Zoom B3 factory patches – Effects – Basschat – Join the conversation
It gets rid of the XLR out though. I’m dead happy with the relative simplicity of three effects at a time in the B3 for now. I’m in a fairly loose pub covers band and it’s fun to have different effects and use them on the fly however I fancy. Does the bank function mean that you can access more than 3 pedals within one patch? That way, you can give them names that are relevant to your set. I personally tend to favor and D-Comp models.
– Zoom b3 patches download
Here are some sound samples recorded with my Zoom B3 bass mutlieffect. Note I’m a self-taught, intermediate player. Click the cgraham. My quick review: Pros : The price! Clean blend on most effects which is often desired by bass players plus a master per-patch clean blend. Cons : A lot of the effects aren’t fabulous sounding which is always one of the issues with multieffects, though you usually have more than one to choose from.
Drive effects are also not “touch sensitive” so they have the same basic sound at all input volumes unlike a natural tube overdrive which cleans up when the input is rolled off. No MIDI input so no way to slave a MIDI clock or control via MIDI, in fact there isn’t even a tempo setting per-patch it’s one global setting which is super annoying if you want a bunch of different patches pre-programmed to specific bmp.
Requires an external footswitch to use tap tempo, but then you cannot use an expression at the same time as there’s only a single sereo control jack. No really good way to directly switch paches while playing. An editor app, but no online library to faciliate easy user sharing of patches, can power from a Voodoo Labs ma 9V connector so you don’t need the annoying external power brick. Patch Download right-click and choose Save As. MonoSynth into MonoPitch one octave down and blended into Z-Synth which is the key to the deep, fat, rich tone heard.
This bpm clip illustrates the limit of the retriggering possible with the monosynth effect, at least with my playing ability. I’m heaily palm muting and playing all down strokes which seems effective with aiding retriggering though you can hear my notes falling behind the beat frequently. Playing quarter notes instead is no issue but I thought I’d illustrate the boundaries of the performance of the unit. Batch of custom synth patches, some of which are leverages from the factory “Moog” patch.
Sound clips is just me noodling live through each of the patches included, cycling through them in patch mode on the B3. A few bit crusher patches. My attempt at heavily gated, high gain fuzz sounds. You hear clean, then the three patches shared here, then a standard gated fuzz from the Octavius Squeezer. Keep in mind no amp sims are used here so you’re hearing the raw tone of the fuzz. Listenin to the clip I find the Zoom fuzz to be more pleasing, but overly bass laden compared to the Squeezer fuzz which sounds awesome through my amp.
For some reason it comes through thin sounding here, though it is definitely a more mid-focused square fuzz. Bah, should’ve recorded through an amp sim. Patch is bypass by default, then Pitch Shift, MonoPitch, and Octaver all set to soloed so you can quickly compare some of the different octave sounds. First crack at a plucked double-bass type sound. Make sure to play like you’re using a double bass – with fingers, and near the neck.
Quick attempt to compare various compressors. Fingered run, then picked run, both with obnoxiously accented attacks at the end. I did my best to setup each comp similarly so you can hear their performance and tonal differences. Check the shared patch for my exact settings. Best attempt to create a couple patches that sound somewhat like a classic Civil War muff using my Wren and Cuff Box of War tone as a template.
All of my current synth patches. Whipped up a fairly simple synth bass line using jumped octaves which are typically a challenge for most monophonic pitch tracking effects. Another attempt to create a patch that sound somewhat like a classic Civil War muff using my Wren and Cuff Box of War tone as a template. This one soundsa little more creamy due to the heavy compression, and I think tonally less thin and brittle in the top end due to using a preamp as a tone shaper to roll off the highs and scoop the mids.
On the downside, no noise gate so it has an audible noise floor. Patch I made for a bridge in one of my band’s new songs. Has a fairly fat envelope filter with an optional ducking delay which sounds great with held notes as the delay fades in. You’ll likely need to adjust the filter sens as my bass has a fairly high output so it opens the filter easily, some of my other instruments require a bump in sens.
Patch I made to test out three comps. Theoretically set for similar output levels and overall compression action so you get to hear the difference of the comp models.
I personally tend to favor and D-Comp models. I couldn’t really nail the specific tone but I think it gives you an overall static LPF quality which could be good for reggea, dub, etc.
If you need more highs in the tone adjust the Frequency in the splitter. Last updated
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I couldn’t really nail the specific tone but I think it gives you an overall static LPF quality which could be good for reggea, dub, etc. It kind of depends on the band. Regards, Vic. Sign In Sign Up. Batch of custom synth patches, some of which are leverages from the factory “Moog” patch.