Category No. Patch name Description Main effect

DEMO

A0

ROCK

Based on the ultimate rock bass amp, the AMPEG SVT, this sound is great both for bare finger playing and when

using a pick.

AMPEG

A1

Heavy Comp

Simulates the sound of a HARTKE HA3500 with 4.5XL that became the Will Lee trademark.

COMP & HARTKE

A2

No Holds Barred

All-rounder distortion sound. Turn on pedal wah, flanger, and echo for even more excitement.

ODB-3

A3

AUTO WAH

Traditional-style auto wah. Transform percussive play with ghost notes straight into a funky sound.

AUTO WAH

A4

Yes!

Progressive rock sound, taking a hint from Yes bassist Chris Squire.

CHORUS & ECHO

A5

Pop Style

Straightforward but addictive sound for pop and rock. A slight dash of room reverb is the secret ingredient.

BASSMAN

A6

-12 Below

Classic sub-octaver sound created by Pino Palladino.

OCTAVE

A7

No Worries

Fretless bass sound using the defret effect. Add a slide to a phrase and turn your instrument into a fretless bass.

DEFRET

A8

Stream

Flanging sound for those smooth and flowing phrases, supported by a solid backbone.

FLANGER

A9

Synth Bass

PAD type synth bass sound. Great for lead bass and for programing sound during live play.

MONO SYN

MODELING

B0

SVT

Combines the all-tube SVT from AMPEG with an 810E cabinet. Experience that gutsy tube amp sound.

AMPEG

B1

HARTKE

Simulation of HARTKE HA3500 head amp combined with aluminum-cone cabinet 4.5XL. Note the

characteristically straightforward punch of aluminum.

HARTKE

B2

SUPER BASS

Simulation of MARSHALL 1992 Super Bass head amp combined with 1935A cabinet, tailored into Marshall style

drive-oriented sound.

SUPER BASS

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

B4

BASSMAN

Simulates the Fender Bassman 100 also used by Paul McCartney. Enjoy that special Beatles sound with

Rickenbacker and Hofner violin basses.

BASSMAN

B5

ACOUSTIC

Simulation of ACOUSTIC 360 head amp combined with 301 cabinet, characterized by a tight midrange.

ACOUSTIC

B6

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

B7

TUBE

Simulates a high-class tube preamplifier such as used in recording studios. The fat and supple sound fits every genre.

TUBE PRE

B8

SANSAMP

Simulates the lightly distorted sound of the SANSAMP BASSDRIVER DI, beloved by many bass players.

SANSAMP

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

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.+

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

C2

FUZZ FACE

Simulates the Fuzz Face famous for its unique look. Wildly distorted fuzz sound is great for those aggressive bass

lines.

FUZZ FACE

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

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

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

C6

Mo'Soul

Motown sound made famous by James Jamerson. Sixties Motown comes alive again.

TUBE PRE

C7

Miller's Crossing

Marcus Miller type slap sound. Typically deep SWR bass sound is complemented by glossy highs.

SWR

C8

Leadist

Simulation of distortion sound suitable for Tony Levin style lead play. Connect an expression pedal and turn pedal

wah on to create highly effective wah sound.

SUPER BASS

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

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

D1

Little Muddy

Blues sound from the days of Muddy Waters. The range is low-fi, but the impact is powerful.

SANSAMP

VARIATION

D2

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

D3

PHASER SLAP

Phaser sound lets you embellish your slap playing with modulation effects.

PHASER

D4

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

D5

A Major Harmony

Harmonized pitch shifter sound in an A major key. Good for bass solos.

HARMONIZED
PITCH SHIFTER

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

D7

Tremolo

Enchanting tremolo sound with reverb creates a dreamy backdrop or enhances a moody solo.

TREMOLO

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

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

B2 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 PATCHLIST 1.0