NEW: ZOOM B2 FOUR...

[stubbsonic]

I know this unit is capable of outputting 2 signals to a DAW but so far I’ve only managed to figure out how to send L/R stereo. Has anyone figured out a way to send a clean, unprocessed signal?

You can't have both FX and Dry output separately. All the outs (1/4", XLR, USB) are all post FX. I.e., Zoom didn't provide a way to have dry XLR, and FX 1/4", or any other way to do that.

The only way to send dry unprocessed sound to your DAW is to use bypass, or bypass all, so that's kind of pointless. Also, the USB 2 ins & 2 outs post FX, so you can't output signal from the DAW into the FX.

The only thing you can do (ironically) is use a separate DI before the B2 Four.

 

[CDL]

You can't have both FX and Dry output separately. All the outs (1/4", XLR, USB) are all post FX. I.e., Zoom didn't provide a way to have dry XLR, and FX 1/4", or any other way to do that.

The only way to send dry unprocessed sound to your DAW is to use bypass, or bypass all, so that's kind of pointless. Also, the USB 2 ins & 2 outs post FX, so you can't output signal from the DAW into the FX.

The only thing you can do (ironically) is use a separate DI before the B2 Four.

That’s what I figured. Just wasn’t sure if someone had found a workaround or not.

 

[mickebas]

I like to use it in stompbox mode like the old B3. Is it possible?
And have improved the octaver sound on the B2 four compared to the one in the B3?

 

[stubbsonic]

I like to use it in stompbox mode like the old B3. Is it possible?
And have improved the octaver sound on the B2 four compared to the one in the B3?

When it is in "EFFECT" mode (i.e., edit mode)-- the window shows 3 adjacent modules (out of 5, plus the tempo block at the right end). Those 3 modules are controlled (enable/bypass) by the 3 switches. Using the big L/R buttons you can scroll L/R to choose which three neighboring modules are in view. You can't freely assign which FX are enabled/bypassed by the footswitches.

I don't know how the octaver compares to the B3.

 

[mickebas]

When it is in "EFFECT" mode (i.e., edit mode)-- the window shows 3 adjacent modules (out of 5, plus the tempo block at the right end). Those 3 modules are controlled (enable/bypass) by the 3 switches. Using the big L/R buttons you can scroll L/R to choose which three neighboring modules are in view. You can't freely assign which FX are enabled/bypassed by the footswitches.

Ok. Thanks. I downloaded the manual and figured that this could be a possible solution but wasn’t sure. This is the way I will use it.
I’m not that interested in all the preamps/amp simulations since I bought the B6 earlier and found it not to fit my needs and very big. I’ve been quite happy with my B3 but it got smashed and partly broken during transportation. So I’ll foremost be using the synth sound, the chorus and maybe the octaver if they’ve made it more analog sounding and balanced in the B2 four. Also, it would be great if I could use one of the optical compressors and basic Eq before the comp.
I’m also a bit curious if the drumpatterns and drumsounds have improved since the B3.

 

[lildrgn]

I have a yacht rock gig tomorrow and the plan is to use the B2 Four for FOH sound (we are bringing our own PA and sub) and having an amp/cab on stage for a little extra oomph. I will have wired IEMs on hand and plan on using those as well. I was initially not going to bring the amp/cab as I am willing to trust the PA and sub, but one of my mates made me a little nervous.

Anyway, it's possible I may just leave the rig on the sideline in case of emergency and go with my initial plan.

Now that I've had the Zoom for a few months and gigs, I still can't seem to get the master volume dialed correctly. For example, in any given patch, if I have a comp > light OD > preamp > amp (on if DI to FOH/off if using real amp), which one dictates the actual volume? Do I try for unity across the board (one singular volume no matter which pedals are on/off)? And even with unity achieved, is the master volume based on the last effect/amp? What determines HOW loud it is? Meaning, if unity is reached at 80 on the final volume knob, is that akin to having an amp's master volume at 80 (really loud)? Does that cause issues at the mixer (too hot)?

Potentially dumb questions, but I know there are a bunch of smart users in here and hopefully I can get some insights into this pedal.

 

[stubbsonic]

This is just one opinion, and I may be wrong on this.

I think of my bypassed, dry bass level as my "target" volume level for when FX are engaged-- in other words, I don't use the B2 Four for gain or boost, period. I compare them and make them sound the same. It's worth mentioning, my bass has a hot output (passive neodymium side-winder pickups).

From there, when I build a preset, I use the various level controls within the modules to setup whatever gain structure and final level I want. Since the master is global, and the B2 Four has no patch level control (!), this is the way. But I keep using bypass to compare and make sure it is roughly the same level as my dry bass.

Also, this is a pretty reliable way to send the sound person a comparable level that they'd expect on a DI anyway.

The obvious hitch with your use case is that the amp/cab will go to both your amp and the DI out. Zoom didn't think to allow us to move the DI out to different points in the signal path or have a setting to choose DRY DI out.

 

[lildrgn]

This is just one opinion, and I may be wrong on this.

I think of my bypassed, dry bass level as my "target" volume level for when FX are engaged-- in other words, I don't use the B2 Four for gain or boost, period. I compare them and make the the same. It's worth mentioning, my bass has a hot output (it has passive neodymium side-winder pickups).

From there, when I build a preset, I use the various level controls within the modules to setup whatever gain I want. Since the master is global, and the B2 Four has no patch level control (!), this is the way. But I keep using bypass to compare and make sure it is roughly the same level as my dry bass.

Also, this is a pretty reliable way to send the sound person a comparable level that they'd expect on a DI anyway.

The obvious hitch with your use case is that the amp/cab will go to both your amp and the DI out. Zoom didn't think to allow us to move the DI out to different points in the signal path or have a setting to choose DRY DI out.

That makes sense. I will try your suggestion today, with the dry bass signal as the base volume level. My G&L also has really hot pickups (MFD) so I'll keep that in mind as well. Thank you!

 

[stubbsonic]

That makes sense. I will try your suggestion today, with the dry bass signal as the base volume level. My G&L also has really hot pickups (MFD) so I'll keep that in mind as well. Thank you!

Even with hot pickups, I think this approach will work.

Quick tip. Since the envelope filters are overly sensitive (even with sens all the way down), and your hot pickups will make this even worse; put a module in front of the envelope filter that allows you to turn down the signal before going into the filter.

 

[lildrgn]

Last night's gig for the B24 went well! I dialed in the volumes to match a dry signal as suggested by @stubbsonic and it gave me peace of mind for just playing and not worrying about volume. However, our sound guy had some trouble with the mixing iPad and had to use mine instead. That meant no on-the-fly adjustments to my IEMs as needed. We started our set and my bass signal in my IEMs was louder than I like. I had him turn down, but then it disappeared. Luckily, I could hear my bass through the mains, but it wasn't super awesome.

Eventually, we increased my IEM bass signal again and it was louder than usual, but I lived with it. He said out front, the bass sounded great. In fact, both me and my guitarist both went with multi-effects pedals. The sound guy was pretty amazed with the sounds we both got.

Hoping to have video sometime, we'll see what happens.

 

[stubbsonic]

There are a couple new YouTube vids for the Zoom B2 Four. Still not super helpful.

I don't make YT vids, but if I did, I'd play through all the modules one at a time, not the factory patches.

 

[stubbsonic]

In the past, there was a sort of standard recording method where the bass amp would get mic'ed, and a feed from the DI was recorded separately. Whether the two signals were blended in some way during the mix, or if the DI track was just there to "re-amp" later if needed (i.e., plan B). This may be useful (for example) if the mic'ed amp sound during tracking was too overdriven and is impossible to clean up.

With the B2 Four, you could record with an actual DI, sending dry signal to your record channel, and thru to your B2 Four for monitoring. You later apply those FX by sending the recorded track out of a different interface (not the B2 Four) to the analog input of the B2 Four-- and then from there record the outs from any of the USB, XLR, or 1/4" outputs. It's an extra step, but gives you flexibility to change your mind as you get closer to mix-down.

For live, there is an obviously different challenge. Ultimately, you just want to send to the front-of-house the final sound you want in the mains-- period. You send the house the XLR from the B2 Four, and that's that. However, if you play through an amp + cab, or combo on stage, AND use B2 Four's amp/cab models, then you are hearing two amps: B2 Four + real one, and the house is hearing only the B2 Four's amp model.

One solution is to use a FRFR powered speaker on stage-- or just try to get as neutral & flat a sound from your stage amp as possible-- so all the color & drive, etc, comes from your B2 Four. Another approach is to not use any amp modeling on the B2 Four, and have the house just mic your stage amp, or take a DI from the amp itself.

The B2 Four lacks the ability to position the DI out anywhere in the path which limits our options. Do any of you regular giggers have any other thoughts about this?

 

[stubbsonic]

In that recording scenario I should have mentioned that you can record both the dry DI (actual DI) and the FX (XLR) out from the B2 Four at the same time-- but might want to time align them by zooming way in on the waveform and dragging the DI track a little later to make up for any latency introduced by the B2 Four. If you'll punch & edit a bunch, once you know the offset value in samples, you can use a precision delay plugin to correct the alignment on a whole channel/track basis.

 

[gabal]

I just received the Zoom B2 Four, everything is fine but when I move it there is a sound inside, as if there was some loose cable or piece, I don’t know if it’s something normal or if I should return it (it’s new)”

Can you check if those of you who have the Zoom also make the same noise?

Thanks

 

[stubbsonic]

When I shake mine, it makes a little shaky noise, which i think has to do with little parts of the buttons and foot switches just jostling in place. It doesn't seem like a loose piece knocking around, more like a bunch of little bits all moving at the same time-- but not super loose. If I press and hold down buttons & footswitches and shake it-- the sound goes away. But I can't hold down all the buttons & foot switches at once.

If I tip the unit in various orientations, I don't hear something falling around inside.

Are you pretty comfortable disassembling the unit a little bit to see if there's a little broken piece or loose screw? A small plastic piece might not be a big deal -- unless it is a key component or helpful structural element. But a loose screw can possibly short out some power and fry something.

Don't hesitate to exchange it if you think there's some damage from a drop.

 

[gabal]

I was thinking of opening it to see if there's anything loose, but I'm afraid I'll lose the warranty if I do

The sound it makes is similar to loose clock hands clicking when the clock is moved.

I don't know if this clarifies anything or not hahaha

 

[stubbsonic]

If you hold vertical in all directions do you hear a piece or pieces falling inside the unit? Or is it just the buttons, as I described. They seem like the clock sound you describe.

 

[gabal]

No, there is nothing going from one side of the multi-effects to the other, it sounds more like a wire, spring, etc. attached at one end and loose at the other and moving it bumps the loose part against other things inside

 

[stubbsonic]

I guess PM me and we can see if I can send you a little audio file of what my unit sounds like when I shake it.

 

[topper]

Ok, I've been using my B2 Four for a few months now. I need some advice on the amp sims.

I'm mostly happy with the B2 Four, but I'm really struggling to find an amp sim that I like. I don't use a stage amp. So having a decent amp sim is pretty important to me.

I'm trying to figure out if my issue is with the B2 Four or something else. I'm struggling to get tones out of the amp sims with any degree of clarity or high-end. They seem great for really thumpy low-end. But anytime I increase the high eq, select a "bright" mode, or increase the presence even a little bit, I get an ungodly amount of noise. I can compensate in some cases by cutting bass and mid instead of boosting highs. But the "brite" mode on the amp sims are all unusable for me.

Are others experiencing this?

For reference, the B2 Four replaced a Zoom B3 + MS-60B combo. I don't remember having this problem with the amp sims in the B3 or MS-60B.