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.
Pr
ofessional Settings
Demo
Stu Hamm
Nate W
atts
T
weak Fr
eak
Pr
ofessional Settings
BANK / PATCH
CATEGORY
BANK / PATCH
CATEGORY
PATCH NAME
COMMENT
PATCH NAME
COMMENT
©2014 ZOOM CORPORATION Z2I-2011-01
Clean
Distortion
Filter/Synth
Clean
Legendar
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This warm distorted bass sound is perfect for UK rock style music.
Cut through even a loud orchestra with this rock slap setting.
This envelope filter sounds uses M-Filter and DuoPhase.
When you want to record a clean sound that is a little fat, this sound that uses HRT3500 is the one.
This distortion sound is good for playing with a pick.
This clean sound with a prominent echo can be used during quiet sections of songs.
This synth bass sound shows its power in the low range.
This aggressive bass sound with a distinct edge even works well with slapping.
Big heavy rock tone with added distortion in the style of King Crimson's John Wetton.
With a smooth attack like a fretless bass, this setting is great for playing melodies.
Recreates the tone and attack of a classic solid-state amp and cabinet.
A combination of classic rock bass heads and cabinets give you the power and tone to hold down the bottom no matter how hard you are rocking.
Starting with a clean solid-state sound, this patch adds an octave below. Great for soloing or laying down phat bass lines.
Uses the Defret and G-Krueger for a recreation of Jaco's tone on “A Remark You Made.”
This funky synth sound is based on the intro from George Duke’s “Reach For It.”
A slight early reflection delay on top of an ultra-clean tone make this an ideal patch for music using tapping techniques.
A clean setting with a subtle chorus and reverb perfect for chordal playing.
A subtle delay for solo bass playing with an added reverb.
The StereoDly added to a sweet harmonics setting for an out-of-this-world sound.
In the style of Robert Fripp’s “Frippertronics,” this patch will let you create long and surreal soundscapes.
This auto-wah sound, which uses BaAutoWah, is great for playing funky bass lines.
This is an extremely distorted fuzz sound and uses Ba Metal.
This setting, which uses the Plate reverb effect, is great for solo bass.
The Mark B and Ba Ensmbl effects are used to create this thick chorus sound.
This uses the Flip Top and Vibrato effects for a sound with a strong sense of modulation.
This patch uses Ag Amp and SlowATTCK to create a sound with a nice slow attack. This is perfect for playing chords.
This delay sound uses the G-Krueger and Delay effects to repeat the original sound with little alteration. This is a perfect delay sound for playing solos with a mysterious feeling.
This setting uses Ba Octave to increase the thickness of the low frequencies.
This uses the acoustic and Ba Chorus effects for a clear modulation sound.
This synth bass sound uses StdSyn and is good for funky phrases.
This setting is based on the sound of line recording.
The fleshy sound of fingerpicking is the image behind this setting.
This clean sound uses a compressor setting that is good for playing with multiple fingers, including three-finger, four-finger and sweep.
This gospel bass sound uses the SMR effect.
This clean sound for fast playing uses HRT3500 and is good for recording.
This is a bass sound with a quick attack. Since the middle frequencies are also brought out significantly, the outlines of the tones are not lost, making this patch great for fast playing.
Smooth and strong fingerpicking is the inspiration for this patch.
This lo-fi sound uses the AC Bs Pre with bold equalization.
A slightly compressed rock tone on the verge of distortion that will enhance playing with a pick.
With its low range brought to the front, this bold sound is perfect for dub reggae.
A tribute to James Jamerson. SVT and Ba Boost with heavy low end like Mr. Jamerson.
Using G-Krueger, this is a clean sound for recording technical solos.
Ideal for playing harmonics, for example, this setting makes use of the rear pickup of a jazz bass.
Good for playing chords, this sound maintains the distinctness of the notes.
This setting evokes the sound of Jaco Pastorius and is ideal for playing chords using natural harmonics.
This setting makes the most of repeated rhythmic playing using the nails of the right hand.
Use this floating sound to maximize the chord feeling and crisp staccato of tapping.
While being a clean sound, this lyrical patch also suits bold fast play.
This dub sound is crafted with reverb and has great depth. Lowering the tone on the bass itself might add interest.
Was thinking of Victor Wooten's “Show of Hands” record.
This is a sound in the style of Chris Squire from Yes. It re-creates the rapidly sawing tremolo sound that he used in “Starship Trooper.”
A tribute to Anthony Jackson on the O'Jays hit song, “For the Love of Money.”
This patch is effective at making the most of the tails of long notes when, for example, playing whole notes with bright round strings.
ModReverb gives this setting a nice modulation.
SlowATTCK, OptComp, Delay, and ModReverb make a very somber sound. GREAT for ballads.
This Marcus Miller style tone uses 160
Comp and SMR.
This setting uses Mark B and is designed to record metal-style slapping. Mixing this with the direct sound when recording is ideal.
This setting allows the melody to be heard effectively when using only slap pull-offs.
160 Comp and Phaser FULL sound to cut through ANYTHING.
Enjoy ethereal slap playing with this setting that uses a short delay.
This distortion sound keeps notes distinct and is designed for quick playing and bassists who have fast right hands.
This sticky distorted bass sound in the style of Jack Bruce sounds like the rough distortion of a humbucker pickup.
Ba Dist 1 and Ba Boost make this a fun sound to have!! Harmonics and Melodies really come alive.
This boomy sound uses the Heaven and Limiter effects.
D.I Plus and Bass BB combine to make this rough distorted sound.
Strong, in-your-face Muff. The Ag Amp made it BIG sounding.
This setting for recording rapid solo playing uses D.I Plus and DI5.
This solo sound designed for fast playing and tapping will let you play your heart out during bass solos.
Add color to songs with this phaser sound.
A tribute to the band Muse and their song “Stockholm Syndrome.”
This auto-wah sound uses BaAutoWah for great expressiveness.
The bottom is emphasized in this filter sound that seems to talk.
The Ba Octave effect is used for an octave filter sound.
A tribute to Alphonso Johnson. Limiter gives it that punch and the Exciter gives an edge 70's Fusion.
A combination of SVT and M-Filter effects creates this sound that evokes the atmosphere of a Moog synthesizer with its rich low frequencies.
This patch was made to fall between the sound of a synth bass and an envelope filter effect.
This synth bass sound is extreme. It's perfect for phrases with long notes using sustain.
This keyboard bass setting evokes the 1970s, but has a modern touch.
This synth bass tone has a talking feel.
This synth bass sound is effective when sustaining long heavy low notes.
Slight compression and ParticleR give a synthy pad sound when played legato.
This synthesizer pad sound can be used with chord playing.
Defret with Ba Pitch set an octave below and Vibrato make this extremely funky and unique sound.
This setting, which uses FilterDly with ModReverb, is inspired by the image of a sunken ruin at the bottom of the ocean.
SeqFLTR, ReverseDL and other effects combine for an electronica sound. This one is perfect for playing harmonics and chords.
With a 5th added, I was hearing the 70's fusion of George Duke/Frank Zappa.
This synth bass sound uses BitCrush for a tone inspired by dubstep and similar genres.
This long delay sound uses modulation that generates feelings of comfort.
SVT amp with StdSyn and SeqFLTR. Big Fuzz and Synth sound.
ReverseDL, HD Hall and Ba Boost for spacy new age bass.
This setting is good for modern slap playing techniques. It uses M Comp and Mark B effects.
This orthodox bass sound is warm and relaxed, making it perfect for accompanying singing, for example.
With a fat sound, this setting is ideal for earthy rock played by fingerpicking.
AC Bs Pre and Flip Top for 1960's Motown sound.
This traditional slap sound is in the style of Louis Johnson.
Powerfully boosting the midrange, this distorted bass sound is in the style of Tim Bogert.
The emphasis on the low frequencies is like old-fashioned reggae bass.
80's Pop Tone. Not too “chorus” driven, but just enough rate from Ba Ensmbl.
This simulates the sound of a fretless bass. A sense of vibration and width are realized by combining multiple effects.
D Comp, Vibrato and Z-Syn A tribute to Bootsy Collins.
UK Groove
SLAP
Fonk
REC FAT CL
ruff
CLEAN&ECHO
FAT Syn
AttackBass
Fracture
FRETLESS
SolidState
RockSteady
LowOctave
A-Remark
Reach4It!
HammOnTap
Chordal
SoloDlaVrb
SpaceMan
FrippOut
NW AUTO
NW FUZZ
NW VERB
NW ENS
NW VIB
NW SATK
NW DLY
NW DBL
NW CHOR
NW SYN
Studio
Fat Man
TC CLEAN
The Gospel
REC CLEAN
Solid Bass
Big Willie
Low Fi
PickHeavy
ReggaeBASS
Cappn Hook
REC SOLO_C
FUSION CH
CHORD
HARMONICS
CUTTING
TAPPING
CLEAN SOLO
DUB BASS
Orpheum
TREMO
Mean Green
CHO&REV
Ice
Listen Up
Tight
REC SLAP
PULL MELO
ChokePHASE
SLAPBACK
HYBRID DIS
JB Dis
ExtraExtra
KingSal
boozer
Aggression
REC SOLO_D
DIS SOLO
PHASER
aMUSE me
AUTO-FUNK
Talkin'
kick it
Energy
G-Boogie
Star Bass
SYNBASS
BassickSyn
Boogie
SFX SYNTH
Synthy
chill
Ice Cold
Drowned
Warp
JustNasty
Krush
Copycat
Murda Fuzz
Genesis
MillerTime
WARM TONE
EarthyRock
Remote
1981
TM FUZZ
Smoke
Magic
jackko
SpaceFONK
