate. Also,the ARRM (Auto Repeat Real-time Modulation) function is capable of producingrhythmical tone changes, opening up a wealth of possibilities.
World's fastest patch change speed: 7 ms Switching patches has never been smoother or less noticeable. With its record-setting speed of 0.007 seconds (7ms), the G series never miss a beat.When changing to a lead preset in the middle a song, you no longer need to press the switch in advance, simply push the foot switch and start playing your solo.
Built-in tuner supports special tuning requirements The guitar tuner can be called up instantly by pushing a dedicated footswitch. In addition to the standard auto-chromatic tuner, various othertuning methods for guitar and bass are possible, and open tunings are alsosupported. High-brightness LED indicators make the note readout easy to seeon a dark stage. The calibration range is A 435 to 445 Hz, and muted tuning(without sound output) is also possible. Tuning your guitar has never been easier or more convenient
ZNR keeps playing pauses really quiet The built-in ZOOM Noise Reduction (ZNR) provides optimized signal performance for guitar. While minimizing any alteration of the original sound, ZNR cuts unwanted noise during pauses. Tails of sustained notes remain unaffected, with a long natural release.
Ultra low noise design with 120 dB S/N ratio and -100 dB noise floor With an amazing rated signal-to-noise ratio of 120 dB and a -100 dB noise floor, background noise ceases to be a problem, leaving only superbly clean, transparent sound.
Sturdy metal chassis and rubber damping for superior toughness and durability The combination of a solid metal chassis with shock-absorbant rubber damping ensures that the unit can stand up to the rigors of on stage use. Take it on the road or bring it into the studio, the G9.2tt will not let you down. And it looks great, too, the stylish two-tone coloring using silver and black, rounded shape, and chrome-plated parts give the unit a high-class, futuristic appearance.
USB based audio interface functions The USB port allows the unit to function as an audio interface for a computer. Simply plug the unit in to your computer with a USB cable to use the high-quality sound of the G9.2tt in a computer-based recording system. The high-performance DAW application "Cubase LE 4" comes bundled with the unit, so you can start creating sophisticated music straight away. Because playback from the DAW application can be monitored at the unit itself, there are no latency problems during recording.
MIDI IN/OUT jacks allow linking to other equipment The ability to exchange MIDI data with other devices opens up a wealth of possibilities. You can switch patches in conjunction with a MIDI enabled preamp, or use the unit as a real-time controller for other MIDI equipment. By connecting the MIDI interface to a computer, you may use a dedicated editor/librarian application to edit and store patch data.
AUX IN jacks accommodate external sources The playback signal from external sources can be plugged-into the AUX input. Jam along with a rhythm machine, external CD or mp3 player. You may also utilize the connectors as a stereo line input to record audio into your computer via the USB interface.
Accelerator blends tube and solid state sound The analog input section incorporates an Accelerator that can amplify the signal in a tube or a solid-state based circuit. The 12AX7 tube produces fat, sturdy sound that can be mixed with the clear and transparent sound from the solid-state circuit. Blending natural compression with typical tube saturation characteristics creates a rich, organic tone.
Z-pedal takes pedal performance to the next level The pedal on the right side of the G9.2tt supports 3D action by sensing not only conventional up/down but also sideways movement. The Z-pedal lets you build highly complex sound control patterns by allowing you to assign up to four parameters in each axis of pedal movement (vertical and horizontal). There are also effects specifically designed for use with the Z-pedal. Get creative in ways never imagined before, and explore a whole new realm of pedal performance.
External send/return loop connectors A separate stomp box, rack-mount effect or other device can be connected to the G9.2tt's effects loop and used as part of a patch. Send/return level as well as on/off status are stored as part of the patch. Find new uses for your favorite pedals and spark your creativity in a variety of unexpected ways.
What's in the Box G9.2tt Unit, AC adapter, Cubase LE 4 Install Disc, User's Manual

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