It is amazing to me how quickly the world of multi-effects has evolved. I remember not too long ago (circa 2001) evaluating some of the current attempts at digital amp and effects modeling and thinking that they were OK for practice but the sound quality does not compare to separate stomp boxes.
In the past few years, however, multi-effects and amp modeling technologies have moved beyond what I would call "studio toys" into fully capable rigs. At the end of the day, it's hard to argue with the convenience of having tons of great amps and effects pre-programmed and instantly available in such a small package.
The level of competition in this area has been intense, which is great in that with each evolutionary cycle we keep seeing better sound quality and more features shoe-horned into these boxes. Depending on your style and needs there are some amazing options that come in all shapes and sizes.
Often overlooked in this market is Zoom. A Japanese company, they have been a mainstay in the guitar effects game since 1983 - with one of the earliest forays into computer based multi-effects being the Zoom 505 in 1996.
Zoom is distributed by Samson Technologies in the U.S., and I was fortunate to review their flagship product, the G9.2tt. The G9.2tt is a cutting edge multi-effects and amp simulator with some really cool features not to be found on other devices, such as the innovative Z-pedal and dual tube pre-amps. If you have missed the G9.2tt until now, you should read on to find out all the details!
Features at a Glance:• 32-bit ZFX-3 processor• 96kHz sampling rate/ 24-bit AD/DA converters• World's fastest patch change speed: 7ms• Supports 200 patches, 100 factory and 100 user• 106 effects/ 10 modules• Two 12AX7 tubes for natural overdrive/compression and drive/volume• Dual Expression pedals• 3D Z-Pedal allows for multi-dimensional parameter control• USB interface for connecting directly to a computer• MIDI Support• Steinberg Cubase LE software bundled• Remote Patch Editor/Librarian available online
Setup
Depending on your application, the G9.2tt could take 30 seconds to set up or an hour. At its simplest, you just take this baby out of the box, plug in your guitar, and plug the mono-out to your amp or the L/R stereo-outs to your PA. Click the OUTPUT GAIN switch (-10 dBm or +4 dBm) to the correct setting for your amplification method (e.g., recording or amp). Great sound in 30 seconds flat.
If you want use the G9.2tt as audio interface to your DAW or use the G9 Librarian, then you’ll have to do a bit more legwork. First, go to the Zoom G9.2tt download site ( http://www.zoom.co.jp/english/download/software/g92tt.php ) and grab three files: the ASIO Driver, the G9.2tt Editor Librarian, and the additional patch set. Second, install the ASIO Driver and the Librarian. Third, if you do not already have a preferred DAW program installed (e.g., Tracktion, Ableton Live, Cubase, etc.) then you’ll want to install the copy of Cubase LE4 included with the G9.2tt. Keep the patch set on hold for later use with the librarian.
As an audio interface, I found the G9.2tt to work surprisingly well. I simply installed the ASIO driver and booted up my DAW. Even though I’m not a Cubase user, I installed the the LE4 version provided to complete the experience. A well written installation guide specific to the G9.2tt is included in the package to walk you through the steps. After a few minutes of testing, I found LE4 to be fairly robust, with excellent support for VSTs. I also was able to use the G9.2tt with both Mackie Tracktion 3 and Sonoma Wireworks Riffworks through ASIO with zero trouble.
With the G9 acting as the soundcard, there was practically zero latency (5.5ms), as well. Thankfully, the ASIO drivers are solid, and I detected no pops or dropouts. This setup works great if you are only recording guitars through the G9.2tt. If you are recording from multiple sources simultaneously, such as guitar and vocals – then you’ll likely run the G9.2tt through the stereo outs into the inputs on whatever interface you are using. (Note that if you do not use the montoring capabilities of the G9.2tt you will be subject to the latency within your recording setup.)
Now the hard part and the only thing I found overly cumbersome on the G9.2tt. First answer this question. Do you want to?
a) Back up your patches to your computer
b) Use the G9 Editor/Librarian to edit patches
c) Upload a patch set to the G9
If you answered “Yes” to any of those three queries, then you’ll need a secondary piece of hardware. While the G9 operates as a soundcard via USB, the G9.2tt sends and receives patch information via MIDI. Therefore, you’ll need a MIDI interface connected to your computer. For my testing, I used a MOTU Micro Lite USB Interface ($129), but there are other less expensive options such as the M-Audio MIDISport ($40). If and when Zoom decides to release an update to their firmware (currently v1.08), I would ask that they consider the adding the ability to send patch data via USB.
The visual patch editor is intuitive and functional, but don’t expect a lot of eye candy. It’s also not real-time, so you’ll have to upload your patches to the unit before you can hear them. In my testing, creating a new patch consisted of creating the bones on the editor, downloading the patch set to the G9, tweaking the sound to my liking using the interface on the G9, and then saving and re-uploading back to the computer. Because of this, you’ll want to give the manual a good read. Thankfully, Zoom also includes several “cheat sheets” in addition to the manual to facilitate patch creation and editing.
In similar fashion, the Librarian is also more functional than pretty. It is a utilitarian database program that allows you to load patch sets, create libraries, and edit names/comments, and backup your patch sets on computer. The librarian does allow you to keep all of your patches in subcategories that you create, which is a handy feature for organization. For instance, you could set-up subcategories by style (e.g., blues, metal, jazz), by gig (e.g., worship, top-40, weddings), or by setting (studio, stage, recording). From here, you can create patch sets (of up to 100 user patches) that can be uploaded to the G9.2tt. Although setting up your patch sets takes a significant upfront investment of time, it is a great tool if you have gigs with regular set lists or you play a variety of styles and venues where you need to quickly change out your required sounds.
There are 50 patches in four groups (A, b & U, u). You’ll find 50 factory presets patches already loaded on the unit. When you first boot up the G9.2tt, these 50 presets are loaded in all four groups. The difference between A/U and b/u is that the former are “live” presets for use through an amplifier and the latter are “recording” presets for connections to a computer or other device. Since A & b are read only (factory settings), if you want to store new patches you create or modifications of existing ones, you’ll have to use the 100 available slots in the U & u banks.
In some ways, it is actually easier to edit patches directly from the G9.2tt interface. It is well designed and there are separate buttons for each of the major functions.
Sound Test
For the sound test, I wanted a variety of options so I used my Gibson DC Standard for a heavy humbucker action, a G&L Comanche as my single coil screamer, and an Epiphone Dot Deluxe for some Jazzy vibe. I ran the G9.2tt into my trusty Ampeg J20 tube amp via the L/MONO out, through studio headphones via the PHONES jack, and finally through a studio setup (USB to computer, G9.2tt as soundcard monitored through a set of KRK V6’s).
The first thing I tested was the tuner. If you hold down the BANK UP switch for at least 1 second, you’ll enter tuner mode. Nothing special here, it does exactly what it says it does and is quite accurate. What I did like about it was that the tuner function was easy to get into and easy to get out of, which is a necessity when you only have 30 seconds in between songs to double-check your tuning or go to Drop D. You exit the tuner by tapping the BANK UP switch a second time. The LCD screen is a bit small so you may have to bend over to see it if you are on stage, but it does have a bright backlight.
Next, I tackled the 50 preset patches. There is quite a varied group in this mix, each one with A and B channels. Note that you’ll need to tweak the EQ, Presence, Accelerator, and Energizer settings to your tastes – all easily done using the knobs provided. My favorites were:
• CleanCMB – Easy clean sound with authentic tube overtones.
• AcoJazz – Great clean, ambient tone with a sweet shimmery feel.
• Diezel – Channel B’s driving tone (dry and not too much gain) was great in Drop D.
• AC30TBX – Skip the Z pedal on this one, but channel B has got a definite VOX-esque saturation.
• W Fender – Decent simulations of Twangy Twin Reverb on Channel A and Fender Bassman on Channel B.
• SurfRock – Very clear, spanky clean tone. Z-pedal on this one controls phaser and tremolo.
• NotSubtl – Hot, super distorted, high-gain tone. The sound of modern metal, that is – like the patch name – not in the least bit subtle.
• BeckOct – I don’t know if this sounds like Jeff Beck really, but when I added some treble, I was able to grab some clear fluid lines. Skip the Z on this one too, the echo is too rangy using the Z.
• KingTone – Growly bluesy tone. Nice crunch on the lower strings, clean on the higher strings.
• SatchDST – Check out Channel B on this one for that Marshall scream.
• BrianDly – Not perfect, but I could definitely hear some Queen when channelling some Brian May.
• KurtDRV – Almost too perfect! Zoom's noise reduction actually gets in the way of this one. Back off on the noise filter to recapture some of the thick Nirvana raunchiness.
I spent a great deal of time experimenting with the myriad of selections available. Suffice it to say that there are too many options to go through in this brief space. Here’s a list of the amps models and effects from which to choose. I like the fact that although there are not a million options, these are all well selected and individually useful.
Amps:
• Fender Twin Reverb '65
• Fender Tweed Deluxe '53
• Fender BASSMAN
• VOX AC30TBX
• Marshall 1959 SuperLead 100
• Marshall 1962 Bluesbreaker
• Marshall JCM800
• Marshall JCM2000
• Roland JAZZ CHORUS
• HIWATT Custom100
• MESA/BOOGIE MarkIII
• MESA/BOOGIE Dual Rectifier
• ENGL E650 Ritchie Blackmore Signature 100
• PEAVEY 5150 STACK
• Hughes & Kettner TriAmp MK2
• Diezel Herbert
• Z Combo (ZOOM original)
• Z Stack (ZOOM original)
Distortion/Overdrive:
• BOSS DS-1
• BOSS MT-2
• BOSS OD-1
• Ibanez TS808
• KLON CENTAUR
• Marshall Guv'nor
• MXR Distortion+
• PROCO RAT
• MATCHLESS HOT BOX
• Dallas-Arbiter FUZZ FACE
• Electro-Harmonix BIG MUFF
• Extreme Distortion (ZOOM original)
• Digital Fuzz (ZOOM original)
• Z Clean (ZOOM original)
• Z OD (ZOOM original)
Other Effects:
• Compressor/Limiter
• 6 band equalizer
• Chorus
• Octave
• Pitch Shifter (including intelligent pitch shifting)
• Echo
• Delay
• Reverb
Note: Multiple options within each of these – for instance 12 types of Reverb and 7 types of Delay
For grins, I also plugged in a Greg Bennett ADSR dreadnaught acoustic I had lying nearby. This acoustic has a LR Baggs Element transducer pickup that I installed, which can get a little nasally without some EQ. To my pleasant surprise the 12AX7 tubes really warmed up the piezo acoustic sound. In fact, some of the clean preset patches (read the Patch List guide to find the clean settings) were really great! At first, I landed on AcoJazz, but then moved on the J-Chorus for more of a shimmery feel. SurfRock on the clean setting added a sweet amount of tremolo without overpowering the acoustic sound. My favorite was LukeCLN, based on Steve Lukather’s sound – clearly for electric, but it turns out to be great on acoustic as well.
One of the most fun things about this unit is the Manual mode, or as I like to call it, the “Pedal Board” Mode. Similar to the tuner, you hold down the BANK DOWN switch and it goes into manual mode. This allows you to use the 1-5 switches to turn on/off effects rather than switch between patches. For instance, instead of changing the entire patch, you can just kick-on/off selected effects such as pre-amp (distortion), chorus, delay, reverb while keeping the same overall amp, cabinet, and other tone settings. Two of the switches are fully programmble to almost any function.
Finally, this has to be mentioned separately. The noise reduction techniques that Zoom uses on this pedal are uncannily good. When the guitar is supposed to be silent it is very silent. Even on high gain settings, there is no background “hiss”. Noise is something that has bothered me about other modelers in the past. I’m glad that Zoom got it right on this unit. Funny enough, it’s almost too quiet on some settings. For some amps and effects, like the Tube Screamer, I am used to hearing a bit of hiss in the background and have learned to ignore it. All-in-all, the noise-gate alone makes the G9.2tt a worthwhile investment for recording applications.
One thing I did not try, but I’m glad it has, is the external effects loop. If you have an effect you can’t do without it is nice to know that you can extend your possibilities.
Grade: A
Pros: Solid Build, Fast Patch Switching, No Hiss – Super Quiet, Z-Pedal, Amazing Tone Through Tube Amp, Effects Loops, Aux In, Manual “Pedal Board” Mode
Cons: Requires MIDI interface to access Patch Librarian, Sometimes the Z-pedal goes out of phase, Software functional but not polished
Street Price: $399
Conclusion
The Zoom G9.2tt is definately one of the most advanced multi-effects units on the market. Because it doesn't have the market share in the U.S. that other companies enjoy, it is possible that you may have missed it. Nevertheless, as far as multi-effects units go, you will be hard pressed to find one with as many features as the G9.2tt. The most compelling are the input and output 12AX7 tube gain stages (i.e., Accelerator and Energizer), and the Z-pedal.
The only gripes I have are the requirement of a MIDI device to edit and backup patches and that the software could use a lot more spit and polish. In fact, for this, I would like to see something more akin to what Zoom recently released with the C5.1t.
If you are in the market for one of the higher-end multi-effects units, then you should give the G9.2tt a hard look. The effects quality is excellent, the ability to customize is extensive, and the noise gate technlogy is impressive to say the least.
For these reasons, I'm happy to give the Zoom G9.2tt the 2008 "Rig Ready" award from GuitarGearHeads.com!
