Showing posts with label multieffects. Show all posts
Showing posts with label multieffects. Show all posts

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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Boomerang III Phrase Sampler (E-156) Review

Boomerang III Phrase Sampler (E-156)
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Great Loop pedal. (The best on the market!) Great customer service. Made in the USA. Get one, you'll love it!!!!

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Peavey ValveKing 212 Combo Amplifier Review

Peavey ValveKing 212 Combo Amplifier
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I was looking for a tube amp, this tube amp worth the money. its not cheap but not too expensive.
PRO: affordable, tone is ok, clean channel is ok, loud amp, heavy duty.
CONS: too heavy, no adjustable option for the bias, i would change the tubes (personal tone taste), i would change the speakers, i would like to used with Celestions V30.
good for rehearsal very loud,,,and gigs...

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Zoom G71UT Guitar Console (Tube, USB + Expression Pedal) Review

Zoom G71UT Guitar Console (Tube, USB + Expression Pedal)
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The effects pedal is freaking amazing. There are so many effects and presets and settings to the effects that you couldnt possibly come up with the same exact effect twice without saving it to the user memory. Its amazing. 100% great. I dont think i will EVER get bored of it...EVER...fantasic

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DigiTech RP500 Integrated-Effects Switching System Review

DigiTech RP500 Integrated-Effects Switching System
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I play quite frequently in a church setting, where it's not feasible to hook up my amp, and I need to get a wide array of sounds, so I wanted something I plug in directly to the PA and get a great sound. I narrowed it down to this model, the BOSS ME-70, and the Line 6 POD 2.0 + foot controller. Here's why I went DigiTech:
1. Build Quality - This thing is a tank. It has a cast-metal chassis and vacuum-style footswitches, like on a stompbox. The BOSS unit has a metal chassis as well, but the footswitches are plastic.
2. Cost - $245 shipped for the Digitech, which comes with a power supply and Cubase LE4 recording suite for your computer. Pretty sweet! The BOSS unit is $300 and doesn't come with a power supply. I call shenanigans on that.
3. Customizability - While I liked the ease of use on the BOSS model, the thing I liked about the Digitech better is the preset system. You get 200 presets (100 factory and 100 user). The factory presets have some good sounds dialed in (though in no particular order it seems). You can also hook this up to your PC and adjust your presets from the provided X-Edit Software (which is quicker than using the menus on the unit). You can also download and save other patches, there are over 400 available on the Digitech site for free.
4. Stompbox-mode - Both units have modes to make them function like stompboxes.
5. Sound Quality - Don't get me wrong. Both of these units sound great, but I did not like the distortions I was getting out of the BOSS unit as much as the Digitech.
6. Ease of Use - It is very easy to use, pretty intuitive controls that are easy enough to figure out. After about a half-hour with the product and the manual I have it pretty much under control.

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The DigiTech RP500 delivers easy control over your tone on stage! The DigiTech RP500 guitar multi-effect processor gives you the ability to control program changes, complete signal chains and allows you to turn all amplifier and cabinet sounds off in the exclusive Pedalboard mode. When in Pedalboard mode the RP500 acts like 5 separate stompboxes and effects. Save each combo in a preset for a uniquely switchable pedal setup not found anywhere else but pro rigs. Free Version 2.0 Upgrade is Now Available for Download at digitech.com!! The Version 2.0 upgrade adds a 20-second looper to your RP500 so you can now lay down a track, loop it, add another track with a different preset to help when creating songs or just build a song live on stage! DigiTech RP500 Modeling Guitar Processor Features Pedalboard mode changes switching to emulate 5 selectable stompboxes or effects Amp and Cabinet Bypass defeats internal amp and cabinet effects in all programs Heavy-duty vacuum switches for: Program changes Effect On and Off changes Bank up and down Tap tempo and tuner Bright LEDs display program status and effect On and Off Large 10 character LED display for program name, bank name and tuner Stereo XLR and 1/4-inch Outputs with ground lift Built-in expression pedal to controls internal effects including Wah Volume Whammy Other effect parameters All metal construction The RP500's stage control allows you to quickly and easily change your tone mid-song and eliminates the tap dance of individual e

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Electro-Harmonix Ring Thing Modulator Guitar Effects Pedal Review

Electro-Harmonix Ring Thing Modulator Guitar Effects Pedal
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I always wanted to explore a ring modulator. This is not a one-trick pony thou. You have a tunable ring mod, tremolo, pitch shifter, upper band mod, low band mod along with a few weird things in between. This is a fun pedal for exploring non-traditional modulation applications. If you want a safe pretty effect, this may not suit your taste. This pedal goes beyond metal. It's electric guitar synthesis. Bell tones, sci-fi sounds, ethnic timbres. If you're looking for something new in sound, this is it.

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DigiTech RP1000 Integrated-Effects Switching System Review

DigiTech RP1000  Integrated-Effects Switching System
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Here is my review of this Multi-effects/amp-modeling/integrated switching system. I have been playing guitar for well over 10 years and have a decent amount of experience with Multi-effects units. I own the Digitech GNX4 and an earlier model BOSS unit with the COSM modeling. I have provided my rating for each individual aspect of the unit and also some comparison with the Boss GT 10, which I think is the only real competitor for this kind of unit and price point.
Effects: Almost all of the effects range from good to excellent. The only one that's actually bad is the harmonizer. Its almost useless. I have GNX4 from 5 years ago and the harmonizer on that is excellent. So this is definitely a step backwards. There is a way to get around it by adding a harmonizer pedal ($200+) into the stomp loop. But come on Digitech, why should I have spend that extra $200? FIX THE DAMN HARMONIZER PLEASE. Also, in the GNX4, you could run Whammy/Harmonizer and effects like chorus/flanger etc together. In the RP1000, you will have to chose between Whammy/Harmonizer and effects. I wish they kept this functionality from GNX4. From what I have seen/heard on You tube, Boss GT10 has better and more effects. I haven't tried the GT10 in person, but to me, quality of RP1000 effects is excellent. I doubt I am missing much (except the Harmonizer of course) (3.5 Stars)
Amp Modeling: This is where this unit shines. I have the GNX4 with the MFX Supermodels CD which is excellent. But I think the quality of the modeling is better in the RP1000. The models are more responsive to touch and sound great to excellent. I went through almost all the amp models. I can really hear the difference between a Fender, Marshall, Vox AC, Mesa etc. Really hard to fault. However, for all you tube amp fanatics out there, I don't think this will satisfy your ears 100%. Also, Boss COSM modeling is not that great compared to RP1000 modeling (4 stars)
Switching system: I have to give kudos to Digitech folks here. They have REALLY done their homework on this one. The 4CM method is pretty useful and allows you to integrate this unit in your existing setup. The stomp loop capability is great. I wonder why Digitech didn't put the amp channel change capability (like GT10)? That would have made this unit a God-send for me. I don't like the fact that if I want to use different channels on my amp, I have to use a different foot switch. Also, having 10 foot switches is way more convenient: 5 for Stompboxes, 5 for presents. Patch changes are quick (slight delay, not too noticeable) and stomp box on/off is instant. Boss GT10 switching system has the same features, but its just not as well laid-out/organized as the RP1000(4 stars if you use 4CM method, 5 stars otherwise)
Ease of use: I have been using the GNX4 for a few years and that was somewhat daunting in the beginning. With that experience, RP1000 is actually easier for me use. I think Digitech took out some of the complexities from the GNX4 and made it lot more user friendly and easily tweak-able in a live situation. I really like how easily you can bypass amp modeling, add in stomp loop, modify effects etc. on the go. X-edit is a decent piece of software as well, but you really don't need it as much as you did for GNX4. RP1000 is a lot easier to use in person. Overall, very well done indeed. Boss GT 10 seems very complicated to me, but again, for folks who have used GT-8 in the past might not be too concerned with that. For someone starting out fresh, you cant beat RP1000 for ease-of-use (5 stars)
Overall: 4.5 Stars. If you are in the market for a Multi-effects/Amp-Modeler unit, just close your eyes and get the RP1000. I don't think you can buy anything better at this price point. Sure, every one is raving about the Axe-FX, but I don't wanna spend 1.5k on an amp modeler. Besides, I like floor unit, not the rack mountable ones. Also, do your homework. Definitely check out Boss GT 10 and then make up your mind.


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Tech 21 PW-60/112 60W, 1x12 powered cabinet with Celestion speaker Review

Tech 21 PW-60/112 60W, 1x12 powered cabinet with Celestion speaker
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I use a Line 6 POD X3 live for amp modelling and effects when in the studio and playing live. I have always run the X3L into a Marshall amp and something just wasn't right. The Tech 21 Power Engine is the perfect match for the X3L and provides all the volume I need without altering the tone. Being in Australia I need 240v 50Hz but could only get a 117v 60Hz. I use a step down transformer and works great - no hum, buzz or heating issues. Thinking of getting a second one!

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60-watt multi-purposed powered cabinet loaded with one 12-inch Celestion Seventy80 speaker, 80 watts/8 Ohms.

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Line 6 M13 Stompbox Modeler Review

Line 6 M13 Stompbox Modeler
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The M13 is an outstanding piece of gear. I've never really loved Line 6's amp/cab modeling stuff. I had the HD147 and liked it for a couple years. But I could never get the tone I wanted. Then I bought a tube amp. A Crate Palomino V32. But lost all the versatility with effects. So then I bought the POD X3L. It had no depth and took all the character out of the amp. So I went the all pedal route. Boss DD-20, L6 Verbzilla, Seymour Duncan Twin Tube Classic overdrive pedal. Blackstar HT-Dual OD/Dist, etc. I was really happy!!
Then I saw the M13. I was totally floored by how many different effects that were in there and the versatility of routing the "pedals" in order of one another. ITS SO VERSATILE!! The effect quality is right up there with their 4 button stomps (DL4, MM4, DM4, and FM4) after all it was designed to encompass all of those pedals into one package that has a footprint that is just a couple inches bigger than 2 of the 4 button stomps.
The tone of my amp stays the same, and I have all of the delays, reverbs, mods that I could ever use!! You can still use any of your analog pedals (I still have my Blackstar) because there is an onboard effects loop and you can route your existing effects before, after, or anywhere in the middle of the M13. Its incredible!!
I'm so happy I bought this pedal, and it was worth every single penny!! Try one out for yourself and you'll be pleasantly surprised with it!! If you don't like Line 6 gear because you're a tube junkie, forget all of what you thought you knew about Line 6 and try this pedal as soon as you can. I think Line 6 may have taken a new turn with their products and this is definitely an awesome new direction for the company. This pedal rocks!!!

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The Essential all-in-one pedal board experience, Line 6 M13 Stompbox Modeler! Featuring a comprehensive collection of the most sought-after stompbox sounds, a full-featured looper and super-heavy-duty all-metal construction, without complicated menus or presets. Line 6 M13 Stompbox Modeler channels the soul and ease of a stompbox. Free Version 2.0 Update from Line6.com! Providing Additional Models, Presets and Features! Version 2.0 The M13 Stompbox modeler with Version 2.0 Update has extra models and features to make your M13 rock even harder. Over 20 new FX Models, including Smart Harmony, Pitch Glide, 6 Mod FX, Bass Octaver, 5 EQs and 8 Wah Models 4 folders of 12 scenes each (total of 48 scenes) Also accessible via Midi Copy from Scene to Scene M13 only. Control the Looper via midi without the M13 going into looper mode Dim OFF Models added with Version 2.0 Bass Octaver 5 EQs and 8 Wahs Smart Harmony Pitch Glide Particle Verb - Line 6 original Pattern Tremolo Script Phaser AC Flanger Bucket Brigade chip modeled 80A Flanger same Frequency Shifter Line 6 original Important Information: Version 2.0 update can be downloaded at line6.com Boasting over 75 immortal stompbox effect

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Digidesign Eleven Rack Guitar Multi Effects Processor Review

Digidesign Eleven Rack Guitar Multi Effects Processor
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To qualify this review, I must first inform you:
I have no affiliation with Pro Tools or Avid, so if I say something positive you can trust it.
As a professional studio musician ( since the 1970's) I have had experience using every original amp and effect this ( or any other) modeling preamp claims to emulate. If you ever listened to the radio in the 80's and 90's, you have heard me playing most of these real amps on real records. There's a good chance you might have seen me on TV with some of these amps too.
Good features: KNOBS
The front panel has large rotary encoders with smooth-operating silent knobs. That's great, because they lay these out to provide tone and volume adjustments in real time... "On-the-fly" as they say. This feature is not new or unique, but it demonstrates that they consulted with real players during the design. This means you can use it like the front panel of whatever amp you are modeling and that the controls operate very much like the real thing. A+ !
TONE: very good for a modeling amp... one of the best. Because I have owned and toured with all the famous amps, I know not only how they sound, but how they react to different guitars / pickups... how they "Feel" to the player. "Feel" is a subjective term because it includes so many variables. One of the most important variables that most reviewers forget is VOLUME. It is impossible to describe the experience of playing to 17,000 people at full volume on a large stage. The whole point of using modeling amps is to recreate all the nuances of of tone and response that a REAL amp has at REAL stage volumes, yet do that at low volumes for smaller gigs, sessions or home recording. In that area, this is one of the best sounding and feeling preamps I have used.
Versatility:
It is designed to work either as a recording front-end, a direct out to a mixer / PA... AND a front end to any professional amp you currently have. I'll explain all three of those briefly:
If you already have a good amp, (or two for stereo) you hook this up for live playing easily. Three button presses get you to the cab-sim defeat function, so you can turn OFF the internal cabinet simulation. That is also not new or unique, (Much less expensive modelers have that) but it is absolutely necessary for any professional with a REAL amp. You don't want the artificial simulations in addition to the natural variables of your amp and speakers. Once you learn how to navigate this machine, it only takes a few seconds to set that function ON or OFF. So, that's a A grade in this sub-category, but not A+. Why? Because they should have made it possible with a single press of a dedicated button.
Interface with a live PA or mixer to power-amp: Many working guitarists love the sound of their real amps, but have discovered that for amplifying modeled sounds, nothing beats a professional power amp. I won't discuss the relative merits between Class A, AB, or class-D topologies here. The bottom line is you get more clean raw power in a smaller, lighter package with professional power amps. They do not "color" the sound as much, which is desirable when you have a modeling preamp. Also, professional solid state power amps are far more reliable and require far less maintenance.
This thing works perfect well with either powered speakers or your own power-amp / passive speaker combo. (my preferred rig). Not only that, but you can operate it in two modes at once. That is: you can use a real amp for your stage-monitors and simultaneously run a direct out to the FOH mixer. That makes a sound-tech's job easier. That's especially important if YOU are the sound-tech. I just wish they used dedicated outs for each "mode" and had balanced lines for everything. This has balanced-outs for the direct out and buffered un-balanced outs for everything else. You'd think for the price their asking, they could include two-extra balancing transformers!
Recording and re-amping. Many hobbyists and home recording studio owners will want this because it excels here; especially if you already use any version of pro-tools on a MAC. If you use any other recording software environment it still works, and you can still use its internal processing to relieve your computer form all the heavy number-crunching. That's great. This also allows you to "re-amp." That is when you devote a separate track to recording a dry, unprocessed guitar signal. That way you are not "locked-in" to a preamp sound during mix-down. You can choose a different amp-model, effects, EQ... anything, AFTER the recording is done. This feature is of no use to me, however tweaky amateurs love to play with tones without having to perform. Producer-types like to stamp their talentless imprimatur on other people's labor. So this feature is a big hit among inexperienced geeks and pretentious producers too. This category therefore deserves a special two-pole rating: for Tweaky geeks who can't play and have endless time to play with toys, or for egotistical yet talentless engineering nerds, this is an A+ feature. For any professional with decades of hard-won experience the rating is "who cares?" Well, sorry... I take some of that back. I suppose an up-and-coming studio cat MIGHT get more calls if the producers knows he can screw with the player's tones AFTER the session. Producers universally enjoy wrecking decent tracks with their imbecilic post-prod voodoo. This thing allows them to do that in spades!
EASE of operation: Manufacturers are stupid. They want to create a hot product, but they forget they must sell to musicians, not computer geeks. True, some of us are actual engineers who can operate computers, graphing calculators, know math and how to use slide rules. ( I'm giving away my age here.) But as musicians, we do not enjoy tweaking when we are playing. We need the instantaneous adjustments of real knobs and dedicated buttons. So why do so many manufacturers, including this one, make the same mistake? Because they are cheap and stupid. They are so worried about making profit that they refuse to put simple buttons with clear labels like; Chorus, reverb, delay, boost, distortion, overdrive, leslie, etc.. Instead, they group effects under "categories" based on the type of processing algorithm that makes that effects. Reverbs are different than delays. Those are different from other time-based modulating effects like chorus or flanging. They are basically just putting their software into a metal box so that it LOOKS like a real machine.
OK... so I have exposed my prejudice here... I despise software driven commands, menus and scrolling. I prefer dedicated buttons for every function. Also, I know enough about engineering and product design that I see why they are ripping us off. They claim to give maximum flexibility, and they do, sort of. But it is at the expense of intuitive control.
NOTE TO ALL MODELING preamp DESIGNERS:
WE NEED BUTTONS. ANY PRODUCT YOU MAKE SHOULD BE SO SIMPLE THAT IT REQUIRES NO MANUAL.
Finally, the few amp models and effects this thing has are very good. Not the best for every guitarist or situation though, but certainly one of the best. The original GP100 by Roland is still as great today as it was before it was discontinued. Mine still works and sounds as good as this for the BIG THREE models: Marshalls, Twins and AC30's. In fact the GP100 is BETTER than this much newer device at the Marshall plexi tone. For that matter, the sansamp GT2 ($160) does that single thing as well as any preamp on the market. The ROCKTRON PROPHESY got the "buttons plus knobs" thing right. Why can't AVID?
EVEN CHEAP modelers (

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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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