• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join freeLog in
    Want zero display ads or expanded classifieds tools? Compare plans.

NEW: ZOOM B2 FOUR...

As I use it with my cover band exclusively, my comments will be based on that.
That‘s the reason I just use it on my desk at home, but a B6 for the band. Meanwhile I have the iPhone adaptor, but had no time to try. I had some sounds setup manually by using the B6 settings, works, but it is a pain to set up.

One other thing: I thought to take it with me on vacation, but the headphone output from Aux In plus Bass us weak. Yeah, should look for other headphones (~30 ohm), but for the moment I gave up and took the Roland micro bass with me, which works perfect. No big deal at home, where I use a Presonus iTwo for headphones.
I‘m sure my B2four will never see a live setting, I would prefer comp/chorus/BDDI if I wouldn‘t own the B6.
 
Yea, Zoom may think those arrow buttons are foot-able, but they aren't really. Plus you can't see the display as you use them. If they'd given it a little extra thought & design consideration, they could have made it more workable.



100% AGREE!!! Have a system setting to adjust display hold time, or button-press to exit!! Ugh!!


There is a master volume control, but there's no specific patch volume-- other than what is available in all the blocks. AND you have to exit effect mode to even access the Master Volume (knob 4).



I was suggesting always comparing volume to the bypassed bass, that way your point of reference is always only one foot click away-- also, you have a fairly safe level reference as you wouldn't expect your dry bass to be either too hot or not hot enough. On my bass there is a level difference depending on the pickup selection so it's not fool-proof.

As for the Master Level, I set mine at 100 (arbitrarily). I did not compare this level to my dry bass into the same destination. But I suppose that doesn't matter much. I wanted a reasonably hot level but with room to boost (to 120) if needed.



Yup. It is the moment to moment reminder that it is a budget Zoom pedal. What's worse is that Zoom COULD have made WAY better use of the display for readability. On one hand, I get why. New users can have more fun with the graphics. OTOH, if I could switch to a more readable display mode in the system settings, that would help a bunch.



Using it on an informal gig for some simple FX mostly, it's fine. I tend to hang in MEMORY mode and change presets rather than turning individual FX on/off. It's fine for my needs. I have nicer devices for when I need 'em. Just wanted something relatively cheap that I could mess with-- and a shallow learning curve.

Oh man, that "master volume" tip is a good one! I had no idea!! Thanks for that!

Now, I've spent a few nights messing around with it. I got my setlist for a gig next week and I decided to do deeper dives on all the tones in the songs we're playing. Instead of using my general band sound patch, I wanted them to be song specific. So for example, we will start our set with Redbone's "Come And Get Your Love," which has a really thuddy bass tone to it:



I went through the preset effects and tried to find one close to that tone. I copied the patch, renamed it for my purposes, and pasted it at the end of the patch bank. So, unfortunately, I don't know the name, but it uses the Dark Preamp > B-Man 100 > Bass Parametric EQ. I think a P-bass with flats would sound best for this tone, but mine needs some setup work, so I'm using my L-1000 instead. A live video of Redbone shows the bassist playing with fingers (which is how I do it) but I thought he was palm muting with a pick based on the YT video above.

Among others, we also cover "My Life" by Billy Joel. That bass sounds very thin, bridge pickup, nasally. I try to do the same with my L-1000, putting the pickup switch to the front, which thins the tone a bit. Of course, I don't have a bridge pickup on that bass, but with the preset effects on the B24, I used one that uses the Multiband Compressor > Monotone amp, it comes pretty close (to my ears).



Anyway, all this to say, I repurposed about 25 or so patches and copied/pasted them all to the bottom of the list. Using the iOS app, I can multi-select all the songs and put them in the "patch pool," where they are in a master list of patches that I'd use on a gig. The trouble is, they just sit there. Looks like I can share patches to other people via email, etc. I can also copy them to my device.

So, before my show, I will have to put the patches in order of the song so there's minimal fuss with my feet. Though, theoretically, I'll have my iPad with me at the show (I use it to adjust my IEM mix), so I could plug in to the pedal, but I think that may make it even more convoluted for yours truly.

I'll keep the thread posted with updates. I have rehearsal on Sunday, then a private party on a Thursday afternoon, of all times.
 
When I manually take over patches from the B6 to B2Four, the sound is not that different. To me, it‘s just the handling that is way better on the B6.

more footswitsches
better layout
better display
two separate, adjustable inputs
a real output knob for line-out volume

Soundwise, amps and cabs are two separate ‚effects‘ on the B6, not combined like on the B2Four.

I don‘t use the rhythm function, but I think it‘s not part of a patch.

And the B6 programming can be done via a Mac (or PC, I assume) instead of only using a smartphone.

So, to me the B6 is much more user-friendly, but of course it‘s a larger device.
 
I sold my B6 earlier in the year to help fund an amp purchase but missed it soon afterwards. I didn't want to pay new but used ones were not popping up. I found a used B2 Four in the classifieds for a good mint in box price and I've had it for about a week now. It is not nearly as user friendly as the B6 in my opinion but I think the sound is a tad bit better in some ways but other ways it's not. It is a clever little device as an amateur/bedroom/toy/studio/tool. I guess it could be deployed for live playing. But it seems the B6 has it beat for ease of use and likely more pro-ish features like @AchimII states. I also figured the B6 will be replaced with a more powerful device in the next coming months/year.

On the B2 Four, the bank of pedals and effects (and the tuner) is nice to have at your fingertips but I think you could likely eq most of the amps models with your own amp and use overdrive to get some grit or grind. It must be different if you don't have IR control and you are DIing out.

I could be wrong but the fliptop sounds very close to a fliptop. very ampegy.
 
  • Like
Reactions: BrentSimons
I also figured the B6 will be replaced with a more powerful device in the next coming months/year.
History tells us Zoom release updated products on a 4-year cycle.

E.g. it was four years between the launch of the B1 Four and the B2 Four.
E.g. The B3n was launched in 2017 and the B6 was launched in 2021.

Additionally, Zoom usually release a guitar version of new gear the year before the bass version. They released the G6 in 2020.

So I expect:
  • updated G6 (G7?) in 2024.
  • udpated B6 (B7?) in 2025.
 
  • Like
Reactions: BrentSimons
Rehearsal went pretty well with the B24 the other night. Having a patch per song seemed a little overkill, but... I liked it. Will anyone notice? Unknown, but it allowed me to connect more with the tunes, which I enjoyed.

With Stubbsonic's tip above about the master volume, I just left it as is (60, or 12 o'clock is default) and pretty much left all the individual effect volumes alone as well. Doing a quick runthrough in the house, bass > B24 > Orange Terror Bass > 212 cabinet, everything sounded volume-appropriate; there were no spikes in different patches, nothing too drastic.

At rehearsal, I use IEMs and for the most part, the bass sounded good. However, on one or two songs, it seemed louder in my IEMS and on one song, I could see my signal almost clipping via my iPad mixing station. I turned down a little at the bass, but played on. It didn't sound bad in-ears, just a little louder than before. Not sure what that was, but I'm sleuthing it.

Couple things in having all the patches for all the songs:
  • Set list sequencing is a must. Due to the quirky nature of the pedal interface, any up/down/left/right with the foot switches is a recipe for disaster. Having the patches in order of my set will minimize the button presses.
  • If I have a song that needs an effect clicked on/off, I have to click into the patch, have the effect on one of the three visible pedals, and be ready to hit it. After the song, I have to click out of the patch (upper left button), and hit next (rt arrow) on the controls for the next song.
  • At home, I'm using a free iPad stand I got and interacting with it that way. I refuse to use it on stage however, as anything other than a control for my IEM mix.
    • 20230919_175525.jpg

    • pardon all the junk in the background!!
  • For the songs where there is no effect switching, I just leave it at the patch selection screen (where you can see the names displayed).
  • If I wanted to use the metronome (I don't start any songs, but might like to have reference), it's cool but because it's stored in the 6th slot (far right), in order to use it, you have to have it taking one of the 3 spots on the screen. So if you have 3 effects you want to use and a metronome, you're gonna have to press buttons (hassle).
    • re the metronome: maybe someone mentioned it above or it's possible, but would be cool to have the metronome (when used) light up the 4th button (bypass). For me, I hardly use that, but I think the light and button could be used to toggle the metronome. Also, metronome cannot be turned on/off; when it's occupying a slot, it's always on.
Gig is this Thursday, weirdly a corporate thing. We got hired to play a company's end of summer shindig. They're bussing the employees from Seattle up north to Bellingham. We are expected to play from 1-3pm or something like that. I think we're background music as I can't envision these tech people getting trashed midday and then have to bus back home. Be on the lookout for a gig report, that's for sure.
 
Rehearsal went pretty well with the B24 the other night. Having a patch per song seemed a little overkill, but... I liked it. Will anyone notice? Unknown, but it allowed me to connect more with the tunes, which I enjoyed.

With Stubbsonic's tip above about the master volume, I just left it as is (60, or 12 o'clock is default) and pretty much left all the individual effect volumes alone as well. Doing a quick runthrough in the house, bass > B24 > Orange Terror Bass > 212 cabinet, everything sounded volume-appropriate; there were no spikes in different patches, nothing too drastic.

At rehearsal, I use IEMs and for the most part, the bass sounded good. However, on one or two songs, it seemed louder in my IEMS and on one song, I could see my signal almost clipping via my iPad mixing station. I turned down a little at the bass, but played on. It didn't sound bad in-ears, just a little louder than before. Not sure what that was, but I'm sleuthing it.

Couple things in having all the patches for all the songs:
  • Set list sequencing is a must. Due to the quirky nature of the pedal interface, any up/down/left/right with the foot switches is a recipe for disaster. Having the patches in order of my set will minimize the button presses.
  • If I have a song that needs an effect clicked on/off, I have to click into the patch, have the effect on one of the three visible pedals, and be ready to hit it. After the song, I have to click out of the patch (upper left button), and hit next (rt arrow) on the controls for the next song.
  • At home, I'm using a free iPad stand I got and interacting with it that way. I refuse to use it on stage however, as anything other than a control for my IEM mix.
  • For the songs where there is no effect switching, I just leave it at the patch selection screen (where you can see the names displayed).
  • If I wanted to use the metronome (I don't start any songs, but might like to have reference), it's cool but because it's stored in the 6th slot (far right), in order to use it, you have to have it taking one of the 3 spots on the screen. So if you have 3 effects you want to use and a metronome, you're gonna have to press buttons (hassle).
    • re the metronome: maybe someone mentioned it above or it's possible, but would be cool to have the metronome (when used) light up the 4th button (bypass). For me, I hardly use that, but I think the light and button could be used to toggle the metronome. Also, metronome cannot be turned on/off; when it's occupying a slot, it's always on.
Gig is this Thursday, weirdly a corporate thing. We got hired to play a company's end of summer shindig. They're bussing the employees from Seattle up north to Bellingham. We are expected to play from 1-3pm or something like that. I think we're background music as I can't envision these tech people getting trashed midday and then have to bus back home. Be on the lookout for a gig report, that's for sure.
How much is your orange coloring the tone?
 
It might cause a little confusion to refer to slot 6 as a "metronome". Though lildrgn is right that it is pretty useful as a visual metronome, even though it does not click.

BPM is a hardwired tempo-setting utility at the end of the chain. It allows you to tap or dial in a tempo that can be used with delays and the rhythm module. Also, the tempo you set in the RHYTHM block (drum machine) is linked to the tempo in the BPM block. If you change tempo in either place the other will change.
 
It might cause a little confusion to refer to slot 6 as a "metronome". Though lildrgn is right that it is pretty useful as a visual metronome, even though it does not click.

BPM is a hardwired tempo-setting utility at the end of the chain. It allows you to tap or dial in a tempo that can be used with delays and the rhythm module. Also, the tempo you set in the RHYTHM block (drum machine) is linked to the tempo in the BPM block. If you change tempo in either place the other will change.

Thank you for clearing that up! The BPM tool is more than I'll ever need, but what you mention makes sense. I keep meaning to read the manual again, but you do a better job explaining to me (and this thread) than that manual ever will. I'll mess around with the drum machine soon!
 
  • Like
Reactions: stubbsonic
If I have a song that needs an effect clicked on/off, I have to click into the patch, have the effect on one of the three visible pedals, and be ready to hit it. After the song, I have to click out of the patch (upper left button), and hit next (rt arrow) on the controls for the next song.
How about
Patch 250 with effect
Patch 251 without effect?
That‘s what I do on the B6.
 
How about
Patch 250 with effect
Patch 251 without effect?
That‘s what I do on the B6.

I like that idea, but to me, unless I need more than the effects allowed per patch, it's redundant. Luckily, for nearly all of our songs (yacht rock covers), the tone I start with is the tone I end with. Only on a couple are there effects I need to click on and/or off.
 
There are other devices that give you more configurable control of how buttons (even external ones) can be used for more detailed command of a show.

In the case of the B2 Four, Zoom punches above its weight for sounds/sonics-- BUT (as we've said many times) has a stupid non-foot-worthy button layout, zero customization of footswitches, and no MIDI in for patch switching.

I think for many people, having three different sounds to switch between in a given song is fine. For gigs where sets flow quickly from one song to another, having to use the lower buttons to move between presets isn't too bad.

TIP: if you put your set in backward order on the preset #'s, you can use the lower left button to descend patch numbers without blocking the display with your foot as you press.

HACK/MOD IDEA: Create a raised bump on the surface of the lower right button (using sugru) so it is the same height or higher than the center switch. If the bump is on the lower right corner of the button area it could give you better foot-access to the center, lower right, and lower left switches. Haven't tried it. Just musing.
 
HACK/MOD IDEA: Create a raised bump on the surface of the lower right button (using sugru) so it is the same height or higher than the center switch. If the bump is on the lower right corner of the button area it could give you better foot-access to the center, lower right, and lower left switches. Haven't tried it. Just musing.

Good idea. Playing tag with the tip of my toe to try to hit those directional squares is challenging. I also put a larger knob on the footswitches, which cuts into the real estate on the squares. Maybe I need to remove it from the upper left button.
 
It just dawned on me that if you need/want "banks" of three sounds, you could use the up/down buttons for +/- 10 presets.

For example, start on 201, then use up/down (upper right/upper left) to select the banks in the next 10s.

201-203, 211-213, 221-223

For a different set, start on 204. etc.
 
Planning on using this for a few different purposes, how pleased do you think I would be coming from a happy Helix native user in my DAW with the following scenarios:

-Bass -- > Zoom -- > 1/4 to power amp, XLR/DI out to FOH
Using zoom for a full pedalboard simulation, OD/compression/envelope/amp & cab sim

-Bass -- > Zoom -- > Tube Preamp -- > Power amp
Using zoom for OD/compression/envelope but not amp/cab

-Bass -- > Analog pedalboard -- > Tube Preamp -- > Zoom --> Laptop
Using zoom as an audio interface with some light compression to tame the signal a bit

I'm not picky about the tone of the effects since I have Helix native for recording, but I do care a lot about how they feel to play. Thanks!
 
The Zoom should work well in all your scenarios, but with the 3rd scenario, you'll want to make sure your level at the input of the Zoom isn't too hot (that would be the case for any type of unit in that chain).

I think the Zoom will compare very favorably to the Helix/Line 6 stuff, especially with regard to dynamic response which Zoom has always been good at, and the B2 Four is even better.

I can't comment on the OD's, as I don't use them. The compressors are very quick & responsive, and sound great on bass. I like the amps and cabs. They're a bit humpy in the lows (probably just like the originals). All can be tamed with EQ.

I think for sound you'll be happy. It's fairly straightforward to use, but has quite a few limitations.