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No. Patch name
Description
Main effect Pedal setting
DEMO
A0
ROCK
Based on the ultimate rock bass amp, the AMPEG SVT, this sound is great both for finger playing and when using a pick.
AMPEG VOLUME
A1
PHASER
SLAP
Phaser sound lets you embellish your slap playing with modulation effects.
PHASER
PHASER
RATE
A2
No Holds
Barred
All-rounder distortion sound is great for chord or lead playing. Turn on pedal wah, flanger, and echo for even more excitement.
ODB-3
FLANGER
RATE (OFF)
A3
AUTO WAH
Traditional-style auto wah with many applications. Transform percussive play with ghost notes straight into a funky sound.
AUTO WAH
AUTO WAH
SENSE
A4
Yes!
Progressive rock sound, taking a hint from Yes bassist Chris Squire.
CHORUS &
ECHO
ECHO MIX
A5
Miller's
Crossing
Marcus Miller type slap sound. Typically deep SWR bass amplifier sound is complemented by glossy highs.
SWR DELAY MIX
A6
Sublime
Sub bass sound such as used for Techno, Electronica, and Drum'n Bass. Experience a sine wave so low it seems to hug the ground.
MONO SYN
& PHASER
PHASER
RATE
A7
Tremolo
Enchanting tremolo sound with reverb creates a dreamy backdrop or enhances a moody solo.
TREMOLO
TREMOLO
RATE
A8
No Worries
Fretless bass sound using the defret effect. Add a slide to a phrase and turn your instrument into a fretless bass.
DEFRET ROOM MIX
A9
STEP SYNTH
DELAY
Collaboration of synth and step may surprise at first, but will show its potential when played with long tones.
MONO SYN
& STEP
STEP RATE
MODELING
B0
SVT
Combines the all-tube SVT from AMPEG with an 810E cabinet. Experience that gutsy tube amp sound.
AMPEG VOLUME
B1
SWR
SWR sound modeled on a SM-900 head amp combined with the Goliath cabinet. Rich low range and clear highs are bound to impress.
SWR VOLUME
B2
SUPER
BASS
Simulation of MARSHALL 1992 SuperBass head amp combined with 1935A cabinet, tailored into Marshall style drive-
oriented sound.
SUPER
BASS
VOLUME
B3
TRACE
Simulation of TRACE ELLIOT head amp AH-500 combined with two cabinets (1048H & 1518), producing the typical
midrange character of British rock.
TRACE
ELLIOT
VOLUME
B4
BASSMAN
Simulates the Fender Bassman 100 used by Paul McCartney. Enjoy that special Beatles sound with Rickenbacker or Hofner
basses.
BASSMAN VOLUME
B5
ACOUSTIC
Simulation of ACOUSTIC 360 head amp combined with 301 cabinet, characterized by a tight midrange.
ACOUSTIC VOLUME
B6
HARTKE
Simulation of HARTKE HA3500 head amp combined with aluminum-cone cabinet 4.5XL. Note the characteristically
straightforward punch of aluminum.
HARTKE VOLUME
B7
TUBE
Simulates a high-class tube preamplifier such as used in recording studios. The fat and supple sound fits every genre.
TUBE PRE VOLUME
B8
SANSAMP
Simulates the lightly distorted sound of the SANSAMP BASSDRIVER DI, beloved by many bass players.
SANSAMP DRIVE MIX
B9
TUBE
SCREAMER
Simulation of the Tube Screamer used by many guitarists as a booster. Get that cool overdrive sound, whether picking or fingering.
TS9 DRIVE MIX
C0
MXR
Simulates the MXR BASS D.I. + distortion channel. A gutsy low end plus the right amount of original sound creates distortion
with a solid core.
MXR BASS
D.I.+
PEDAL
PITCH 2oct
DOWN
C1
ODB
Simulates the ODB-3 overdrive bass machine from Boss. Proper mixing of original sound gives fat overdrive without losing
bass response.
ODB-3 DRIVE MIX
C2
PEDAL
FUZZ FACE
Simulates the Fuzz Face famous for its unique look. Push down the pedal to get wildly distorted fuzz sound, great for those
aggressive bass lines.
FUZZ FACE DRIVE MIX
ARTIST
C3
Slang
Chorus sound often used by Jaco Pastorius in the late seventies. Lets you play his "Slang" loop solos with hold delay.
CHORUS &
ACOUSTIC
ROOM MIX
C4
Slapstick
Rock style sound as personified by Flea of the Red Hot Chili Peppers. Use a StingRay or Modulus bass and whip up some slap
bass action.
AMPEG ROOM MIX
C5
BootSea
Bootsy Collins sound using auto wah. Dress up in a fancy costume, wear star-shaped sunglasses, and let it rip!
AUTO WAH
& PITCH
PITCH SHIFTER
BALANCE
C6
Mo'Soul
Motown sound made famous by James Jamerson. Sixties Motown comes alive again.
TUBE PRE VOLUME
C7
Heavy Comp
Simulates the sound of a HARTKE HA3500 with 4.5XL that became the Will Lee trademark.
COMP &
HARTKE
DELAY MIX
(OFF)
C8
Leadist
Simulation of distortion sound suitable for Tony Levin style lead play. Turn pedal wah on by using the built-in expression
pedal and create highly effective wah sound.
SUPER
BASS
PEDAL WAH
(OFF)
C9
In Your
Fingers
Emulate the midrange-oriented fingering work of artists such as Me'Shell Ndegeocello or Jeff Berlin. Styled as a tube
preamplifier sound.
TUBE PRE ROOM MIX
D0
Groovin'
With Vinny
Designed to sound like Sting when he was playing with The Police. Fairly traditional approach covers a wide variety of genres.
TUBE PRE ROOM MIX
D1
Little Muddy
Blues sound from the days of Muddy Waters. The range is low-fi, but the impact is powerful.
SANSAMP VOLUME
VARIATION
D2
Synth Bass
PAD type synth bass sound. Great for lead bass and for programing sound during live play.
MONO SYN DRIVE MIX
D3
Stream
Flanging sound for those smooth and flowing phrases, supported by a solid backbone.
FLANGER
FLANGER
RATE
D4
-12 Below
Classic sub-octaver sound created by Pino Palladino.
OCTAVE
OCTAVE
LEVEL
D5
A Major
Harmony
Harmonized pitch shifter sound in A major key. Good for bass solos.
HARMONIZED
PITCH
SHIFTER
HPS MIX
D6
Dark Side/
Octave
Combination patch of fuzz and octaver. Heavy sound lets you lay down the rhythm with wild picking or play a strong lead.
FUZZ FACE
& OCTAVE
OCTAVE
LEVEL
D7
Pop Style
Straightforward but addictive sound for pop and rock. A slight dash of room reverb is the secret ingredient.
BASSMAN ROOM MIX
D8
ManTap
Stereo chorus and delay in the style of Michael Manring. Control hold delay with a foot switch to play loop solos.
PINGPONG-
DELAY & HALL
VOLUME
D9
Les
Thumbs
Modeled on the typical slap style of Primus frontman Les Claypool, this sound combines TS9 and resonance filter. Use it to
create your very own style.
AUTO
RESONANCE
FILTER
DRIVE MIX
B2.1u Patch List
• The preset area of banks 0 - 3 contains the same patches as A - d.
• The ZNR value may need to be adjusted depending on the bass guitar and amplifier.
• In play mode, parameter knob 1 can be used to adjust the CABINET parameter of the DRIVE/
SYNTH module. Higher values result in stronger cabinet character.
• When using a bass amplifier, selecting the flat EQ setting is recommended.
Manufacturer names and product names mentioned in this
patch list are trademarks or registered trademarks of their
respective owners. These names as well as artist's names are
used only to illustrate sonic characteristics and do not indicate
any affiliation with ZOOM CORPORATION.
B2.1u PATCHLIST 1.0
… 37

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