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Use the Z-pedal with this 70s Marshall sound to create a time-stretching eﬀect like an analog echo.

The Z-pedal controls FlangerZ in this simple ﬂanger sound.

Using the Slicer, this patch automatically generates a shuﬄe backing pattern.

Use the Z-pedal with this high-gain sound to apply strong ﬁltering.

Combining a nice drive sound with auto-wah, this patch sings in response to dynamics with both single note lines and chords.

Use the Z-pedal to switch between a VX JMI crunch sound and a sitar sound.

Use the Z-pedal horizontally to switch between Tremolo and Phaser. Press down on the pedal to turn PedalCry ON.

Use the Z-pedal horizontally to switch between Chorus and Reverb. Press down on the pedal to turn PedalVx ON.

This ﬁlter sound responds quickly to picking dynamics. Single note lines work best with this eﬀect.

Use the Z-pedal horizontally to switch between Flanger and Delay. Press down on the pedal to turn PedalCry ON.

Moving the Z-pedal creates an eﬀect like a spaceship at warp speed. The key is to press the Z-pedal down slowly.

Use this to double a lead sound one octave below. Push the Z-pedal right to lower the doubling by another octave!

The eﬀect of this destructive ring modulator sound changes cyclically.

The combination of PitchSHFT and Detune creates an ethnic instrument vibe.

The attack is emphasized with compression in this 80s style cutting sound. This is good with single coil front and middle settings.

This clean sound, which uses compressor, chorus and reverb, is good for everything from cutting to arpeggios.

This clean sound has a reﬁned high-class feel like some expensive studio gear.

This clean sound brings back the heyday of 80s rack eﬀects as heard in Cyndi Lauper’s “Time After Time.”

The wah and hall reverb of this simple clean sound make crisp cutting stand out.

Stereo Chorus and Stereo Delay create a gorgeous clean sound good for arpeggios.

This is the clean sound of the FD COMBO. Press the Z-pedal down to turn WAH100 ON.

This crunch sound uses the US BLUES model. Move the Z-pedal vertically to change the TapeEcho.

This crunch sound uses the BG CRUNCH model. EarlyRef provides the secret ingredient.

This crunch sound uses the TW ROCK model. Reverberations from the PhaseDly stand out.

This crunch sound uses the TANGERINE eﬀect. Try turning the Phaser ON.

This is the MS 1959 crunch. The Vibe is ready to be activated at the head of the chain.

This is the high-gain sound of the BG DRIVE model. Move the Z-pedal vertically to raise the pitch by 2 octaves!

This high-gain sound uses REVO-1. The NoiseGate shuts out noise.

This talking modulator sound uses the CRY eﬀect.

Overdrive and a short delay are used to recall the sound of J. Graydon in his heyday.

This patch combines 3 delays to produce the smooth lead sound of Allan Holdsworth.

Press down on the pedal to turn PedalVx ON in this Jimi Hendrix sound. Use the Z-pedal to control wah (vertical) and vibrato (right).

The blues tone of Stevie Ray Vaughan is created using Fender Bassman modeling.

This sound is inspired by early Van Halen. Turn the phaser ON for solos! Good for guitars with humbucker pickups.

Is drop tuning mandatory for the Limp Bizkit metal sound?!?

FD VIBRO is used to make the lead guitar sound used on The Pretenders hit "Kid."

The solo sound of Deep Purple’s Machine Head is the inspiration for this patch. This is the sound of Ritchie the Great in his younger days.

This is the best for tasteful jazz! Play using the front humbucker.

This sound was inspired by Wes Montgomery. Play tight octave intervals with this one.

This captures the crisp riﬃng sound of Van Halen’s “You Really Got Me.”

Comp and GraphicEQ are used to create a deep clean tone for rhythmic playing. Great for Telecasters.

Use this reverb sound for chord playing. Notice the reverb comes in just after the dry signal.

This auto-wah sound is cool and funky. The Air eﬀect creates wide stereo imaging.

US BLUES and Comp create a classic 4x10 combo sound.

This uses the Z-pedal and reverb to create an old-school 70's wah sound.

This lead tone sounds like it’s coming from somewhere beyond the hills.

This simulates a miked-up rotary speaker. Use the Z-pedal to control speed.

An orchestral guitar sound. Hit an open chord hard and it will fade in slowly.

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

MS EchoZ

Move jet-Z

ShuffleAT

BG Filter

DriveA-Wah

HotSpice

TRM&PHSR

Cho&Rev

Fast Filt

FLNG&DLY

StarShip

Oct-Lead

SpaceWorm

Arpa +++

Edge Cut

Best Clean

Rich Clean

Time Clean

Clean Wah

Clean Alp

FD COMBO

US BLUES

BG CRUNCH

TW ROCK

TANGERINE

MS1959

BG DRIVE

REVO-1

JB Talks

J.Graydon

AH Solo

Hendrix

S.R.V

70s V.H

Bizkit

PRETENDERS

SmokeWater

GrantGreen

WesMontgo!

E.V.H

Tele ClnRH

Clean Hall

StereoFunk

410BlsMnDR

OldSch Wah

Tunnel Ld

Spinner

TheSweller

BigFatFlng

Robo Funk

This uses FD COMBO for a clean sound. Use the Z-pedal to control the Tremolo eﬀect.

The combination of TalkPDL-Z and MS1959 create a classic talking modulator sound.

Use the Z-pedal to control the volume of this clean/rhythm/lead sound.

This funky percussive sound uses compressor and phaser eﬀects, making it perfect for single-note muted backing lines.

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.

Short reﬂections from the Air eﬀect make this patch sound like a wind instrument. This is great for playing sax-style phrases.

This is a classic organ tone. Use the Z-pedal to control the rotation speed and stereo width of the rotary speaker.

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 is a surf guitar sound with a strong attack and lots of reverb. Use the exciter instead of the booster when soloing.

This is a fuzz sound with feedback. One trick is to play long tones and move the Z-pedal to the right.

This sound is good for jazz with a cool tone.

This simple crunch sound is great for lightly strumming low chords.

This patch mixes multiple eﬀects for a synth lead sound that reacts closely to picking dynamics.

Using the Slicer, the sound rises rhythmically while maintaining a phase delay eﬀect. This patch is good for playing long tones.

MS DRIVE is driven further with the Booster to make a sound that is good for heavy and round riﬀs. The thick bottom is also perfect for low tunings.

This is it for your basic drive sound! Use the volume on the guitar to shift from crunch to drive, and turn #2 ON for a lead tone.

This modern heavy sound emphasizes the low end. This patch also works well with drop tunings and 7-string guitars.

This is a standard tremolo and crunch sound. Move the Z-pedal left and right to switch quickly to an aggressive tremolo sound.

This phaser sound is just right for cutting with nice compression and a surging phaser. Get into the feel and your right hand won’t stop!

This patch creates a fat distorted tone by using a chorus eﬀect to double the guitar sound.

This crunch sound uses the DELUXE-R eﬀect. Turn the HotBox ON to boost it even more.

This crunch sound uses the VX COMBO model. Move the Z-pedal vertically to add the Ensemble eﬀect.

This clean sound uses the MATCH30 model and gets more width from the Air eﬀect.

This crunch sound uses the TONE CITY model. Move the Z-pedal vertically to add Flanger.

This crunch sound uses the B-Breaker model. The open tone is characteristic of an open-back amp.

This drive sound uses the MS DRIVE model. Turn Comp ON to get a clean sound.

This high-gain sound uses DZ DRIVE and features a crisp, tight tone.

This classic British rock lead tone emphasizes the midrange.

This distortion sound with thickness added by doubling one octave down is inspired by Jeﬀ Beck’s “Come Dancing.”

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 patch captures Allan Holdsworth’s chord sound. Three spatial eﬀects enhance the feeling of depth and width.

This is the sound of a modeled Mesa Boogie Dual Rectiﬁer. Perfect for riﬀs with the right amount of gain. Use the Z-pedal to turn wah ON.

This delay sound was inspired by “Walking On The Moon,” a hit by The Police.

This patch is based on a sound Van Halen has used since the 90s. It’s great with humbuckers.

This is the sound used by Jimmy Page live at Madison Square Garden. Turn the wah ON to get it!

This ring modulator sound was inspired by Prince.

This is the solo sound used on the Guns N' Roses hit “Sweet Child o' Mine.” Use wah for lots of expression!

This Green Day sound is perfect for power chords and backing parts. Recommended for humbuckers, P-90s and other pickups with high output.

A 90s hard rock sound as heard in Extreme’s “Decadence Dance.”

This is the characteristic thick crunch sound used by The Beatles in their early days.

Play a Jazz lead with all these eﬀects on then turn the Exciter oﬀ for rhythm playing.

This combines aggressive compression with chorus and delay. It's like soloing through a high gain amp, but with a clean tone.

This uses the Cry eﬀect for the sound of a clean tone through a talk box. This is the Talking Guitar!

US BLUES is used with Comp and EarlyRef eﬀects for a classic 4x10 combo amp sound with reverb.

RackComp and VX COMBO produce a classic rock sound. This rhythm tone has a Tweed Deluxe character.

GraphicEQ, ALIEN, Comp and DynaDelay are combined for a high-gain lead tone perfect for shredding solos!

The CAR DRIVE, Cho+Dly and Comp in this patch create a big overdriven tone that sounds like multiple layered guitars.

A variation on The Sweller that adds PhaseDly. Try using the Z-pedal for interesting variations.

Comp and PitchDly make a creepy sound that works best with diminished chords and single note lines.

This is a rotating speaker patch with overdrive and reverb. Use the Z-pedal to control rotation speed.

TremoloZ

TalkingZ

BoostZ

FunkyMute

Taste-AC

Horn

RotaryZ

GoodFuzz

ExciteSurf

FuzzyBack

JAZZ

Strumming

Synth-Lead

Rise

Basic Riff

BasicDrive

ModnHvy

BasicTrem

Cut-Phaser

DB Dist

DELUXE-R

VX COMBO

MATCH30

TONE CITY

B-BREAKER

MS DRIVE

DZ DRIVE

BritMay

OctDancing

BrianDL

AH Chorus

MetalKirk

The Police

90s V.H

J.Page

Prince

SweetChild

GreenDay!!

Decadence

Beatle AC

Tele ClnLD

Str Cln LD

Cln Talker

410BlsMnWT

Stoney2x12

Hot Wet Ld

Washed Out

ShakeySwll

Demented

Option Les

This drive sound uses the BGN DRIVE eﬀect. Use the Z-pedal to control the pitch shifter and vibrato.

Move the Z-pedal vertically to control Z-pedal wah and horizontally to control the pitch shifter.

This rich modulation sound with a wide stereo feel is created by a combination of DuoPhase and StereoChorus eﬀects.

This is a nice lead tone that uses BGN DRIVE. Use the Z-pedal to add chaotic tonal changes.

This ambient reverse delay sound uses a spacious loop. Move the Z-pedal left and right to control the delay.

This patch turns the guitar sound into a synthesized string pad. Shift the Z-pedal right to double the sound one octave up.

This combines the REVO-1 high-gain sound with a GRANULAR eﬀect. Adjust break time with the Z-pedal.

This patch lets the guitar say what it wants! Press the Z-pedal to make it talk faster!

This lead sound has a distinctive fuzz. Use the Z-pedal to control the frequency of the auto-pan and wah for a psychedelic sound.

Try this patch if you are sick of chorus-soaked arpeggios for a fresh arpeggio sound.

Instead of chorus, this clean sound is modulated by a ﬂanger eﬀect. Suits a retro atmosphere.

This high-gain sound combines DZ DRIVE and PDL Mono Pitch.

This drive patch mixes a sound like banging on metal with muted tones. Enjoy bridge muting with this one.

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 standard lead patch uses T Scream and adds just the right amount of compression and sweetness to the wild MS DRIVE sound.

This patch sounds like it is being played in a large hall. You can play it half-cocked or choke it while pressing down.

This harmony patch sounds like it came out of a massive setup. Use the Key knob to harmonize in the desired key.

This phrase sound responds to picking dynamics, guitar volume and other nuances. Go ahead and turn the booster ON to play lead!

This crunch tone is a gift to all the guitarists who love the Marshall sound!

Vibrato has been added to a pitch shifter. Press down on the Z-pedal to raise the pitch an octave, and shift it right to apply vibrato.

This crunch sound uses FD VIBRO. Move the pedal vertically to add tremolo.

This crunch sound uses VX JMI. Turn the Booster ON for solos.

This crunch sound uses CAR DRIVE and features resonance characteristic of a small amp.

This clean sound uses the HW STACK model and gives the sound a 3D feeling with a combination of EarlyRef and Air eﬀects.

This solo sound combines MS CRUNCH and T Scream and features ping-pong Delay.

This drive sound is based on the BGN DRIVE eﬀect. Turn Pedal Cry ON to get a half-cocked tone.

This high-gain sound uses the ALIEN eﬀect. This monstrous tone features a fat low-end.

This clean tone uses the MS1959 model and is recommended for use with Strats.

This long reverb sound is ideal for emotional performances like when Jeﬀ Beck plays “Amazing Grace.”

This smooth distortion sound is inspired by Eric Johnson's performance of “Cliﬀs of Dover.”

John Scoﬁeld inspired this crunch with chorus sound. This patch is perfect for funky jazz fusion.

This is based on the Zakk Wylde’s wah sound. The key is the mix of chorus and distortion.

This dotted-eighth-note delay that bounces left and right was popularized by U2’s guitarist The Edge.

This patch captures the sound of Metallica’s Black Album. This one is best with humbucker̶ideally active̶pickups.

This combination of Dist 1 and Chorus eﬀects recalls the distortion sound Nirvana’s Kurt Cobain.

This is a solo guitar sound used much by Steve Lukather.

This cutting sound is inspired by Pete Townshend of The Who.

This tone can be heard in Eric Clapton's eternal hit Layla. Enjoy it with a Strat in a between pickup setting.

Everyone has tried Michael Schenker’s half-cocked wah sound once, right?

This captures the precise delay control that can be heard on Guns N' Roses signature tune “Welcome To The Jungle.”

A wide stereo chorus and hard compression create a clean sound for backing parts.

This clean sound has a vintage feel. Use the Z-pedal to control the tremolo.

This clean tone for typical funk uses Comp, GraphicEQ and WAH100. Use the Z-pedal to control the wah.

Delay and reverb are added to the US BLUES 4x10 combo sound. Hit an open chord, let it ring and check the sustain!

This rhythm sound for classic hard rock uses a little EarlyRef. Remember the shorts and the backpack?

Turn HotBox on for lead or oﬀ For rhythm with this classic rock wah tone. Use the Z-pedal to control the wah.

This clean tone is percussive and musical. This is perfect for country-style ﬁngerpicking

Comp+OD and DirtyGate are used together to create a tone like a speaker. This is great for staccato playing.

Comp and SlowFLTR create s nasty funk sound straight out of a 70s soundtrack

This emulates the sound of an acoustic guitar plugged directly into an amp. Reverb is optional.

W-ShiftDrv

Wah&Pitch

MultiMod

BGN Chaos

Fripper

Volume Pad

GranuRevo

RNDM Talk

Fuzz+A.Pan

New Arp

Clean FLNG

DZ Bend

iron drive

Heaven

Basic Lead

Wah-Lead

harmony

Blue Drive

MS Love

BendMod

FD VIBRO

VX JMI

CAR DRIVE

HW STACK

MS CRUNCH

BGN DRIVE

ALIEN

MsJohn

JB Crunch

Smooth

JazzFusion

ZakkWow

U2…

J.Hetfield

Nirvana

S.Lukather

The Who

Layla…

M.S-Wah

WelcomeToJ

Tele ClnRW

Trem Clean

Clean Wah

410BlsSolo

Elec Rhyth

Rokin Wah

Funky Plkr

Broken

SlyFunkst

Fool Frnds

COMMENT

1 2 3

PATCH NAME COMMENTPATCH NAME COMMENTPATCH NAMEBANK

The G5 presets have been created by professional guitarists.

●BANK 41 ∼ 53 : Richie Kotzen ●BANK 54 ∼ 66 : Kiko Loureiro

●BANK 67 ∼ 79 : Rob Caggiano ●BANK 80 ∼ 92 : Mike Orlando

These patches demonstrate the possibilities of the Z-pedal.

Demo

Clean/ Rhythm/ Lead

Amp Modeling

Guitar LegendRichie Kotzen

1 2 ... 59 60 61 62 63 64 65

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