Yes, this what I will do as in live situation I want things very simple so I can focus on the band and the public. Still there should be the obtion to freely decide which effects are switchable for each preset.
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New: Zoom B3n Multi-Effects
- Thread starter CharlieC
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- b3n multi-effects zoom
Yes I understood this. Btw, this is not even mentioned in the manual....
But if you have a compressor at the beginning of the chain and a chorus 5 slots from there, you can't have both switchable, and this is not logical. Let s hope zoom will change this in a firmware update
It is in the manual...
Cant be fixed with firmware- the fundamental functionality is not built that way
Thats what presets are for...
That makes the switches much less usefull, and there for this multi-effect too.
I will use something else for live and this one just became a mere choice for rehearsal.
I find it s quiet a scam to sell a multi effect with switches that can't be programmed and of course non of the demo mention this...
If I have to use presets for switching they could have saved the switch cost and sell the effect cheaper.
I will use something else for live and this one just became a mere choice for rehearsal.
I find it s quiet a scam to sell a multi effect with switches that can't be programmed and of course non of the demo mention this...
If I have to use presets for switching they could have saved the switch cost and sell the effect cheaper.
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Good luck finding a multi effects pedal that will do “everything” you want at this price point. Zoom has made a great sounding unit with the b3n.
I would disagree with you calling the b3n a scam because it doesn’t to a particular thing you need it to do. It’s more a case of an uneducated buyer.
I have my main sound programmed with the "not always on" effects visible on screen. When I need something different for a different song I just create a different patch.
For playing "Charlie big potato" I created 3 different patches!!! May not be the best solution but for 150€ to me it seems a reasonable compromise.
You could try the G5n which have one extra slot.
For playing "Charlie big potato" I created 3 different patches!!! May not be the best solution but for 150€ to me it seems a reasonable compromise.
You could try the G5n which have one extra slot.
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Scam is a strong word.
I think the problem is that you have a specific way that you'd like the B3n to behave that the B3n isn't designed to accommodate. One of the easiest things to do these days is go online and download an owners manual so that you can read for yourself the technical and operational capabilities of a piece of gear. That you can't seem to get things to your liking just means that perhaps the B3n isn't ideal for the things you're looking for. That doesn't mean that it's a "scam" and, demonstrably, there are a lot of B3n owners/users on this thread that sort of proves the point that the B3n is a pretty popular box that delivers a lot of satisfaction for the low price.
I've never personally owned a piece of gear at any price that was absolutely everything I could have dreamed of. There's always some sort of nit to pick.
Good luck in your search for multi-fx happiness.
But then the controls for the effect would not be lined up with the switch for same effect. Sounds kinda stupid... (the design you envision not you of course).
The other possibility i guess is having 3 showing with custom non linear routing...
Sounds confusing.
It is so easy to setup presets that you can line up and then select as you need that really your complaints seem academic.
Sometimes to get the most out of things we need to learn a different workflow.
I have one coming in a couple days can’t wait to mess with it.
You only get so much for 200 bucks. You might want to look at the much larger/more expensive units like the line 6 hd500x or something. They let you customize your footswitches to each effect in your chain in stomp mode.
I think when buying most technology the user interface is as much part of the product as the sound. The B3n isn’t built to do what you want it too, for reasonably obvious way it’s getting around its physical limitations. The B3 night suit you more or something from line 6
So... I've been using this unit for almost a year now and I'm super happy with it. Replaced all my pedals.
However... Today we started recording our new LP. I used a bassman patch as usual but the studio engineer said the pedal was "ruining" my sound. I loved the sound I was getting. I think it was prejudice against digital devices but I don't know...
Do you think the b3n is good enough for serious studio work?
However... Today we started recording our new LP. I used a bassman patch as usual but the studio engineer said the pedal was "ruining" my sound. I loved the sound I was getting. I think it was prejudice against digital devices but I don't know...
Do you think the b3n is good enough for serious studio work?
These days I'd record both what I was listening to (the output of that pedal) and direct off of the bass so that you can re-amp if needed/desired. Sounds like that "engineer" ought to stick to driving his train.
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That was a backhanded way for the engineer to say that he thought the pedal was ruining HIS sound, not yours.
Generally when tracking bass, you'll find that a pure DI off the bass is always laid down in addition to any other source that may color the tone, whether it be a mic'd amp or other "tone shaper" box like a SansAmp BDDI or Darkglass pedal, or what-have-you.
I wouldn't fault the engineer for wanting to print the pure DI track, but if he's unwilling to also indulge the sound you like coming off of the B3n as a viable option, then he's just power-tripping you. A lot of engineers and producers have their tried and true recording techniques, and don't like ANYTHING that goes contrary to their way of thinking. Unless you want to get into a pissing contest about what YOU want vs. what HE wants, I'd personally go along to get along.
In the end, a good engineer will take any reasonable bass track and work with it so that it "fits in the mix" nicely (subjective) and doesn't step on the sonic space of other instruments or vocals.
That was a backhanded way for the engineer to say that he thought the pedal was ruining HIS sound, not yours.
Generally when tracking bass, you'll find that a pure DI off the bass is always laid down in addition to any other source that may color the tone, whether it be a mic'd amp or other "tone shaper" box like a SansAmp BDDI or Darkglass pedal, or what-have-you.
I wouldn't fault the engineer for wanting to print the pure DI track, but if he's unwilling to also indulge the sound you like coming off of the B3n as a viable option, then he's just power-tripping you. A lot of engineers and producers have their tried and true recording techniques, and don't like ANYTHING that goes contrary to their way of thinking. Unless you want to get into a pissing contest about what YOU want vs. what HE wants, I'd personally go along to get along.
In the end, a good engineer will take any reasonable bass track and work with it so that it "fits in the mix" nicely (subjective) and doesn't step on the sonic space of other instruments or vocals.
Well a better question is, do you think it would be better than any studio software equivalent they have? Do you think the compression on it is better than any studio compression they have?
The B3n is great, especially for the money, but I don’t think it would compare favourably to a decent studios setup.
Thanks for the replies everyone.
My plan was to have a DI straight from the bass and a second track with either the bassman or the darkglass sim. There are no dirty bass preamps or bassamps in this studio. I rather use the compressors and eq's of the studio than the one's on the b3n. No question.
If there's any software or hardware in the studio that can give me the sound I hear in my head, that's great. I'm open to it. What I didn't like was the attitude of frowning upon a piece of gear with no alternatives offered other than "just a DI". No amps, preamps or software mentioned.
I know the b3n is far from being perfect. But i rather have the Darkglass on the unit than just a clean bass sound.
Thanks for letting me vent the frustration out
My plan was to have a DI straight from the bass and a second track with either the bassman or the darkglass sim. There are no dirty bass preamps or bassamps in this studio. I rather use the compressors and eq's of the studio than the one's on the b3n. No question.
If there's any software or hardware in the studio that can give me the sound I hear in my head, that's great. I'm open to it. What I didn't like was the attitude of frowning upon a piece of gear with no alternatives offered other than "just a DI". No amps, preamps or software mentioned.
I know the b3n is far from being perfect. But i rather have the Darkglass on the unit than just a clean bass sound.
Thanks for letting me vent the frustration out
Got my B3n yesterday. Very versatile. The editing app is not too bad. I hooked it up to my computer and amp and played for a couple hours. Lots of fun and inspiring.
I was playing around with the B3n last night and made a nice patch for my Am. Std. Jazz, but something unexpected happened. So I have 3 basses in my usual rotation. The Jazz, Am. Std. precision with flats, and a Sire M2. I spent a couple hours messing with this patch, then plugged in the other 2 basses. The Precision sounded decent, but the Sire M2 was absolute crap. Passive mode, active mode, tweaked all the knobs on the Sire. Nothing was working. I went to bed thinking this bass is junk. Then I woke up and had a revelation. It wasn't the Sire, it was the patch. As you can see below(hopefully the image shows up), I cranked the hell out of the high mids, which I think sounds great on the Jazz with both pickup volumes maxed. But I remembered that the Sire was kind of mid heavy already. So I need to make another patch just for it with the mid level down. It's been a while since I played with multi-effect units, and there is so much you can do that it really does pay to spend time with it and each bass you have to really get the most out of it. There is no cab emulation because I'm going into the front input on the Rumble 500c set flat. The first effect slot is open because I had the looper in it and played the first couple of bars of Black Diamond by Kiss looping while I tweaked. I wasn't trying to nail that tone, just trying to find MY tone. I tried the EQ before and after the Ampeg and settled on after for now. The Chorus is just for that little something extra, a little color if I feel like it. The BlueB is for a little grit, season to taste. If you have the B3n, give this a try and let me know what you think. Again, use a Jazz bass. 
I have found that passive basses and active basses that don't have overly aggressive pickups and preamps like Ibanez sound really good with the B3n while others that are aggressive like my Gibson EB, Stingray and active Shur Jazz sound at their best if left without the B3n, unless you just want a little modulation effect. So your M2 probably has enough power and fineness to stand on its own. From the demos I have heard it sounds super, and I want one badlyI was playing around with the B3n last night and made a nice patch for my Am. Std. Jazz, but something unexpected happened. So I have 3 basses in my usual rotation. The Jazz, Am. Std. precision with flats, and a Sire M2. I spent a couple hours messing with this patch, then plugged in the other 2 basses. The Precision sounded decent, but the Sire M2 was absolute crap. Passive mode, active mode, tweaked all the knobs on the Sire. Nothing was working. I went to bed thinking this bass is junk. Then I woke up and had a revelation. It wasn't the Sire, it was the patch. As you can see below(hopefully the image shows up), I cranked the hell out of the high mids, which I think sounds great on the Jazz with both pickup volumes maxed. But I remembered that the Sire was kind of mid heavy already. So I need to make another patch just for it with the mid level down. It's been a while since I played with multi-effect units, and there is so much you can do that it really does pay to spend time with it and each bass you have to really get the most out of it. There is no cab emulation because I'm going into the front input on the Rumble 500c set flat. The first effect slot is open because I had the looper in it and played the first couple of bars of Black Diamond by Kiss looping while I tweaked. I wasn't trying to nail that tone, just trying to find MY tone. I tried the EQ before and after the Ampeg and settled on after for now. The Chorus is just for that little something extra, a little color if I feel like it. The BlueB is for a little grit, season to taste. If you have the B3n, give this a try and let me know what you think. Again, use a Jazz bass.
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