Zoom A1 Four Patch memories

Multi-Effects Processor

Patch memories 50—59 are empty by default.

Manufacturer names and product names mentioned in this patch memory list are trademarks or registered trademarks of their respective owners and do not indicate any affiliation with ZOOM CORPORATION.
All product and artist names are intended only to illustrate sonic characteristics that were used as reference in the development of this product.

No.

PATCH MEMORY NAME

10

AG D-28

11

AG J-45

12

AG ECunplg

13

AG Blues

14

AG Country

15

AG S-Jumbo

16

AG Vintage

17

AG Singer

A.Guitar Body Remodeling

18

AG NYLON

19

AG Reso

20

AG Aerial

21

AG SlowTR

22

AG 12 Str

23

AG Delay

24

AG HardCMP

25

AG 80s Cho

26

27

28

29

AG Radio

AG Phase

AG DlyVerb

AG Looper

A.Guitar Variation

The Martin D-28, one of the classic acoustic guitar styles, is the source of this sound.

This Gibson J-45 sound has a dry tone that is ideal for strumming.

This patch memory is inspired by the unplugged sound of Eric Clapton. The sound is light, but should not be lost when playing with a band.

This sound has a rich midrange and is great for finger-playing country blues and ragtime, for example.

This tone is great for playing with a pick. whether country, bluegrass, folk or pop.

The sound of the Gibson SJ-200, which is known as the king of flattops, features a powerful gorgeous tone.

This sound provides the deep reverberations characteristic of small-bodied vintage acoustic guitars.

This sound has a balanced tone suitable for backing vocals with both strumming and fingerpicking.

This is the sound of a nylon string guitar, which is indispensable for bossa nova and Latin genres.

This resonator tone, which is metallic but warm, can be used for country and Hawaiian.

This sound uses AG Chorus for a feeling of transparency.

Tremolo is used effectively in this gentle sound.

This simulates a 12-string guitar, creating a voluminous sound.

Ac TpEcho is used in this natural delay sound.

This pointed sound uses compression effectively to keep it from being buried when playing in a band.

This chorus sound evokes the 1980s vividly.

Sound heard from an old radio is the inspiration for this patch memory. This brings out the atmosphere when playing blues or ragtime.

This nice-feeling phaser sound uses RndPhaser.

Echo and two types of delays create this mysterious sound with a wide stereo feel.

Use this patch memory for looper performances. Create a band sound all alone by switching between overdrive for playing lead, pitch

shifting to generate bass guitar and chorus perfect for a top line.

COMMENT

No.

30

31

32

HarmonicaViolinTrumpetSaxophone

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

Multi-Effects Processor

PATCH MEMORY NAME

Hm Juke

Hm FuncHrp

Hm StevieW

Hm Vintage

Hm Modern

Vn LiveJam

Vn Orchest

Vn N'sWah

EVn Acoust

EVn Dist

Tp B.Bros

Tp T.Brass

Tp Breath

Tp Gagaku

Tp Cosmic

Sax San-B

Sax forAll

Sax Glowl

Sax MyLady

Sax WF Wah

Inspired by Little Walter, this straightforward amplified harp sound uses Hm Bullet.

This funky harp sound uses Hm Bullet and Hm A.Wah. This patch memory can be used with both diatonic and chromatic harmonicas.

This is inspired by the heavy magnificent sound used by Stevie Wonder. This wide gorgeous chromatic harmonica sound results from

combining Hm GEQ and Hm Chorus with Exciter and Delay.

This vintage harp sound combines Hm Bullet and Hm Chorus with drive and spatial effects.

This rock harp sound adds a little high-gain to Hm Bullet.

This patch memory for live performance uses EQ that works well even if the mic is very close to the violin.

One musician can sound like an orchestra with this profound patch memory.

This sound makes the violin thicker, enabling voice nuances to come out. High strings are sweet, while low strings are louder.

This EQ was made to match the pickup of an electric violin. Use this to generate an acoustic sound when playing an electric violin.

This hard solo sound shatters the typical image of the violin.

This re-creates the auto-wah sound of Randy Brecker in the 70s and 80s.

The pairing of a smooth chorus that sounds like two trumpets overdubbed and an enveloping reverb achieve an effect like the sound of

Tijuana Brass when output in stereo.

The smoky sound provides a warm trumpet tone and captures sounds of performance nuances, including breath and piston motion.

This elegant patch memory creates a sound and harmony that evokes the ancient Japanese sho used in traditional gagaku court music.

This super spacey sound makes the trumpet seem to fill the room with a feeling of weightlessness.

This chorus effect is inspired by the doubling indispensable for the soaring melodies of late 70s David Sanborn.

This is a go-to sax sound for both live performance and recording.

In addition to the Texas tenor, this can also be used to express the heart of Japan.

This bold sound is inspired by the compositions of The Crusaders.

This sound evokes the auto-wah loved by Wilton Felder.

COMMENT

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