Zoom G7.1ut - Manual (Page 38)

The long history of the VOX company harks back to the foundation of “Jennings Musical
Instruments” (JMI) in 1958. Originally, this company made amplifiers with 10-15w output
power but the musical trend required more powerful amplification, which resulted in the
birth of the revered “AC30” guitar amp. The very original AC30 had two Celestion 12”
loudspeakers using alnico magnets, EF86 pre-tubes, EL84 power-tubes and a GZ34 rectifier
tube. The Shadows and the Beatles used this model and their influence helped this amp
become popular among many guitarists. Later, as the musical trend required amplifiers with
even more gain, the company developed an add-on device called “Top Boost Unit”. The
“AC30TBX”, which this program in our G series is modeled after, is the later version of the
AC30 with an integrated “Top Boost Unit”. After the JMI had sold the VOX brand, the sales
of the amplifier regrettably began to decline. However, the KORG Inc. acquired the VOX
name recently and rejuvenated the brand by starting to manufacture truthful reissue models.
In this G series, the program is modeled after the sound using the Hi input of the normal
channel that will give you that clean guitar sound of the Beatles and the Shadows, which
are the best examples of the distortion-free sound of the class-A operated amplifiers.
VOX AC30TBX
(Clean)
Simply put, the Roland “JC-120” is the most familiar guitar amplifier among both
professionals and amateurs. Released in 1975 from Roland, this amp became known as
“portable”, “loud” and “almost trouble-free” (which are the very characteristics Japanese
products are known for!). You are pretty sure to find one in any live houses or studios all
over the world. The key to that sound of “JC-120” is its unique chorus effect: the slightly
delayed vibrato sound comes from one of two 12” loudspeakers and the dry sound from
another and both sounds are combined in the air, which creates that distinctive spacey
mood. This effect became very popular which is why Roland decided to release the chorus
circuit independently as the “CE-1” pedal. Incidentally, the chorus effect on the G series is
modeled after its follower “CE-2”. Another unique feature of JC-120 is its “Bright” switch.
This function is not included in this modeling program but you can approximate the effect of
this switch by tweaking the “Harmonics” parameter in the “6 band EQ” section.
Roland JAZZ CHORUS
“JCM2000” is based on the reputed “Plexi” amp (aka Old Marshall) whose rich overtones
and powerful sound were legendary. It has very flexible sound and can produce the
traditional Marshall sound, modern heavy metal sound or sounds suitable for any musical
genre. It has the modern Marshall’s standard circuit with four ECC83 pre-tubes and four
EL34 power-tubes. It is an all-tube amplifier that can produce clean or heavily distorted
sound and you can use it in all kinds of music. The sound is rather grainy but the response
is fast and the guitar sound cuts through very well. “JCM2000” series has two different
models: the TSL and the DSL. The program on the G series is modeled after the simply
designed “DSL-100”. As with the modeling of the “JCM800”, we combined the head with
a “1960A” cabinet and used the Lead channel that has more distortion.
Marshall JCM2000
In the later half of 1963, a reverb unit was added to the “Twin” amp, which was the birth of
the “Twin Reverb” model. In 1965, Fender company was sold to CBS because of Leo
Fender’s health problem. The program on this Zoom G series is modeled after the pre-CBS
“Twin Reverb” from 1965 aka “Black Panel”. This amp has four 7025 (12AX7), a 12AX7
and two 12AT7 pre-tubes, four 6L6GC power-tubes and silicon diodes for the rectifier circuit.
The diode rectifier is believed to give a tighter sound to the amplifier than the tube rectifier
does, which should be the key to the characteristic glittering sound of this “Twin Reverb”.
This guitar amplifier has two 12” loudspeakers by Jensen and pus out 80w power. On the
program in this G series, you can have the sound with the “Bright” switch on by tweaking
the “Harmonics” parameter in the “6 band EQ” section. When you turn the reverb effect
on, you will get that “Twin Reverb” sound you have been longing for.
Fender Twin Reverb '65
The very first Fender amplifier was developed by Leo Fender and his trusty partner, the
engineer Doc Kaufman in 1945-46. Actually, the earliest models were not made under the
“Fender” brand but the “K&F Manufacturing Corporation” named after the Initials of the
two. The first amplifier using the “Fender” brand was the “Model 26” in 1947. In 1949,
the entry models called “Champion 400/600” series followed. The so-called “Tweed Amps”
covered literally with tweeds all over were developed during the 1950s and the 1960s. In
these years, the company put out various tweed models like the “Bassman” or the
“Bandmaster”. The program of this G series is modeled after, among others, the most
representative “Tweed Deluxe” aka the “Wide Panel” from 1953. This amplifier has a
12AY7 and a 12AX7 pre-tubes, two 6V6GT power-tubes, a 5Y3GT rectifier tube and a 12”
Jensen loudspeaker and its output power is 10w. Recently the original amplifier is priced
quite highly and is very difficult to find in good condition. This amp has two inputs but one
is the input for a microphone. It has just one tone knob for treble control. Therefore, it is
advisable to use this program on the G series with a flat tone setting except for the treble
parameter so that you can enjoy the characteristic sound in the lower registers and the
unique sound in the higher registers of the original Fender amp.
Fender Tweed Deluxe '53
The “5150” and the “5150 MkII” were very famous guitar amplifiers originally developed as
the signature models for Eddie Van Halen. Unfortunately, he doesn’t use it anymore
because of the expiration of the endorsement contract. The program on this G series is
modeled after the first version of the “5150”. This amplifier has two (Rhythm and Lead)
channels and puts out 120w power using five 12AX7 pre-tubes and four 6L6GC power-
tubes. The rectifier circuit employs silicon diodes. The uniqueness of the sound of this
amplifier is characterized by its sharp attack, deep and smooth tone, fine distortion and fat
and clinging low registers. The program is modeled after the combination of the Lead
channel of the 5150 head and a “5150SL”, a four-12” cabinet. Just crank up the gain and
play one of Van Halen’s hit “Top Of The World”!
PEAVEY 5150 STACK
The “Rectifier” model has the improved simul-power circuitry (see the “Mark III” section)
and the increased gain in the preamp section. This amp puts out 100w power and has five
12AX7 tubes for the pre-amp and four 6L6GC tubes for the power-amp. As opposed to the
“Mark” series, the Rectifier has its tone control circuit after the volume circuit for better
effect on the sound. Since this amp had been introduced, the brand image of
MESA/BOOGIE has changed from being the premiere amp manufacturer for fusion music to
that for heavy metal music.
The most prominent feature of this amp is its rectifier circuitry after which it was named.
The “Dual Rectifier” employs, as its name suggests, two different rectifier circuits: one uses
silicon diodes and another uses tubes. When the diodes are selected, the amp gives you
tight and highly powerful sound. When the tube rectifier circuit is selected, you will get a
warmer sound. This program is modeled after the combination of a four-12” BOOGIE
cabinet and the Dual Rectifier head using the vintage channel and the silicon-diode rectifier
circuit.
MESA/BOOGIE Dual Rectifier
Marshall has continued to produce great amplifiers for up-to-date musical trends in
cooperation with the musicians. This brand started with its “JTM- 45 (stands for Jim&Terry
Marshall)” in 1962 and now its products are indispensable items in the modern Rock scene.
Marshall seems to have been experimenting with different circuit designs of amplifiers but
1981 was the most prolific year for the brand because it released many new models like the
“1959” and “1987” with four inputs, “2203” and “2204” with master volumes. In 1983,
Marshall added the “2210” and “2205” with two (Normal and Boost) channels as well as
effect send/return connectors to its lineup. These models also carried the collective
designation “JCM (stands for Jim&Charles Marshall) 800”. They had three ECC83 pre-tubes
and four EL34 power-tubes. The tone control circuit was placed after the pre-amp section
and this design seems to have become the standard for the modern Marshall amplifiers.
For the modeling on this G series, we selected the “2203” with a master volume and it is
quite easy to get the distortion. By today’s standards, the amplifier’s distortion is rather
moderate, but the sound is very fat, the low-end is quite tight and, above all, the sound cuts
through very well. When higher gain is required, this amplifier is often combined with
overdrive or booster pedals. For the modeling, we used the head with a “1960A” cabinet
that has four 12” loudspeakers and works very well with the “2203”.
Marshall JCM800
The origin of the MESA/BOOGIE amplifier was the modified Fender Princeton. Randall
Smith, an amp tech in San Francisco, souped up those small guitar amps to put out 100w
power and sold them. The first model was called “Mark I”. Carlos Santana tried one and
said, “Shit man, that little thing really Boogies! “ -which gave the amplifier the brand name
“BOOGIE.”
The second model “Mark II” had lead and rhythm channels and a 4-band equalizer to give
wider variety to the guitar tone. The special feature of this model was an accomplished
simul- power circuitry (the operation could be switched between class A and class AB). The
power amplifier section had six power tubes. When the class A operation is selected, two
EL34 power tubes are activated and the amp puts out a really smooth sound. When the
class AB operation is selected, these two EL34s and other four 6L6GC power tubes are all
activated and the amplifier puts out its full potential power.
Until the model Mark II, MESA/BOOGIE amps were quite expensive, hand-made amplifiers,
but the next model “Mark III” was more affordable. It has one 10” loudspeaker and 60w
output power but retains all of the classic BOOGIE features; simul-power circuitry, the
graphic EQ, and three (Rhythm1, Rhythm2 and Lead) separate channels. With this Zoom G
series, you can select the modeling of the combo type of this “Mark III.”
MESA/BOOGIE Mark III
This legendary British amp is famous for its transparent clean tone, stemming from the Class
A circuit designed by Dick Denney. But it also can produce impressively smooth drive sound
with raised volume such as heard on the "Taxman" recording by the Beatles. The simulation
is modeled on the "brilliant" channel of the AC30TBX to recreate the drive sound. Rory
Gallagher and Brian May of Queen liked to boost the sound of this amp with a Rangemaster
TrebleBooster made by Dallas-Arbiter, resulting in even more dramatic impact. With the
Zoom G series, a similar result can be achieved by using the boost effect type of the
WAH/EFX module.
VOX AC30TBX
(Crunch)
Since it was used by Eric Clapton when recording the album "John Mayall and the Blues
Breakers with Eric Clapton" (commonly known as the "Beano" album), this amp has
acquired the moniker "Bluesbreaker". Up to then, guitar amps aimed for a clean sound with
minimal distortion, but the fat and sweet tone of this amp driven by Eric Clapton's Les Paul
fascinated guitarists the world over. They liked it so much that it has become the defining
sound of the rock guitar. While different from the distortion produced by modern high-gain
amps, the long sustain and distortion following each picking nuance is ideal for playing the
blues.
The creamy sound of this amplifier with its four ECC83 pre-stage tubes, two 5881 power
tubes, and a GZ34 tube in the rectifier circuit is perfectly captured by the simulation.
Marshall 1962 Bluesbreaker
Among the many famous Fender amps, the Bassman has earned a special place. When Jim
Marshall developed his original amplifier, he is said to have used the Bassman circuit as a
reference. When it first came out in 1951, the Bassman had an output of 26 watts and used
a single Jensen 15-inch speaker. After various modifications, it reemerged in 1959 with a
50-watt output and four Jensen 10-inch drivers. The simulation of the Zoom G series is
modeled on the "bright" channel of the '59 Bassman. Introduced at the 1951 NAMM show
along with the Precision Bass, this amp was originally intended for use with bass guitars.
But its reedy distortion made it a favorite with some of the early blues giants, and later with
many rock guitarists. Of course, the amp continues to used by musicians to this day.
Fender BASSMAN
The Custom 100 was the flagship amp from Hiwatt, a British manufacturer that ranks with
Marshall among the British legends. Vintage Hiwatt amplifiers made before the mid-1980s
use high-grade military-spec parts and hand-soldered point-to-point wiring. This is the
reason why production was limited to about 40 units per month. Because of their solid
construction, these amplifiers have been likened to tanks. Their sound, in a word, is the
epitome of clean. The pre-stage tubes are ECC83, while the power tubes are the same EL34
as used by Marshall. Unlike the glittering clean sound of a Fender amp, the clean sound of a
Hiwatt is darker, having that characteristic British tone. Especially in the "normal" channel,
turning up the volume to maximum will simply increase the sound pressure, without
breakup or loss of detail. In the high-gain "brilliant" channel, slight distortion is possible by
connecting a guitar with a high-output pickup such as a Les Paul. But the sound always
remains detailed and transparent, allowing the listener to clearly pick out the individual
notes that make up a chord. The "normal" and "brilliant" channel inputs can be linked with
a short shielded cable, for even higher sound pressure output.
This effect type simulates the linked sound as described above, much favored by Pete
Townshend of The Who and Pink Floyd's David Gilmour.
HIWATT Custom 100
Using a total of 13 tubes in the pre and power amp stages, and A and B settings in each of
the three channels, this is a monster of an amplifier offering the equivalent of six channels
to play with. AMP1 is a Fender type clean channel with bright and uncluttered sound. AMP2
is a classic British drive channel which covers the overdrive range from crunch to distortion.
Both of these channels have fairly high gain, but they are surpassed by AMP3, which can be
seen as the true highlight of this model. While allowing deep distortion, the sound has a
solid core and remains wonderfully detailed. The simulation of the Zoom G series recreates
the A channel of AMP3 which is distinguished by its bright character.
Hughes & Kettner TriAmp MK2
This modern three-channel amp features great tonal versatility, ranging from clean tone to
distortion. Channel 1 is an ultra clean sound, but the amplifier is more famous for the
extremely dry and gritty distortion produced by channel 3. This kind of drive sound that
pierces the heart and rattles the ears is hard to get with any other amp. A DEEP control
allows further boosting the low frequencies, a feature that is much in evidence in the
modern heavy sound of bands such as Metallica or Limp Bizkit. The Zoom G series lets you
produce a similar boost using the BASS EQ control.
Diezel Herbert
35 AMP/STOMP BOX MODELS
Reference for drive effect types and its original models.