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Zoom B3 As Preamp Part 2
- Thread starter David Wilson
- Start date
Use the link to Google's cached copy until the real link is restored.
Zoom B3n Multi-Effects Processor for Bass
I'm not sure this has been mentioned here before so ....
Will any basic 2 selector switch footswitch work for changing the patch on the B3?
I know there is the Zoom switch but I haven't seen one in the stores around me,
however I have seen a few Behringer FS112V footswitchs.
Will these work?
Will any basic 2 selector switch footswitch work for changing the patch on the B3?
I know there is the Zoom switch but I haven't seen one in the stores around me,
however I have seen a few Behringer FS112V footswitchs.
Will these work?
The Zoom FS01 is ideally the switch you need and it is available online and from your nearest Zoom dealer. This switch is a momentary foot switch, perhaps with some buffering circuity to prevent switch bounce.
I do not know if the switch you mentioned would also work and would not recommend purchase unless it was easily returnable if not.
Ok, thanks.
I've looked for the Zoom footswitch but I can't find in nearby, I might have to try and get it online (I prefer buying from a store when possible).
The external footswitch does not switch patches. It puts it to bybass and mute. I use a Boss FS-5U which will bypass to tuner mode with one tap and go to mute if you step on it and hold it.
Hello everyone, it is possible, to live performances, simultaneously connect the zoom b3 to a full range active monitors on stage (type ev elx 112p or more if you know the best) and the PA mixer? I believe it is necessary to connect it to monitor the XLR output, but then how do I connect to the PA mixer?
I need splitter DI?
I need splitter DI?
Sure. Several members did. I used it with a ZLX 115p which worked fine. Please note that the B3 DI OUT has line level, not mic level as required by most FoH mixing consoles. The sound guy should use a pad on the channel.
BTW: the EV ZLX also has another DI OUT. You can choose which one you like better. You do not need another splitter box.
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Many thanks! So, according to your scheme: BASS-zoom b3 (XLR output) - stage monitor (direct output) - mixer.
Is a good system? Is better, at the end of the chain zoom b3 + stomp box (I use them), use a good D.I. splitter to send a signal to the monitor and the another to the mixer?
I think that a external D.I. is better than that of elx112p
and is the only way to use others stomp box after zoom b3
Is a good system? Is better, at the end of the chain zoom b3 + stomp box (I use them), use a good D.I. splitter to send a signal to the monitor and the another to the mixer?
I think that a external D.I. is better than that of elx112p
and is the only way to use others stomp box after zoom b3
Last edited:
Hello everyone,
I am fairly new with the Zoom B3 and I am jut wondering if this effect can replace a head? For example, I would use the cab simulation on the B3 and connect it to any cab directly without it going to the head like any other effect. Is that possible?
I am fairly new with the Zoom B3 and I am jut wondering if this effect can replace a head? For example, I would use the cab simulation on the B3 and connect it to any cab directly without it going to the head like any other effect. Is that possible?
Hi - I've come back to this thread after following part 1 and most of part 2 before buying a B3 about 12 months ago. I now use it for rehearsals and gigs and I'm very pleased with the results. However, I've got a few questions for discussion;
I find myself needing to DI almost all the time now. We normally play gigs from 250 to 350 people in smallish venues. The engineer needs to control everything via the PA especially as sound levels change as rooms fill up.
To summarise a thread of about 50/60 pages on using pre or post DI. Feeling amongst bassists was probably 50-50 in favour of post or pre DI. There was a strong feeling that engineers almost always prefer a pre signal, engineers viewed the bass rig purely for monitoring and most engineers felt they could provide a better overall bass sound from the desk than the bass player for FOH.
I've certainly found when you play a multi act gig for example, the engineer isn't interested in finding your individual tone he wants it to sound good for all the bands performing. Of course there are some really great engineers who will work with you, but from my experience most hear what I'm saying aren't really listening. As long as I have the on stage sound I want leave FOH to them.
I'm also now going in-ear. Mainly because I do backing vocals and wanted more clarity and more control over the mix. I tried in-ear, yes there are compromises but overall it's a good solution.
So with this knowledge, how do I square up the amount of time, effort and attention to details that me and I'm sure most people on this thread spend on shaping our backline and tone? Is all the effort just about on- stage and should we leave FOH to someone else?
My second question is more practical. I run an EBS 15 combo set flat and my B3 is the pre-amp. Should I provide the DI from the EBS or the B3 - if you want to add pre/post to that question you can but I suspect that opens another can of worms?
The elephant in the room for me is the B3. I run three basses; a fretted and fretless jazz and 5 string P. A lot of tone control comes from my fingers/pick and the pickup & tone control mix on my basses. I suppose I'm wondering, should I just ditch my backline and just use the B3. Monitor in-ear & DI to FOH. Get rid of everything and just use a DI box?
I find myself needing to DI almost all the time now. We normally play gigs from 250 to 350 people in smallish venues. The engineer needs to control everything via the PA especially as sound levels change as rooms fill up.
To summarise a thread of about 50/60 pages on using pre or post DI. Feeling amongst bassists was probably 50-50 in favour of post or pre DI. There was a strong feeling that engineers almost always prefer a pre signal, engineers viewed the bass rig purely for monitoring and most engineers felt they could provide a better overall bass sound from the desk than the bass player for FOH.
I've certainly found when you play a multi act gig for example, the engineer isn't interested in finding your individual tone he wants it to sound good for all the bands performing. Of course there are some really great engineers who will work with you, but from my experience most hear what I'm saying aren't really listening. As long as I have the on stage sound I want leave FOH to them.
I'm also now going in-ear. Mainly because I do backing vocals and wanted more clarity and more control over the mix. I tried in-ear, yes there are compromises but overall it's a good solution.
So with this knowledge, how do I square up the amount of time, effort and attention to details that me and I'm sure most people on this thread spend on shaping our backline and tone? Is all the effort just about on- stage and should we leave FOH to someone else?
My second question is more practical. I run an EBS 15 combo set flat and my B3 is the pre-amp. Should I provide the DI from the EBS or the B3 - if you want to add pre/post to that question you can but I suspect that opens another can of worms?
The elephant in the room for me is the B3. I run three basses; a fretted and fretless jazz and 5 string P. A lot of tone control comes from my fingers/pick and the pickup & tone control mix on my basses. I suppose I'm wondering, should I just ditch my backline and just use the B3. Monitor in-ear & DI to FOH. Get rid of everything and just use a DI box?
Just, finally, bought a used B3 to supplant my B2.1u. Hopefully be delivered tomorrow, this week anyway.
Then the fun begins!
Then the fun begins!
Zombie thread (kinda) resurrection!
The B3 has a 3 pin XLR output. Do we know if it a 2 channel summed mono output for sure, or could it be a ground-left-right stereo output? (I'm not certain stereo through XLR this way is even possible btw)
The B3 has a 3 pin XLR output. Do we know if it a 2 channel summed mono output for sure, or could it be a ground-left-right stereo output? (I'm not certain stereo through XLR this way is even possible btw)
It is a summed mono. The 1\4" is a stereo line out of you can use an insert cable trs to 2 x 1\4" for l+r.
The B3 ist still an invaluable swiss army knife like tool for me. It's successor the B3n has a better sound (which doesn't matter so much under normal live conditions) but fails in everything else compared to the B3n. I wish ZOOM would have continued the B3 as a B3-X (pedal included) with better sound engine but keeping their features like DI OUT, Drums included, USB recording interface and finally battery operation, which is a life saving feature on stage for me.
Enough weeping.
