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Kiko LoureiroRob CaggianoMike OrlandoSFX

This setting will give your clean amp that classic rock crunch with a clear but powerful full-bodied tone.

Use the Z-pedal to control the mod speed of this cool and clean but edgy rhythm modulation tone .

This cool sound suits chordal melodies well and also works as a nice rhythm tone for blues when PhaseDly is oﬀ.

This classic rock tone uses MATCH 30. Turn OverDrive on for leads or Vibrato on for backing.

This pure heavy metal riﬃng sound uses the Mesa boogie amp and a noise gate for an old Metallica-style sound.

Add ﬂanger and delay to this 80s Heavy Rock sound for a Van Halen ﬂavor.

This compressed and clean sound is good for tapping chords in a Stanley Jordan style, picking arpeggios and cutting melody lines.

This prog metal solo tone for fast picking has an eﬀective modulated ping-pong delay.

Use this patch for riﬃng with loud delay. Play in the tempo of the delay.

This extreme Marshall sound is a tribute to Gary Moore.

EarlyRef give more power to riﬀs.

Classic American vintage sound.

Modulation is added to this drive sound. Adjust the drive from clean to crunch with the Z-pedal.

Play a pentatonic riﬀ using this legendary fuzz sound and ﬂy back in time.

This uses well-known muﬀ distortion for a fuzzy sound that is good for indie and 60s psychedelic rock

Use this close emulation of a talk box to create riﬀs and solos with an unusual sound.

This is a very usable sound for single note lines and lead playing.

GreatMuﬀ and Octave combine to make a dark sound that is deep and evil.

This spacy sound with SlowATTCK should be used as an eﬀect for long open chords.

Distorted and broken sounding, use this eﬀect to add contrast to "normal" guitar tones.

This tricky sound is cool for staccato chords.

No explanation needed for this exemplary thrash sound.

This really obnoxious fuzzed-out sound has some depth added by the Air eﬀect.

This ominous and creepy sound is great with an amp.

This patch responds well to picking with a deep distortion for a sound that seems to be on ﬁre

This is a very strange sound based on the Octave eﬀect. It's evil, dark, dirty, and, above all, FAT!

This sounds like a strange cat crying.

This patch has a very Classic Rock feel to it and is great with an amp.

This is a spacious distorted sound. The Z-pedal can control the length of the reverb.

This is a spacious distorted auto-wah sound that is great for lead playing. The Z-pedal controls chorus and reverb.

This very saturated distortion sound is great for heavy metal and rock, as well as rhythm and lead playing.

This classic overdriven tone is great for hard rock. The Z-pedal controls the delay.

This lush acoustic sound is great for chord playing. The Z-pedal controls the amounts of reverb, chorus and delay.

This overdriven sound with some slapback delay is great for modern country. Use the Z-pedal to control the gain when soloing.

This overdrive sound is super wide, making it great for open solo passages. The Z-pedal controls multiple eﬀects.

This cry eﬀect is great for soloing and chordal work. The Z-pedal controls multiple eﬀects.

This great rock rhythm and soloing tone uses Squeak. The Z-pedal controls the gain.

Three delays produce a super-wide rock chorus sound. The Z-pedal controls the balance between the 3 delays.

This classic SRV Strat tone is great for bluesy phrases. The Z-pedal controls the booster gain.

The low-end roars like thunder in this patch that is great for soloing and special passages. The Z-pedal controls Octave and BGN DRIVE.

This is a screaming heavy metal tone. Choose from 3 pedal wah eﬀects to suit the style or situation.

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 intense machine gun tremolo is made using the Slicer. Move the Z-PEDAL right to control the tremolo balance.

Use this patch to make a nice pad sound just by playing, whole note, half note and other long chords.

The M-Filter responds slowly to picking dynamics for a clean sound. This eﬀect is good for cutting, arpeggios and other chord playing.

Use the Z-pedal to control the ﬂanger in this aggressive and destructive sound.

This funk bass sound uses the MonoSynth and Cry eﬀects!

This patch was inspired by the Moog Taurus bass. Parametric EQ is used to boost the heavy low frequencies and a pitch shifter adds thickness.

Play long power chords or single notes for a surprising unexpected tone. Play aggressive melodies in a high position.

The Rocker

Uni Clean

New Phase

MatchVibe

Metallic

ValleyRock

Tap deep

Progressng

BoomingRff

Mr.Moore

RiffReflec

Force One

Clairvoyanc

PurpleSky

Puff Muff

The ZOO

Honeydrip

Darkness

Orbital

Broken

Rear View

Thrash Em

Zipper

Creeper

Burnin'

Fatso

Fat Cat

Classic

Proverbs

AutoDrive

HeavyMedal

TastyTang

AngelSky

CountryDrt

Echo2Marsh

Open Wah!

CaptCrunch

CrunchEcho

St-e-v-Ray

BigBottom

ScreamnWah

DreamScape

TremGun

PAD

FilterCLN

PDLFL

FunkBass!

TaurusBS

be alarmed

TONE CITY and Governor create a soaring lead tone. Delay is optional.

This simulates a backwards tape machine and is good for single note lines. Try playing in time with the delay. Octave and Comp+OD are optional.

This setting creates a subtle string harmony coming in and out while arpeggiating chords that sounds like chimes and a guitar together.

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.

The SeqFLTR creates an interesting continuous sound that is a useful eﬀect for overdubs and pads.

This indie rock patch has two types of delays that can be used independently or simultaneously

This classic psycho rock patch combines a bluesy crunch sound with modulation eﬀects.

This All-American classic tone is good for blues-rock and classic rock.

This acoustic simulator adds chorus for a spacious atmosphere.

This lead sound has lots of mids to enhance the picking attack.

High gain with modulation creates an 80's rack eﬀect vibe. Use the Z-pedal to control the chorus and ﬂanger.

Solo with this Hammond C3 emulation for something diﬀerent.

This patch is good for tapping. Play in time with the delay.

This pure sound uses the Exciter and StereoDly.

This ﬂying delay will ignite your creativity. This sound is nice for arpeggios and tapping with a clean tone.

A perfect mix of ﬂanger and delay is used to create the Van Halen sound.

Spring and AnalogDly are combined well for a cool sound that can be used for almost anything.

Used together, T Scream, SeqFLTR, TheVibe and Z Bottom deﬁnitely create a crazy sound!

Comp+OD, Exciter and FilterDly combine for a spacey lead tone.

This quirky lead sound has a unique tonality. It lends itself to rock and fusion but can used for anything if you have the NERVE!

This lead tone features the TANGERINE amp sound.

Exciter, DZ DRIVE, ZNR and Slicer are combined for a cutting cool sound.

Phaser, Delay, HW STACK and Room are combined to make Pink Floyd's "Run Like Hell" sound.

Z Clean, FD COMBO, Cho+Rev and TapeEcho make a clean sound with a unique twist.

Z Clean, MATCH 30, Spring and OptComp are used in this lightly distorted and very warm tone.

This patch deﬁes explanation. It sounds like a kid who won’t listen!

Use this patch for single note lines, solos or simply as an eﬀect. Listen to the changes when you turn WarpPhase, RingMod and other eﬀects oﬀ.

FLG+VCho, Z Clean, FD COMBO, RackComp and FilterDly are combined for a lush, clean sound.

This distorted choppy sound uses Tremolo and SlowFLTR. The Z-pedal controls the modulation.

A combination of AutoWah and Dist+ produces a very distorted auto-wah sound for leads and solos. Shift the Z-pedal right to control the gain.

This huge tone uses synth octaves and a lush delay. The Z-pedal controls the gain, synth and chorus.

This is a classic British rock tone. The Z-pedal controls the delay, gain and reverb.

A beautiful phase is applied to this acoustic tone. The Z-pedal controls the amount of spatial eﬀects.

This classic country sound adds slapback echo to a light distortion. Great for ﬁnger picking and soloing.

This insane pitch transposition sound is great as a solo eﬀect. The Z-pedal controls the amount of the pitch eﬀect.

A sense of spacious is added to this clean acoustic wah tone. Great for solos and chord passages. The Z-pedal controls the amount of spatial eﬀects.

This rock tone adds dense modulation with Comp+Phsr and is great for soloing and rhythm playing with a crunchy sound.

The Z-pedal controls the mix of 3 ﬂangers in this modulated sound that is great for soloing and chord work.

A classic SRV Strat tone with added bluesy tremolo and vibrato. The Z-pedal controls the speed.

This clean sound has lots of feedback. The Z-pedal controls the StereoDly balance and feedback.

This very tight distorted rock tone has a slapback delay added that seems to wind around.

Three phaser eﬀects can be added to B-BREAKER in this patch. The Z-pedal controls the WarpPhase.

This sound, which has a ﬁlter that responds to picking and uses modulation and stereo delay to add width, is good for long chords.

Use the Z-pedal to control the frequency and distortion of the RING MOD eﬀect. It sounds psychedelic, man!

This patch sounds like a crackling guitar is coming from a small radio in the corner of the room.

Use the Z-PEDAL to adjust the RING MOD in this patch as you like. Press left and right to adjust the frequency, and move it up and down to control the balance.

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.

PitchDelay creates an atmosphere like a cascading waterfall. Use the Z-pedal to control the pitch.

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.

TheSoloist

Flip Tape

The End

Revolving

Robot

Indiedrive

PsychClass

Class A

Desplugado

CuttingEdg

80's High

Organ Lead

MessiahTap

Whispering

Tap Dance

Cannonball

Han Solo

Psionic

Space Lead

The Nerve

Tropicana

Anger Sync

Running

Mrs. Clean

Warmth

The Brat

CrossEye

Dreams

Chopper

AutoScream

MetaSynCor

StackedUp

AngelFaze

KernelLee

PitchedOut

AcoustiWah

CrunchFaze

ChunkFlang

SRVeeTrem

DelayDream

WoundedBee

BluesyFaze

FMD

Ringie!!!

Radio

PedalRing

Theremin

Cascading

Step Chord

GreatMuﬀ, Arena and GraphicEQ create an extremely distorted metal tone.

This doubles a single note melody line with a bass synth. Turn the OverDrive on or oﬀ to change the sound.

This twisted lead tone sounds like voices coming from far away.

This clean sound uses a chorus and two delays to create width perfect for arpeggios and chords.

This sound is extremely dirty and heavy. Use the Z-pedal to control PedalCry and add a talkbox feeling.

This clean sound uses auto-wah to change the tone in response to picking nuances.

A slight chorus gives this modern heavy sound greater width.

Use a new approach as a guitarist by comping like an organ player.

This funk sound is suitable for bass lines. Follow your own ideas to expand your horizons as a guitarist.

This heavy rock tone uses the Booster to maximize lead sounds.

This is a tribute to the enigmatic master guitarist Allan Holdsworth.

Typical pop rock sound with crunch and delay. Good for both chords and single note melodies.

Use this modern trash metal tone for extreme riﬀs.

This sound features pitch shifting and is great for solos. Use the Z-pedal to control the pitch.

This heavy metal tone uses both wah and pitch shifting at once. Make new discoveries with the combination.

Use this country style tone for hybrid picking, chicken picking and slapping.

This is like the sound used in the hit "What I Am" by Edie Brickell and The New Bohemians.

Using Z Dream, Resonance, DirtyGate and Room, this tone is great for lead playing. It's warm and JUICY!

This clean sound is cool and deep and evokes 80s Rush with chords that shimmer subtly.

This killer sound for solos has a vocal quality depending on the guitar note pitch.

This clean sound, which uses MATCH 30, Room, M-Filter and TapeEcho, is good for fusion chord playing.

This unique and very usable funk sound combines VinFLNGR, M-Filter, VX COMBO and Spring eﬀects.

Using BG CRUNCH, this smooth and squashed solo sound adds nice warmth with AnalogDly.

This light crunch sound uses Z Neos, FD COMBO, ZNR and Room eﬀects.

This crazy lead tone has an interesting midrange. Perfect when you want the sound to have more punch.

This uses fCycle, Z Dream, BG CRUNCH and EarlyRef for a subtle and unique solo/lead tone.

This heavy tone that uses Z Bottom and BG DRIVE was designed with drop D tuning in mind

This patch uses SeqFLTR and M-Filter eﬀects for a sound that really is madness.

This sound uses Governor, M Comp and DELUXE-R for a woody drive tone. The Cry eﬀect adds the feeling of a human voice.

This is a spacious and distorted auto wah. The Z-pedal controls the delay feedback.

This high-gain lead sound uses ExtremeDS. The Z-pedal controls the gain and reverb.

This dry and natural British rock tone uses HW STACK and is great for all types of rhythm and solo playing.

This lush reverb eﬀect sounds like a cathedral. This classic Ed-style sound can produce depth in various ways.

This uses the Governor eﬀect to produce an overdrive sound for rock. Use the Z-pedal to control delay and reverb.

This distortion sound adds Spring reverb and 2 HPS eﬀects. Perfect for Yes-like solos.

Using the SeqFLTR, this patch is great for phrases based on chords. Use the Z-pedal to control the EarlyRef balance.

Chorus adds width to a big rock sound. Use the Z-pedal to control the chorus mix balance and speed.

This patch is a combination of exciting ﬁlter eﬀects. Use the Z-pedal to control the RndmFLTR balance.

This bluesy tone uses 3 Cry eﬀects. Each produces a diﬀerent wah type. Use the Z-pedal to control the 3 CRY eﬀects.

This screaming drive sound lets you use 3 diﬀerent wah eﬀects (2 Wah100 and 1 PedalVx) at the same time. Great for soloing!

Edward-style hard rock tone. The swelling ﬂanger reinforces solos and is also good for rhythms.

Use the Z-pedal to control the balance and feedback of the PhaseDly in this rock sound.

This dirty fuzz sound uses the Bit Crush eﬀect to sound like a broken radio.

Used in C Major, this adds harmony a third below to make a sound with thickness and depth that doesn’t seem like it could come from a single guitar.

Play single notes or power chords and cut them short. The sound will climb while turning around. Play longer notes for a mysterious tone.

This hall sound is created by setting the pitch delay interval to two.

Use the Z-pedal to bring out the Devil! Press the pedal down for the default pitch

Use this crazy metallic tone for slow grinding single note lines that sound like they are coming from Mars.

This special eﬀect sound uses Z DREAM and SeqFLTR eﬀects. Move the Z-pedal horizontally to change the pitch.

StadiumFuz

FollowMyLD

Rude Talkr

Livid

Talk Dirt

Aut-o-mtc

MetallicCh

Mr Lord

OctReason

Enfermo

7 mirrors

Indie Trip

Orion

HolyShift

FullBlast

Chicken

Bohemian

Juicy

Blue Glass

It's Alive

Lush Drunk

Flunky

Solottery

Lil Mac

The Point

Weeds

Heavy D

Madness

Wood

XtremeWah

WashedAway

HighWatt

Eds Thang

MrGovenor

Trevor`

SteelFilta

CrunchCore

FredFiltas

StevieWah

ZBottmWahs

YouGotMe

VxFaze

BrokenRD

3rdWorld

Step-UP

Atom

Devil +++

PlayWiRazr

DreamSeq

COMMENT

1 2 3

PATCH NAME COMMENTPATCH NAME COMMENTPATCH NAMEBANK

G5 Patch List-E-2

Richie Kotzen

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.

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