Zoom B1 Four Patch memories
Multi-Effects Processor
Patches 50—59 are empty by default.
Manufacturer names and product names mentioned in this patch 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.
PATCH No.
PATCH NAME COMMENT
10
CLEAN
DRIVE
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
Sans Clean
MX Clean
Slap Back
GlamComp
Hard Comp
Tapping
MM Clean
JacoBass
CLmelody
AnalogCho
SA-Drive
Rock Slap
SqueakDRV
DRIVNCLEAN
FatTube
DarkCrunch
Comp&Drv
WahDist
PEACHY
CrazyFuzz
This is a fat but clean sound that uses Bass DRV.
This is a tight clean sound that uses D.I Plus.
This setting, which uses Exciter, is good for slapping with backing parts.
This versatile sound mixes the original tone with heavy compression using Glam Comp.
Two types of compressors are combined for this hard compression sound.
This setting effectively brings out the sound of tapping.
This slap sound was inspired by Marcus Miller.
This creates a fretless sound and is good for jazz. Try playing toward the rear pickup with this patch.
This setting, which is good for playing melodies, combines DYN Comp, D.I Plus, BassGEQ and Delay.
This is the sound of a typical analog chorus.
Using Bass DRV, this distortion sound emphasizes highs and lows.
This setting, which emphasizes the drive, is good for rock-style slapping.
This natural distortion sound uses Squeak and AMPG SVT effects.
Slightly driven, with crisp string presence using SMR400 and SMR4x10TW.
BlackOpt, BlueB BOD and AG 750 are combined in this 70s-style drive sound.
This crunch sound uses Dark Pre.
Combining DYN Comp and D.I Plus, this drive sound can be used in multis.
This distorted wah sound, which combines Z Tron and D.I Plus, can be used for both solo and backing parts.
Classic fuzz and a small room verb gives this setting slightly out-of-focus, fuzzy warm vibes.
BassOctFZ is used to give this crazy sound fuzz an octave above.
PATCH No.
PATCH NAME COMMENT
30
A-Wah
31
Octaver
32
MJ Synth
33
TalkToMe
34
SUB BOOGIE
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
Larry Jet
SeqF Pad
FunkySolo
SynBass
Explosion
AMPG Set
BMAN Set
Motown
AC 370
SMR400 Set
TE400 Set
AG750 Set
SVT HalfST
Mark802
EBSlap
EFFECT
AMP MODELING
Multi-Effects Processor
This auto-wah sound this perfect for funk.
This is a basic octaver patch.
This synth bass sound is great for pop.
Adds a synth/talk effect to a modern bass amp tone.
Chorus is added to a classic bass octave sound.
Think Larry Graham and this is the sound!
This arpeggiator-style hard sound that uses SeqFLTR is perfect for playing chord tones.
Hard compression is applied to this phase sound. Turn Bomber ON for the end of a solo.
This bright synth bass sound uses Z-Syn.
Bomber is used to make this intense explosive sound.
AMPG SVT and SVT8x10 are used in this basic sound.
BMAN100 is used with FD-B4x12 in this basic sound.
This Motown sound uses a combination of AM1x15 and FlipTop to model an Ampeg B-15N.
This sound in the style of Jaco Pastorius is suitable for melodious phrases.
Using SMR400 and SMR4x10TW, this go-to-patch emphasizes high and low frequencies.
This sounds suitable for pop uses TE400SMX and TE4x10.
This basic sound uses AG 750 and AG4x10TW.
This Ampeg SVT half stack sound uses a model of an SVT-410HLF with a tweeter.
This sound, which models the Markbass Minimark 802 is suitable for fingerstyle playing.
This sound, which uses EBH360, is good for slapping.
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