G3 / G3X presets have been created by professional guitarists.
●BANK C : Richie Kotzen ●BANK D : Kiko Loureiro
●BANK E : Rob Caggiano ●BANK F : Mike Orlando
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.
G3/G3X Patch List - 1
BANK / PATCHPATCH NAMECOMMENTBANK / PATCHPATCH NAMECOMMENT
This drive sound uses the BGN DRIVE effect. Press the expression pedal down to use pedal wah.
This uses FD COMBO for a clean sound. Use the expression pedal to control the Tremolo effect.
This high-gain sound combines DZ DRIVE and PDL Mono Pitch.
The expression pedal controls the Resonance of the Flanger in this simple flanger sound.
This is a funky pedal wah sound. Turn the compressor and phaser ON for a perfect tone for single-note muted backing lines.
Use the expression pedal with this 70s Marshall sound to control the TapeEcho Mix.
This rich modulation sound with a wide stereo feel is created by a combination of DuoPhase and StereoChorus effects.
Using the Slicer, this patch automatically generates a shuffle backing pattern.
Combining a nice drive sound with auto-wah, this patch sings in response to dynamics with both single note lines and chords.
You don't need to change your axe in the middle of a show. This patch uses the acoustic simulator for a tone with a lot of air.
With this patch, you can get a great fuzz sound no matter what the volume setting of the guitar. The clear sound when the volume is around 2 is really great!
This sound is good for jazz with a cool tone.
This ambient ReverseDelay sound uses a spacious loop. Use the expression pedal to control the ReverseDelay.
Short reflections from the Air effect make this patch sound like a wind instrument. This is great for playing sax-style phrases.
Instead of chorus, this clean sound is modulated by a flanger effect. Suits a retro atmosphere.
This bluesy drive sound combines DIST and FD VIBRO effects.
This filter sound responds quickly to picking dynamics. Single note lines work best with this effect.
This crunch sound uses the B-BREAKER effect. Use the expression pedal to assign PedalCry.
This drive sound uses the TONE CITY effect. Turn the Booster ON for an even more powerful sound.
This patch creates a chord sound that will make you feel like you are in Heaven. This is recommended for long chord backing parts.
This auto-wah sound is cool and funky. The Air effect creates wide stereo imaging.
A wide stereo chorus and hard compression create a clean sound for backing parts.
Delay and reverb are added to the US BLUES 4x10 combo sound. Hit an open chord, let it ring and check the sustain!
This combines chorus and delay in a tone with aggressive compression. The tone is clean, but suitable when you want to solo through a high gain amp.
This clean sound has a vintage feel. Use the expression pedal to control the tremolo.
This rhythm sound for classic hard rock uses a little EarlyRef. Remember the shorts and the backpack?
The CAR DRIVE, Cho+Dly and Comp in this patch create a big overdriven tone that sounds like multiple layered guitars.
This dirty, big-bottomed flanged guitar sound transforms a clean amp into a fat rocking sound!
M Comp, RndmFLTR, and ParaEQ create a sick funk sound best for quick staccato single-note lines.
This emulates the sound of an acoustic guitar plugged directly into an amp. Reverb is optional.
This classic rock tone uses MATCH 30. Turn OverDrive on for leads or TheVibe on for backing.
This heavy sound with a beautiful low end is great for riffs. Boost and delay can also be added in this patch that is great for modern metal style solos.
This clean sound uses a chorus and two delays to create width perfect for arpeggios and chords.
Add flanger and delay to this 80s Heavy Rock sound for a Van Halen flavor.
This indie rock patch has two types of delays that can be used independently or simultaneously.
A slight chorus gives this modern heavy sound greater width.
This prog metal solo tone for fast picking has an effective modulated ping-pong delay.
This heavy rock tone uses the Booster to maximize lead sounds.
This is a tribute to the enigmatic master guitarist Allan Holdsworth.
This sound features pitch shifting and is great for solos. Use the expression pedal to control the HPS Mix.
This is a very usable sound for single note lines and lead playing.
This killer sound for solos has a vocal quality depending on the guitar note pitch.
This lead tone features the TANGERINE amp sound.
No explanation needed for this exemplary thrash sound.
This really obnoxious fuzzed-out sound has some depth added by the Air effect.
Using BG CRUNCH, this smooth and squashed solo sound adds nice warmth with AnalogDly.
This ominous and creepy sound is great with an amp.
This heavy tone that uses Z Bottom and BG DRIVE was designed with drop D tuning in mind.
This patch has a very Classic Rock feel to it and is great with an amp.
This sound uses Governor, M Comp and DELUXE-R for a woody drive tone. The Cry effect adds the feeling of a human voice.
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This is a spacious and distorted auto wah sound. The expression pedal controls the delay feedback.
This very saturated distortion sound is great for heavy metal and rock, as well as rhythm and lead playing.
Synth octaves and a lush delay make this tone huge. The expression pedal controls the synth.
This is a classic British rock tone. The expression pedal controls the delay.
This patch adds a tone that sound like an acoustic sound with a beautiful phase effect. The expression pedal controls the FilterDly Mix.
This uses the Governor effect to produce an overdrive sound good for rock. Use the expression pedal to control the Delay Mix.
This insane pitch transposition sound is great for tricky solos. The expression pedal controls the HPS Mix.
This cry effect is great for soloing and chord playing. The expression pedal controls the delay of DLY+Reverb.
Chorus adds width to this big rock sound. Use the expression pedal to control the StereoCho Mix.
With this clean filter effect the notes seem to take off in a pitch-changing delay. This is great for special effects and unaccompanied moments.
This is the clean sound of the FD COMBO. Press the expression pedal down to turn PedalVx ON.
This crunch sound uses the DELUXE-R effect. Turn the HotBox ON to boost it even more.
This crunch sound uses the FD VIBRO model. Use the expression pedal to add Tremolo.
This crunch sound uses the US BLUES model. Use the expression pedal to add TapeEcho.
This crunch sound uses the VX COMBO model. Use the expression pedal to add Ensemble.
This crunch sound uses VX JMI. Turn the Booster ON for solos.
This crunch sound uses the BG CRUNCH model. EarlyRef provides the secret ingredient.
This clean sound uses the MATCH30 model and gets more width from the Air effect.
This crunch sound uses CAR DRIVE and features resonance characteristic of a small amp.
This crunch sound uses the TW ROCK model. Reverberations from the PhaseDly stand out.
This crunch sound uses the TONE CITY model. Use the expression pedal to add Flanger.
This clean sound uses the HW STACK model and gives the sound a 3D feeling with a combination of EarlyRef and Air effects.
This crunch sound uses the TANGERINE effect. Try turning the Phaser ON.
This crunch sound uses the B-Breaker model. The open tone is characteristic of an open-back amp.
This solo sound combines MS CRUNCH and T Scream and features ping-pong Delay.
This is the MS 1959 crunch. The Vibe is ready to be activated at the head of the chain.
This drive sound uses the MS DRIVE model. Turn Comp ON to get a clean sound.
This drive sound is based on the BGN DRIVE effect. Use the expression pedal to control the StereoDly Mix.
This is the high-gain sound of the BG DRIVE model. Move the expression pedal to raise the pitch by 2 octaves!
This high-gain sound uses DZ DRIVE and features a crisp, tight tone.
This high-gain sound uses the ALIEN effect. This monstrous tone features a fat low-end.
This high-gain sound uses REVO-1. The NoiseGate shuts out noise.
This long reverb sound is ideal for emotional performances like when Jeff Beck plays “Amazing Grace.”
This patch was inspired by the sound used by Queen's Brian May in “Brighton Rock.” The delay flying left and right every two beats is the key.
This smooth distortion sound is inspired by Eric Johnson's performance of “Cliffs of Dover.”
Press down on the pedal to turn PedalVx ON in this Jimi Hendrix sound. Use the expression pedal to control wah and The Vibe.
This modeled Mesa Boogie Dual Rectifier sound is perfect for riffs with the right amount of gain. Use the expression pedal to turn wah ON.
This dotted-eighth-note delay that bounces left and right was popularized by U2’s guitarist The Edge.
This captures the crisp riffing sound of Van Halen’s “You Really Got Me.”
This is the characteristic thick crunch sound used by The Beatles in their early days.
This is the sound used by Jimmy Page live at Madison Square Garden. Turn the wah ON to get it!
This tone can be heard in Eric Clapton's eternal hit Layla. Enjoy it with a Strat in a between pickup setting.
This extreme Marshall sound is a tribute to Gary Moore.
Everyone has tried Michael Schenker’s half-cocked wah sound once, right?
John Scofield inspired this crunch with chorus sound. This patch is perfect for funky jazz fusion.
Use the tap button to match the tempo of the song that you play and strum a power cord just once to create a new arrangement.
The M-Filter responds slowly to picking dynamics for a clean sound. This effect is good for cutting, arpeggios and other chord playing.
This patch simulates the strange sound of a Theremin using the MonoSynth effect. Use your arm to change the pitch in large increments for a more convincing performance.
This hall sound is created by setting the pitch delay interval to two.
This special effect sound uses Z Dream and SeqFLTR effects. Use the expression pedal to control the StereoDly Mix.
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