NEW: ZOOM B2 FOUR...

[lildrgn]

Musings about volumes, overcomplication and most efficient way of using the B2 Four.

I have created patches for songs that my band is playing. Most are amps and compressors, only a couple have effects beyond that. I'm trying to make sure the output of each patch is around the same as the others. I sort of eyeball it (earhole it?) by playing notes on one patch, then bouncing to the next to see if there's a huge variation or not.

I have left the master volume controls at 100, with low/mid/high all at 0.

It's very possible I'm complicating matters by creating patches for songs that may not need them. For example, the bass tone in a song like "Swingtown" by Steve Miller Band, to me, is fairly generic; do I really need to create a patch for it (Black Optical Compressor > SVT)? I could simply create a "Generic SVT" patch, use that instead. Same with Toto's "Hold The Line." I could likely get away with using the same patch or generic patch for both songs, but what's the fun in that?

By doing that, any song that uses that generic patch would have the same volume output throughout. The way it is now, with a 20 song set and 20 patches, it could be simplified with some generic patches. I'm trying to get maximum usage out of the B24.

I mean, the way I'm using it, it works and I like how it sounds, but I do wish there was a way to get consistent volume across all the patches. Last thing I need is to switch patches and have too much/too little bass for any given song and no really easy (re: B24 interface, ugh) way to adjust on the fly.

Is anyone else gigging/rehearsing with this thing on a regular basis? If so, how are you using it, what kind of tips do you have?

 

[stubbsonic]

As I have mentioned before, using dry (bypassed) level as a reference really helps. I'd imagine throwing compressors into the mix, makes this difficult because of how it will make quiet phrases louder and it will prevent you from balancing up when you play harder. That's the challenge with compressors!!

I find this to be especially tricky in playing live with drums-- because though drums may be compressed in the house, they're uncompressed on stage-- so you have to dig in to balance with them.

 

[Samus C]

just got this yesterday, and trying to get a parallax-style distortion out of it, but it seems like the "djent" pre doesnt let enough low cleans through. does anyone have any suggestions on how i should approach this? or just move to something where i can split the signal into two, like a Fm3 or something?

 

[stubbsonic]

The FM3 is a monster. The only thing it lacks for bass players are solid state bass amps. It's a disappointing thing, but from my experience, I can get the tones I need using EQ only-- which leaves quite a bit of CPU left over for lots of other shenanigans. If you have the budget for an FM3, then don't waste time with the B2 Four. I suppose it's worth mentioning that the FM3 has a much steeper learning curve, but the versatility is out of this world.

The B2 Four does have wet/dry on most of those modules. Does blending in more dry signal help with your djent sound?

 

[CDL]

Any one have issues with the noise of the foot switches themselves? They seem incredibly loud to me. Any ideas on ways to make them quieter?

 

[txhawaii]

can anyone share their settings with their compressors?

also...zoom doesn't have any GK amps. I'd like to create the 800rb sound.

Thoughts?

 

[Yentzee]

Hi,
I did not read the whole thread, stopped at page 15 or so some weeks ago, so sorry if this question might have been asked before.
Please correct me if I am wrong.
The EQ's and compressors are analogue modeled, right? This means that the whole circuit is emulated digitally and allows to drive the algorithm into saturation (this is how I know it from VST / AU plugins).
As there is no meter anywhere I am wondering how to do the gain staging.
From my understanding every plugin has a reference gain (in daws usually either -12 or -18 dB FS) which compares to 0dB VU and is the highest gain the signal can enter a processor / algorithm without saturation.
Now I am wondering how to do this with the algorithms in the B2 four. Just setting some arbritary values seems counterproductive as the sound will be a result of chance instead of chosen parameters.
My idea was to setup some presets and then apply a controlled signal to just the first algorithm and m easure in the daw, activate the second, measure etc but this leaves no room for dialing in different values.

 

[stubbsonic]

The EQ's and compressors are analogue modeled, right? This means that the whole circuit is emulated digitally and allows to drive the algorithm into saturation

There are some generic clean EQ's in there that are not analog modeled-- and don't have any saturation. The compressors are models, but I don't know which of the originals had saturation.

I kinda doesn't matter because you can add saturation pre or post EQ/dynamics. If you use the EQ controls on pre-amps or amps, those might behave like analog/tube devices, but I don't know.

As for gain staging, the best advice I can give is to compare level to bypassed level. You can use this to determine when you are adding level. It gets tricky when compression is added in, because it will vary depending on how hard you play.

The fall-back advice (which is arguably something of a cop-out) is to say "Use your ears." There are times when meters could be more helpful -- even if the meter was a module that you moved around during editing, but got rid of when you were done with it. With a device at this price point, the expectation is that you would use it like you would use the physical devices-- no meters, just make a chain, turn some knobs and get it where you need it.

 

[GASsyFunker]

I've had the Zoom b2 four for a couple of months now, and I will say that other than the octave/pitch shift functions (which I use a Sub n' Up for), there are a lot of good sounds available. I've also found that even though I'm running through an amp and cab already, I use cab sims on most of my patches because they help add a distinctive tone with minimal tweaking. The Aguilar, Ampeg, and Fender Bassman are my favorite ones, and I often use the gain setting on these sims as an overdrive.

 

[txhawaii]

I've had the Zoom b2 four for a couple of months now, and I will say that other than the octave/pitch shift functions (which I use a Sub n' Up for), there are a lot of good sounds available. I've also found that even though I'm running through an amp and cab already, I use cab sims on most of my patches because they help add a distinctive tone with minimal tweaking. The Aguilar, Ampeg, and Fender Bassman are my favorite ones, and I often use the gain setting on these sims as an overdrive.

what amp and cab are you using?

 

[GASsyFunker]

Pretty much always a fender Rumble 40 combo at home right now, but to gig I usually use an older Acoustic rig w/ 1x15 cab. Or just straight to PA.

 

[mattattack187]

My old band decided to start jamming again after six years. Rather than re buy all the pedals I sold in the time since I decided to buy one of these on a whim. I’ve used the B3 and B3n in the past which I liked. I’d imagine this should be able to cover my minimal needs. Preamp, Chorus, Envelope and DI. I’ll check back in when I get some play time with it.

 

[stubbsonic]

Earlier in this thread, I posted a detailed review with some useful info. But over time I've made some updates (but we can't revise old posts here).

I've posted my slightly revised review here:

Zoom B2 Four: An In-Depth Review (2/6/24) |

 

[BEADist]

Earlier in this thread, I posted a detailed review with some useful info. But over time I've made some updates (but we can't revise old posts here).

I've posted my slightly revised review here:

Zoom B2 Four: An In-Depth Review (2/6/24) |

That is imo an excellent review! My only link to this thread is my love for the (my) MS-60B and the 'so-close' feeling for the B2Four, but thanks !

 

[txhawaii]

Earlier in this thread, I posted a detailed review with some useful info. But over time I've made some updates (but we can't revise old posts here).

I've posted my slightly revised review here:

Zoom B2 Four: An In-Depth Review (2/6/24) |

nice review. do you have any experience with other non zoom multi fx pedals to compare to?

 

[stubbsonic]

nice review. do you have any experience with other non zoom multi fx pedals to compare to?

I've used these devices at some point or currently: Boss GP-10, Boss SY-1000, Digitech RP-360, a Source Audio pedal-chain, and a Fractal FM3. It's a little embarrassing, the sickness.

I don't have much to say about O.D./Distortion, I mostly play clean. I know what I like, but people have such specific tastes about that kind of stuff. I don't have much experience with real tube amps. My focus has been on general sound quality, dynamics, and reverb in particular.

GP-10: surprisingly editable & versatile. Weak reverb. Not for bass, really. B2 Fours verbs are much better.

SY-1000 (with GK pickup)-- insane powerhouse. Stupidly underrated. Fantastic instrument models. Dedicated bass mode! Reverbs aren't great, but useable.

Digitech RP-360: impressive for a budget rig. Nice mod FX and delays. The amps/cabs models aren't useable for bass, at all. The EQ is very limited. The reverbs are amazing.

The Source Audio chain is great, but pretty complicated (which I generally don't mind). Most of the pedals are best in class, and what they might occasionally lack in "refined" user experience, they more than make up for in versatility and general high quality. It's a nice compromise between the power of a digital multi, and a pedalboard experience.

The Fractal FM3 is in a whole different league. There are a few bass amps & cabs but they focus on old-school tube amps. It doesn't have any solid-state bass amps. For overall sound quality, routing flexibility, dynamics, EQ, FX, and especially reverb, it's pretty untouchable. It eats the B2 Four for breakfast and poops it out on the living room carpet-- gross.

Can't comment on Line6 or Headrush. I've used some of their stuff before, but not in a while.

 

[txhawaii]

I've used these devices at some point or currently: Boss GP-10, Boss SY-1000, Digitech RP-360, a Source Audio pedal-chain, and a Fractal FM3. It's a little embarrassing, the sickness.

I don't have much to say about O.D./Distortion, I mostly play clean. I know what I like, but people have such specific tastes about that kind of stuff. I don't have much experience with real tube amps. My focus has been on general sound quality, dynamics, and reverb in particular.

GP-10: surprisingly editable & versatile. Weak reverb. Not for bass, really. B2 Fours verbs are much better.

SY-1000 (with GK pickup)-- insane powerhouse. Stupidly underrated. Fantastic instrument models. Dedicated bass mode! Reverbs aren't great, but useable.

Digitech RP-360: impressive for a budget rig. Nice mod FX and delays. The amps/cabs models aren't useable for bass, at all. The EQ is very limited. The reverbs are amazing.

The Source Audio chain is great, but pretty complicated (which I generally don't mind). Most of the pedals are best in class, and what they might occasionally lack in "refined" user experience, they more than make up for in versatility and general high quality. It's a nice compromise between the power of a digital multi, and a pedalboard experience.

The Fractal FM3 is in a whole different league. There are a few bass amps & cabs but they focus on old-school tube amps. It doesn't have any solid-state bass amps. For overall sound quality, routing flexibility, dynamics, EQ, FX, and especially reverb, it's pretty untouchable. It eats the B2 Four for breakfast and poops it out on the living room carpet-- gross.

Can't comment on Line6 or Headrush. I've used some of their stuff before, but not in a while.

the fractal is over $1000 so it should be in a different class than the b2 four. good explanations.

 

[lildrgn]

Earlier in this thread, I posted a detailed review with some useful info. But over time I've made some updates (but we can't revise old posts here).

I've posted my slightly revised review here:

Zoom B2 Four: An In-Depth Review (2/6/24) |

This is great, well written and researched. I just use the device and barely scratch the surface. I appreciate your deep dive and contributions to this thread!

 

[obvious1]

I went from the b1x four to a b2 four. My biggest grips with the b2 four when compared to the b1x four, are the volume output to my headphones is too low for an enjoyable silent practice. I also hate the way the drum machine/metronome has to be setup for each patch. Any suggestions?

 

[stubbsonic]

I went from the b1x four to a b2 four. My biggest grips with the b2 four when compared to the b1x four, are the volume output to my headphones is too low for an enjoyable silent practice. I also hate the way the drum machine/metronome has to be setup for each patch. Any suggestions?

Unfortunately, if your headphone level is low, the only way around that is using different headphones or getting a little headphone amp box thingy.

The fact that the drum machine can be set up per preset means:

1. You can save all the settings per patch, with 300 slots, there's plenty of room.
2. You won't waste a precious slot, or precious CPU on the drum machine when you aren't using it.
3. Put the Drum Machine module anywhere in the chain for applying FX if wanted.
4. For people who don't like the drum machine, they never have to think about it.

I'd suggest you just save a drum-machine-version of any of your go-to patches.