Introduction
Most of those who have opened this post have known for a long time that I use a multi-effects processor Zoom B3n to process the sound of bass guitar. This is a budget, but a good device in my setup from the very start on Twitch *. It was with it’s help that I formed a recognizable sound and I still don’t see the point of replacing it with something more solid and expensive.
*for a long time there was a simple bunch of looper Boss RC-30 and this processor; also, there is a detailed post on the site about a later upgraded setup.
The essence of today’s article is not to advertise this device, but to share personal chains of effects that I was able to manage with its help.
In order for this to benefit not only Zoom B3n owners, then in addition to patch files that can be downloaded via the GuitarLab application to the processor memory (or compatible Zoom Multi-stomp pedals, for example), I will describe all the effects (and, if possible, what well-known equipment they emulate) so that everyone can try to simulate them on their setup.
I will not list and describe all my patches, besides, many of them are often subject to edits, and it is better to prioritize the most unusual and creative ones.
Maybe it will also serve as a source of inspiration for you to create your own chains of effects.
Patches
It is worth mentioning right away that not all effect chains were assembled “from scratch”. I took some of the default patches and adjusted them for myself, or completely turned them upside down.
Below you will find lists of the effects used, comments on them, and all the parameters can be seen in a scalable screenshot. A list of almost all available emulations on the processor and a brief description can be found here (PDF). And you can download all the patches mentioned below from here (remember that they are only for Zoom Bb3 processors and compatible models with it).
Dig
One of the sounds I use most often to create an “atmospheric layer”. I created this patch with the specific purpose of getting an ambient instrument. And I did it, even in solo and out of context, it sounds very cool. It is worth noting that the delays are not tied to the tempo, but have fixed values, because with the binding it sounded worse (as it seemed to me). Also an admixture of the reverb Plate 95%!
- PitchSHFT – a classic pitch shifter that raises a note an octave up.
- High EQ – high frequency equalizer. In this case, it creates a rise in frequencies by a “shelf” from 1.4 k and above.
- 160 Comp – compressor simulating dbx160A.
- BassStCho – bass guitar stereo chorus.
- ModDelay – delay with the addition of modulations.
- Plate – reverb.
- ReverseDL – reverse delay.
SeqF
Initially, the patch was included by default, and to be honest, I don’t remember how much I changed it. Nevertheless, it turned out to be a cool “falling drop” effect.
- LMT-76 – limiter, emulates UREI 1176LN. Needed here to eliminate sharp peaks.
- PitchSHFT – as in the previous case, it raises the note an octave up.
- SeqFLTR – the manual says that this filter sequencer has a “flavor” of Z.Vex Seek-Wah. In general, there may be problems with finding an alternative with the right pattern. It is this effect that “cuts” the sound with a certain rhythmic pattern. It is tied to the main tempo with 16th notes.
- Bass Pre – bass guitar preamp with three-band equalizer.
- SlowATTCK – the effect slows down the attack of sound, that is, the note does not sound immediately, but gradually increasing in volume.
- Plate – same reverb again.
Ambty
Another experiment with an attempt to create an unusual atmospheric effect from scratch. The expression pedal is involved here: in the lower position – a lower humming sound, and in the upper position – the sound is similar to a mystical string quartet. Also, both delays are tied to the tempo by quarter notes.
- BlackOpt – the compressor compresses the signal strongly to keep it within limits / emulation of Demeter COMP-1 Compulator.
- BA PDLPit – pitch shifter assigned to an optional expression pedal: depending on the position of the pedal, it lowers/raises the octave of the note.
- BassOctFZ – An unusual bass fuzz that adds an octave up to the sound!
- ReverseDL – reverse delay.
- HD Hall – Hall reverb, mix 100% !
- Hold DLY – stereo delay in Ping-Pong mode. Mix 100% – otherwise what is the atmosphere? 🙂
SoftAtmo
The “underwater” effect. Again, the expression pedal with a decrease / increase in octaves, a slow attack and ping-pong delay at the maximum.
- BA PDLMnP – effect for the expression pedal. It differs from the previous example in that it is sharpened more for single notes. Although there is no big difference between them.
- SlowATTCK
- CloneCho – chorus, digital replica of Electro-Harmonix SmallClone.
- Air – room reverb.
- Plate
- Hold DLY – ping-pong delay.
Siren
Exactly the same effect as the previous patch, but with the only difference that the pitch shifter raises the tone 2 octaves up instead of the 1. The sound is very unpredictable in volume, so I often “roll” it with a fade-in technique on the timbre block of the bass guitar. Sometimes it turns out as if mythical Sirens are singing, well, or sad killer whales are whining :/
SawBass
Actually, from the name it is clear what I wanted to do – a fat synthetic bass. Working on this particular sound, I realized how much Fuzz solves in imitation of a synthesizer. The effect is very noisy (the noise suppressor did not fit into the chain, due to the technical limitations of the processor), but I like the result: it sounds powerful, but moderately aggressive. Despite the off-scale settings at the bottom.
- AMPG SVT – Ampeg SVT amplifier with the bottom pulled up to the stop and a failed middle.
- Ba Octave – bass octaver, adding an octave down to the original sound.
- BassOctFZ – fuzz adding an octave up.
- DualComp – a compressor that allows you to compress separately the low-frequency and high-frequency components of sound.
- Exciter – “adjusts the amount of phase correction.” I don’t really understand what this means, but I think it saturates the sound with additional harmonics.
- CoronaTri – a wide-sounding chorus, a replica of tc electronic’s CORONA Tri-Chorus.
OctaBass
Another attempt to create a fat bass, but with the ability to throw an octave up using the expression pedal.
- BA PDLMnP – the effect of the expression pedal. In the upper position, it increases the sound by an octave.
- SynTlk – a synthesizer trying to imitate a voice modulator reproducing vowels.
- AMPG SVT – Ampeg SVT.
- Exciter
- Low EQ – low frequency equalizer. It is in High Pass Filter mode and cuts everything below 40hz.
- BassSTCho – stereo chorus, but different from the previous example.
Arp
The preset is an arpeggiator sewn into the defaults of processor, which I have significantly redesigned. Tom Morello would appreciate it (or maybe not).
- SuperCho – chorus with all the set parameters “in the middle”. Replica Boss CH-1 Super Chorus.
- SynTlk – vowel synthesizer again.
- SeqFLTR – a 16-note tempo-bound filter sequencer.
- NYC Muff – a replica of Electro-Harmonix Big Muff.
- Low EQ – lowcut frequencies, but radically: up to 600 Hz.
- Ba PDLMnP – the effect of the expression pedal. In the upper position, it increases the sound by an octave.
Larry Jet
A very cool default patch trying to imitate the “rocket” sound of Larry Graham (the one who is credited with inventing the slap). Only I upgraded it for solo, adding spatial treatments and removed all the low-frequency component.
- DYN Comp – a compressor emulating MXR Dyna Comp, but with the addition of tone selection and attack speed.
- Low EQ – radical cutoff of low frequencies up to 460 Hz.
- Exciter – saturation at the top.
- PH+Dist – phaser+distortion, in the style of Roland JET PHASER.
- Bass Pre – preamp with the rise of medium and low frequencies to break through even in a packed mix.
- Plate
- TapeEcho – an Echo delay with 8 notes tied to the tempo.
Rock Slap
And finally, my basic “clean” tone, which is so often praised. It is really good, and as when playing with a pick, fingers or a slap. In fact, this is a factory patch and a minimum of manipulations have been performed on it. Unless the compressor and equalizer settings are tweaked and a limiter is added so that it does not peak.
- BassA-Wah – auto-wah. It can be ignored, since it is in the chain only because there was slot left, and I rarely turn it on.
- DYN Comp – MXR Dyna Comp.
- BMAN 100 – amplifier emulation of Fender Bassman 100.
- FD-B4x12 – emulation of the Fender Bassman 100 cabinet with four 12-inch speakers.
- LMT-76 – limiter UREI 1176LN.
Afterword
I also wanted to include in this post a review on Zoom B3n with personal impressions, a story about the pros and cons, and so on. And at the same time to capture that Zoom was introduced to the market as the next-gen and why I was not impressed. But in the process of writing, I felt that it would be superfluous. Maybe another time.