Zoom B2 Four

[Chienmortbb]

Mine was due today but just heard from DHL that it will be the 11th.  To think thaty DHL was once tge fastest courier on earth.

[Chienmortbb]

My first impressions Re that the stock patches are a lot more usable than previous Zoom pedals I  have owned. No wacky patches that scream, I have effects and I have to I use them. Tge oatcged all have song titles that are fairly easy to guess plus a year and those that I know sound fairly true to the original recording. 
 

I like the real foot switches tge paddle  ones on the B1 ranges are not ideal for big feet and little stages YMMV. I like the fact that an expression pedal. Can be added but to me the best bit is the connectivity. Real DI out and a Zomm have realised that almost no headphones now come with a 1/4” TRS connector. I addition the headphone out it separate from the mono out.

 

I have only had a few minutes playing through it and have not yet had a chance to go through the software and apps, To those that scoff the moulded polymer case, they are build like brick outhouses and nut B1 Four has done well I’ve 200 gigs without a hiccup. The faux carbon fibre finish is about the same as that on my car dashboard. That is not too convincing but if you are looking at that you should be playing. 

[Al Krow]

26 minutes ago, Chienmortbb said:

My first impressions Re that the stock patches are a lot more usable than previous Zoom pedals I  have owned. No wacky patches that scream, I have effects and I have to I use them. Tge oatcged all have song titles that are fairly easy to guess plus a year and those that I know sound fairly true to the original recording. 
 

I like the real foot switches tge paddle  ones on the B1 ranges are not ideal for big feet and little stages YMMV. I like the fact that an expression pedal. Can be added but to me the best bit is the connectivity. Real DI out and a Zomm have realised that almost no headphones now come with a 1/4” TRS connector. I addition the headphone out it separate from the mono out.

 

I have only had a few minutes playing through it and have not yet had a chance to go through the software and apps, To those that scoff the moulded polymer case, they are build like brick outhouses and nut B1 Four has done well I’ve 200 gigs without a hiccup. The faux carbon fibre finish is about the same as that on my car dashboard. That is not too convincing but if you are looking at that you should be playing. 

 Nice review! When you say the stock patches are more usable, are they essentially otherwise the same as what was on the B1-4 or a whole new set of patches? 

Edited April 15, 2023 by Al Krow

[King Tut]

1 hour ago, Chienmortbb said:

My first impressions Re that the stock patches are a lot more usable than previous Zoom pedals I  have owned. No wacky patches that scream, I have effects and I have to I use them. Tge oatcged all have song titles that are fairly easy to guess plus a year and those that I know sound fairly true to the original recording. 
 

I like the real foot switches tge paddle  ones on the B1 ranges are not ideal for big feet and little stages YMMV. I like the fact that an expression pedal. Can be added but to me the best bit is the connectivity. Real DI out and a Zomm have realised that almost no headphones now come with a 1/4” TRS connector. I addition the headphone out it separate from the mono out.

 

I have only had a few minutes playing through it and have not yet had a chance to go through the software and apps, To those that scoff the moulded polymer case, they are build like brick outhouses and nut B1 Four has done well I’ve 200 gigs without a hiccup. The faux carbon fibre finish is about the same as that on my car dashboard. That is not too convincing but if you are looking at that you should be playing. 

Second this re the paddle switches on the B1 series. On my B1Xon I glued a couple of amplifier feet to the top of the pedals

[stewblack]

Hi @Chienmortbbquick question:

Can the expression pedal input also be used for a dual footswitch?

[King Tut]

Another question, does the B2 have a global eq and volume like the B1four?

[Chienmortbb]

11 hours ago, King Tut said:

Another question, does the B2 have a global eq and volume like the B1four?

Yes there are four controls like B1Four but, but being black, they hardly show up on photos. 

[Chienmortbb]

On 15/04/2023 at 16:53, stewblack said:

Hi @Chienmortbbquick question:

Can the expression pedal input also be used for a dual footswitch?

I am sorry, I don’t know.

[Chienmortbb]

On 15/04/2023 at 12:33, Al Krow said:

 Nice review! When you say the stock patches are more usable, are they essentially otherwise the same as what was on the B1-4 or a whole new set of patches? 

They are quite different on first listen. My feeling was that many of Zoom's patches on the B! On and B1 Four were a bit extreme. The B2 Four has patches emulating the sound used on classic recordings and are much better starting points for your own patches.

 

[Al Krow]

33 minutes ago, Chienmortbb said:

They are quite different on first listen. My feeling was that many of Zoom's patches on the B! On and B1 Four were a bit extreme. The B2 Four has patches emulating the sound used on classic recordings and are much better starting points for your own patches.

 

Ah cool. I guess what I'm particularly trying to clock was if Zoom have created a whole new set of stock patches for the B2-4, or whether they are using the same B1-4 patches but they just sound better on the B2-4 because of an improved chip set? I think you're saying the former ie a whole new set of patches? 

[skidder652003]

It’s guitar equivalent gets a real pounding in Guitar magazine 

 

https://guitar.com/review/effects-pedal/zoom-g2-four-g2x-four-review/

[Al Krow]

1 hour ago, skidder652003 said:

It’s guitar equivalent gets a real pounding in Guitar magazine 

 

https://guitar.com/review/effects-pedal/zoom-g2-four-g2x-four-review/

 

Wow! It is a pretty harsh overall summary!

 

"Combining obsolete hardware, awful sounds and baffling limitations, Zoom’s latest multi-effects pedals are overpriced, underpowered and completely outclassed by the competition."

 

Not sure that I agree at all with the "awful sounds" and comment about "baffling" in relation to its limitations. But I've sympathy for rest of the statement, which is why I personally am not tempted to upgrade my B1-4 to the B2-4, but have jumped ship, entirely, to another more capable multifx. I still rate the B1-4 as being the best bang-per-buck multifx available and having been a Zoom fanboi, I'm disappointed with the missed opportunity that the B2-4 seems to represent.

[Woodinblack]

3 minutes ago, Al Krow said:

 I still rate the B1-4 as being the best bang-per-buck multifx available and having been a Zoom fanboi, I'm disappointed with the missed opportunity that the B2-4 seems to represent.

 

I do too, but it is in a different price / size category. The B1-4 is cheap and can fit in your gigbag withough you knowing where it is (litterally, I couldn't find mine the other day, it was in a gig bag which I am sure I looked in once) it has next to no competition at that price, the B2 is more a substantial full cost thing and it is in a much more crowded market, it doesn't really seem that competative..

[Chienmortbb]

As for the B1 Four being great value, I have to agree and would not let mine go. Although I have bought one, I also agree that the B2-4 is priced too high.  *Sadly, I have strained a ligament in my right knee, not ideal for testing a stomp box of any sort.

 

I have read the aforementioned Guitar review. I probably won't read his reviews again. It reads like he is a frustrated writer rather than a guitarist. In saying that, he does have some valid points. The screen could be better, but let's be honest, the screen does not affect the sound. Secondly, I agree that the arrow key cluster looks like it is difficult to change with your foot *see above, However I would not want to change banks mid-song and try to arrange patches so that the ones I need are in set list order.

 

I will look at the other points later but will say the that B2-4 is a dedicated Bass multi effects unit whereas the Nux, Valeton and even Helix range are not.

 

 

[skidder652003]

Yep got a B1-4, paid £35 quid for it, bargain, never use it mind but still, its amazing value used.

[stubbsonic]

Just got my unit yesterday. Found this forum in my search for info/conversation.

 

First, the unit only has 5 slots. The 6th slot that is visible in images is just the BPM where one can tap tempo via footswitch, in-app-button, or turn a knob to enter tempo-- which is stored per patch.

 

Second, the expression pedal does NOT have a switch option-- and there would be no way to assign it to anything even if there was.

 

Will probably type up a review fairly soon.

 

 

[Geek99]

I’ll buy one when my talent outstrips the b2.1u that I have. 
 

which will be never . 
 

[Chienmortbb]

Looking at the range in a bit more detail, it seems that Zoom have positioned the B2 Four in a place that clearly positions it between the B1 Four and B6, rather than directly competing with the competition.

 

Still cannot get to try the unit fully, but some further comments in no particular order or importance:

 

• The display is an improvement over the B1 Four but lacks the colour and touchscreen of the B6. It has only one input against the B6's two.
• Tuner. It does not have the LEDs that the B1 Four has, but its backlight/contrast is adjustable, and I have been able to see it clearly in both dark and fairly light (south facing conservatory). The speed and accuracy is excellent, as is the B1 Four, but the larger display makes it easy to read. Works well with chords too,
• Currently, neither the Zoom Guitar Lab nor the Tone lib Zoom recognise or control the B2 Four, although Zoom Guitar Lab does work with the B6.
• Instead, we get an app that works on a phone or tablet. I have tried the iOS version on both an iPhone and iPad, and it seems a useful tool and a good way of overcoming the limitations of the display. It does need a Lightning to USB adaptor and USB-C cable to work, but these are only a £ few. I bought the adaptor from the big A for about £12.  I have still to try all the features, but the fact that I can have remote control on my mic stand is a plus. There is an Android app for the Guitar version, the G2 Four, but not currently for the B2 Four.
• Foot switches. Really nice feel, really positive.
• Noise. Apart from a few of the more extreme patches, the unit is really quiet even using my wired headphones (Panasonic RP-HTX90N used wired).
• The B2 Four acts as a 2 in 2 out audio interface and works well with Audacity, even though it is not listed as supported by Zoom. Audacity is the only DAW I have, so I cannot say how well it will work with others.

 

Interestingly, the B2-Four is physically different to the G2-Four, it is larger partly because of the DI functions. The Guitar version has no XLR out and no DI models. Now, I am not yet convinced that the DI models are of any great use, but the XLR out is.

 

 

[stubbsonic]

I've been getting acquainted with the new B2 Four. Even though I have a couple higher-end multi-fx with modeling, I sometimes need a simpler and inexpensive device for some gigs. Also, there is something intriguing to me about these relatively inexpensive units that punch well above their weight.

 

Because there is so little review info available for the B2 Four, I wanted to provide some impressions, info, and clarifications. Strap in, though, it's a long one. I hope new & future owners find this helpful.

HARDWARE

The design and build-quality strike a good balance of durability, simplicity, and functionality. The 1/4" jacks are metal, mounted on the plastic chassis. The 3.5mm headphone & aux in jacks are not metal and not chassis-mounted. A dc power supply is included. The recessed 9V power jack is clever, but might not fit some other power cords.  

The Buttons feel very solid. However, those cursor buttons are not intuitive and are difficult to use with the foot. When pressing right-most buttons, the foot blocks the display. A diamond configuration (top, bottom, left, and right) would have been much more intuitive. Also, if the buttons had carefully-designed raised shapes it would help with foot control. The functions of the 3 foot-switches depend on the current mode. In "Memory" mode, we can select from 3 consecutively numbered patches. In "Effect" mode we can enable/bypass any of three modules that are currently on-screen. There is no customization of button functions.

 

The expression pedal input is only for the pedal modules (i.e., no realtime control of other parameters). Though Zoom doesn't publish this, the expression jack is designed to "see" the pot's center lug (wiper) on the ring of the TRS plug-- as opposed to the tip. My Moog expression pedal has a switch (from "Standard" to "Other"). If your pedal doesn't respond right, you can either re-solder it internally, or make a special TRS-to-TRS cable where you cross the tip on one end to the ring on the other end & vice versa.

The display is bright enough, and easy to read for calling up patches (Memory mode) and Menu functions. For editing, we need to bring it up off the floor, and/or use the GL for B2 Four app.

Turning off with the power button, the display shows "Please wait... Saving Settings." So is powering off by unplugging or power strip switch a bad idea?

ROUTING

With only 5-slots, a serial-only path, and no send-return loop; routing options are limited. Fortunately, we can place any FX in any order (within CPU constraints). The DI/XLR out and 1/4" outs are both fixed as post-FX. So both can be wet, or both can be dry, but we can't have dry DI and wet 1/4" outs, which would have been useful.

The mono input can be run through stereo reverbs and mod FX. However, if we place any mono module after a stereo module, the signal becomes mono (unless the mono modules are bypassed) This also applies to the DI model. Even if those mono modules have wet/dry mix, the dry output is always mono. So if we want to hear stereo FX, they must be placed AFTER any mono FX modules, and the DI model must be OFF.

LEVELS

The global EQ with 3 fixed bands (low/mid/high) and a master volume are helpful. However, the lack of a patch-volume setting is disappointing. This requires us to control levels using whatever level/volume controls are present in preamps, amps and fx in ways that won't affect tone. This just means more steps. As long as we do an occasional A/B comparison of dry bass level (bypass all) with the level of the patch, we can probably stay within a reasonable range.

EQ/TONE CONTROL

Because of the multi-layer convolution, the amp/cab combos are hardwired (the IR for each amp is fixed and no user IR's).

With all the available EQ options, we have extensive tone & character shaping capabilities. The EQ modules include: a low shelf/HPF, a single-band sweepable peak/notch, and a high shelf/LPF, graphic EQs, a splitter (dual shelf), and an exciter. The parametric EQ's are one-band-per-module, so we use up three slots to get a 3-band parametric. Some of the preamps and amps have EQs, with either fixed frequencies or just a few selections.

GENERAL SOUND

Dynamic range refers to how well a unit reproduces every level of playing from very soft to very loud-- without compressing or limiting the very loudest notes. I think the B2 Four does well with dynamics, a few preamps & amps have some sag/squish/limiting.

Most of the amps and factory patches "celebrate" cabinet resonances from around 40 Hz to maybe 160Hz. It's a hump in the low or low-mid range. Fortunately, we can reduce this hump either with preamp EQ, amp EQ, or an EQ module.

I didn't notice any latency; except with some pitch fx.

Depending on what is in the chain, there can be varying amounts of noise. The Zoom Noise Reduction does a good job of gating it.

I was playing with a env filter, and noticed the output was clipping; so I put a compressor after the filter, and it cleaned up. This implies that there is plenty of headroom within the module path, but you have to make sure to get it down to a reasonable level by the time it reaches the output stage.

THE FX

DYNAMICS:

The compressors sound good. Most are snappy enough for slap. Good range of adjustments and nice variety of options. They have much better quality and response than those on the B1 Four. 

The only gate is Zoom's Noise Reduction, but it is a very good one. To be clear, it's a noise gate, not actual noise reduction. ZNR can be placed anywhere in the path, and set it to either detect signal from the EFXIN (whatever signal is preset at that point in the chain) or GTRIN (which is like side-chaining the dry input signal). I usually choose GTRIN. Some super high gain FX show that the input generates some noise even with no bass connected.

The Slow Attack module is disappointing. I was hoping to use this for an "arco" (bowed) effect; but because all notes have to start from zero and ramp up, it sounds unnatural. If there was a dry level then a dry attack and decay could be enhanced by a natural swell.

 

FILTER:
Many of the envelope followers are too sensitive, even with the sensitivity all the way down. I often don't want the filter open all the way even when I play loud. Auto Filter is a welcome exception.

The Envelope Generator filter has several modes. It snaps from Freq1 to Freq2 when the foot switch is pressed, then immediately begins gliding back to 1st frequency at the set "speed" (regardless of holding the switch).

 

The selections of EQ modules is good, and they are quite flexible.

DRIVE:
There's a good selection of drive modules for different types of drive. All the drives have either a dry-level, or balance to blend in clean-- except for the TS+Boost Drive.

PREAMP:

Zoom provides a smart selection of high-end preamps with useful EQ and drive options.

 

MODULATION:
I love all the modulation modules; EXCEPT for Tremolo which is very limited. The triangle waveform is ok. Both the TUBE and SQUARE are clicky, and none of them sound like a proper tremolo. I've heard much better tremolos, even from Zoom.

Most of the pitch-shifters are barely useable. The bass polyphonic is ok for octaves. Harmony, Bass Mono Pitch Shift, and Pitch Shift are cartoonishly unusable. The other octavers seem ok, but fall apart on lower notes. The Super Low Preamp has a lower octave, but sounds like a sine wave, where the other octavers are more square.

 

SYNTH:
The Bass Talk Synth is too bright/edgy, and the tone knob doesn't begin to tame it, so it needs some filter/EG after. The Z Synth and Bass Synth are both great. 

 

DELAYS:
The selection of delays is good. However, the only delay that has an LPF (high-damping) is the Hold Delay.

REVERBS:

The reverbs are pretty good. Ironically, Bright Hall and Bright Room are the only reverbs with a TONE control (LPF). So the two "bright" reverbs are the only ones with darkening capability.

The Air module is actually quite a nice stereo-izer when the values are cranked. When summed to mono, it sounds like a small room (but still good).

 

SFX:
The fretless simulator is a subtle filter effect. I wish it had a wet/dry balance. Combined a short, dark room reverb and a kind of thumpy amp, we might get fairly close to an upright pizz character.

 

I wish the Bomber had three modes: fart, plop, and explosion. I'd use the first two more. This was the first module I removed with the app.

 

PEDAL:

The pedal effects are the ONLY way to make use of the expression input.

 

The Output Volume Pedal module has no settings. Toe-down, it's whatever level is set by your master level. Heel down it's silent. Any patches with this pedal in the chain will be immediately affected by whatever level the pedal is at. For example, if the pedal is heel down, all patches with this pedal module in the chain will be silent as they load.

 

NOTE: All the other Pedal FX have a P before the first knob (see the FX List doc). This P knob value is the initial "pedal" value that is set when the patch is loaded. This is useful if we might not always have a pedal connected. Moving the pedal will immediately override the stored (knob) setting. Likewise, in "effect" (edit) mode, turning this first knob will temporarily override the current pedal position until the pedal is moved again.

 

The Pedal Volume module has min/mix and curve A/B options-- funny how similar the letter A & B look in that display font. "A" curve increases more at the toe end (exponential), and "B" increases more at the heel end (convex).

 

The Bass Pedal Pitch is officially polyphonic, but it sounds pretty terrible. The Bass Pedal Mono Pitch is ok for changing the pitch of a sustaining note, especially with "Down" which just drops the pitch down to zero.

 

AMPS:
The selection and quality of the amp/cab combos is excellent. When they are called up, their default settings tend to be quite woofy and humpy in the lows. I did find that even with just the amp EQ knobs, they can all be brought into a more sane spectrum. Additional fine-tuning can be done with an EQ module or two.

PATCHES

The patches don't show off versatility, rather focusing on usable tones. There are varying degrees of drive, lots of clean tones with hyped lows or low mids. The env filters are all too wide open. Makes me wonder if they were made with/for low output basses?

Fortunately any and all factory patches can be tweaked and over-written in their same ID number. If we ever want the original factory patch back, they are easily restored.

USEABILITY

FUN FACT: when we are in the FX Library (choosing a module with arrows), we are auditioning each module by itself, in isolation from what is in the rest our chain; and we can adjust knobs while in the library, so we can adjust before choosing.

In the editor, when we turn a knob the values appear, then vanish after 3 seconds. I understand why it is this way, but it is very frustrating in use. Often, I go to press the right arrow to switch pages between knobs, but I'm too slow and I end up selecting the next column of modules.

It would be a little better if Zoom added a preference setting for 

Knob Display Dwell Time:
3 seconds
5 seconds
10 seconds
BUTTON EXIT (pressing the center button exits the knob-value display)

But better yet, Zoom should just use the screen real-estate differently Put the patch #/name and slot dots on top of the screen, same size, and rework the module graphics. This way knobs could just be always visible for the currently selected module.

APP

I installed the app before I bought the unit, to see if I could learn stuff just from the app, but it has no "off-line" mode, so no dice. Once my unit arrived, connecting the unit was easy enough. BTW, I have no qualms about buying the app for $1.

There are three sections:

The Effect Pool shows a full list of available FX modules (FX, amps). I don't know if Zoom will put new FX there as they become available, but for now it is a list of all of the built-in modules with descriptions. From here we can remove some FX from our unit, or put them back. This could reduce unwanted clutter in the FX Library on the unit. 

The Patch Pool is empty until we load some patches into it. As far as I can tell, we cannot remove patches from the Patch Pool. We have to uninstall and reinstall the app to clear them.

In the News Feed, there is an option to download the factory patches which puts them in our Patch Pool.

The Editor is nice because it doesn't do the disappearing knobs trick. To change/add an FX module, choose "Change". Then tap a slot or module. It helps to think of "blank" as a pass-thru module. Enable/bypass via the square above each module. Re-order by tapping/holding on a module then drag.

SUMMARY

I have no regrets about this purchase. I knew I'd be getting good basic FX and a versatile signal path. Gives lots of opportunities to change character, texture, tone, and response of the bass. It will definitely serve the purpose I intended.

Pros: Versatile, flexible, uncomplicated. Many good and useable FX modules. 300 patch-memory locations.

Cons: No patch level setting. Knob display awkward. Some modules lack editing depth (i.e., some important parameters are missing). The Slow Attack module lacks a dry level control. The env filters have poor sensitivity range. The Tremolo is very weak, needs to be reworked. Most pitch shifters weak. Cursor buttons awkward for foot. Routing limitations. DI models prevent stereo operation, no custom button or expression assignments.

Edited May 9, 2023 by stubbsonic
Revised, updated, expanded

[Chienmortbb]

I need to play around with it a bit more, but I think the iOS app will be a big help for me. Having some control off the floor is a bonus.

Edited May 9, 2023 by Chienmortbb

[stewblack]

On 02/05/2023 at 19:55, stubbsonic said:

I've been getting acquainted with the new B2 Four. Even though I have a couple higher-end multi-fx with modeling, I sometimes need a simpler and inexpensive device for some gigs. Also, there is something intriguing to me about these relatively inexpensive units that punch well above their weight.

 

Because there is so little review info available for the B2 Four, I wanted to provide some impressions, info, and clarifications. Strap in, though, it's a long one. I hope new & future owners find this helpful.

HARDWARE

The design and build-quality strike a good balance of durability, simplicity, and functionality. The 1/4" jacks are metal, mounted on the plastic chassis. The 3.5mm headphone & aux in jacks are not metal and not chassis-mounted. A dc power supply is included. The recessed 9V power jack is clever, but might not fit some other power cords.  

The Buttons feel very solid. However, those cursor buttons are not intuitive and are difficult to use with the foot. When pressing right-most buttons, the foot blocks the display. A diamond configuration (top, bottom, left, and right) would have been much more intuitive. Also, if the buttons had carefully-designed raised shapes it would help with foot control. The functions of the 3 foot-switches depend on the current mode. In "Memory" mode, we can select from 3 consecutively numbered patches. In "Effect" mode we can enable/bypass any of three modules that are currently on-screen. There is no customization of button functions.

 

The expression pedal input is only for the pedal modules (i.e., no realtime control of other parameters). Though Zoom doesn't publish this, the expression jack is designed to "see" the pot's center lug (wiper) on the ring of the TRS plug-- as opposed to the tip. My Moog expression pedal has a switch (from "Standard" to "Other"). If your pedal doesn't respond right, you can either re-solder it internally, or make a special TRS-to-TRS cable where you cross the tip on one end to the ring on the other end & vice versa.

The display is bright enough, and easy to read for calling up patches (Memory mode) and Menu functions. For editing, we need to bring it up off the floor, and/or use the GL for B2 Four app.

Turning off with the power button, the display shows "Please wait... Saving Settings." So is powering off by unplugging or power strip switch a bad idea?

ROUTING

With only 5-slots, a serial-only path, and no send-return loop; routing options are limited. Fortunately, we can place any FX in any order (within CPU constraints). The DI/XLR out and 1/4" outs are both fixed as post-FX. So both can be wet, or both can be dry, but we can't have dry DI and wet 1/4" outs, which would have been useful.

The mono input can be run through stereo reverbs and mod FX. However, if we place any mono module after a stereo module, the signal becomes mono (unless the mono modules are bypassed) This also applies to the DI model. Even if those mono modules have wet/dry mix, the dry output is always mono. So if we want to hear stereo FX, they must be placed AFTER any mono FX modules, and the DI model must be OFF.

LEVELS

The global EQ with 3 fixed bands (low/mid/high) and a master volume are helpful. However, the lack of a patch-volume setting is disappointing. This requires us to control levels using whatever level/volume controls are present in preamps, amps and fx in ways that won't affect tone. This just means more steps. As long as we do an occasional A/B comparison of dry bass level (bypass all) with the level of the patch, we can probably stay within a reasonable range.

EQ/TONE CONTROL

Because of the multi-layer convolution, the amp/cab combos are hardwired (the IR for each amp is fixed and no user IR's).

With all the available EQ options, we have extensive tone & character shaping capabilities. The EQ modules include: a low shelf/HPF, a single-band sweepable peak/notch, and a high shelf/LPF, graphic EQs, a splitter (dual shelf), and an exciter. The parametric EQ's are one-band-per-module, so we use up three slots to get a 3-band parametric. Some of the preamps and amps have EQs, with either fixed frequencies or just a few selections.

GENERAL SOUND

Dynamic range refers to how well a unit reproduces every level of playing from very soft to very loud-- without compressing or limiting the very loudest notes. I think the B2 Four does well with dynamics, a few preamps & amps have some sag/squish/limiting.

Most of the amps and factory patches "celebrate" cabinet resonances from around 40 Hz to maybe 160Hz. It's a hump in the low or low-mid range. Fortunately, we can reduce this hump either with preamp EQ, amp EQ, or an EQ module.

I didn't notice any latency; except with some pitch fx.

Depending on what is in the chain, there can be varying amounts of noise. The Zoom Noise Reduction does a good job of gating it.

I was playing with a env filter, and noticed the output was clipping; so I put a compressor after the filter, and it cleaned up. This implies that there is plenty of headroom within the module path, but you have to make sure to get it down to a reasonable level by the time it reaches the output stage.

THE FX

DYNAMICS:

The compressors sound good. Most are snappy enough for slap. Good range of adjustments and nice variety of options. They have much better quality and response than those on the B1 Four. 

The only gate is Zoom's Noise Reduction, but it is a very good one. To be clear, it's a noise gate, not actual noise reduction. ZNR can be placed anywhere in the path, and set it to either detect signal from the EFXIN (whatever signal is preset at that point in the chain) or GTRIN (which is like side-chaining the dry input signal). I usually choose GTRIN. Some super high gain FX show that the input generates some noise even with no bass connected.

The Slow Attack module is disappointing. I was hoping to use this for an "arco" (bowed) effect; but because all notes have to start from zero and ramp up, it sounds unnatural. If there was a dry level then a dry attack and decay could be enhanced by a natural swell.

 

FILTER:
Many of the envelope followers are too sensitive, even with the sensitivity all the way down. I often don't want the filter open all the way even when I play loud. Auto Filter is a welcome exception.

The Envelope Generator filter has several modes. It snaps from Freq1 to Freq2 when the foot switch is pressed, then immediately begins gliding back to 1st frequency at the set "speed" (regardless of holding the switch).

 

The selections of EQ modules is good, and they are quite flexible.

DRIVE:
There's a good selection of drive modules for different types of drive. All the drives have either a dry-level, or balance to blend in clean-- except for the TS+Boost Drive.

PREAMP:

Zoom provides a smart selection of high-end preamps with useful EQ and drive options.

 

MODULATION:
I love all the modulation modules; EXCEPT for Tremolo which is very limited. The triangle waveform is ok. Both the TUBE and SQUARE are clicky, and none of them sound like a proper tremolo. I've heard much better tremolos, even from Zoom.

Most of the pitch-shifters are barely useable. The bass polyphonic is ok for octaves. Harmony, Bass Mono Pitch Shift, and Pitch Shift are cartoonishly unusable. The other octavers seem ok, but fall apart on lower notes. The Super Low Preamp has a lower octave, but sounds like a sine wave, where the other octavers are more square.

 

SYNTH:
The Bass Talk Synth is too bright/edgy, and the tone knob doesn't begin to tame it, so it needs some filter/EG after. The Z Synth and Bass Synth are both great. 

 

DELAYS:
The selection of delays is good. However, the only delay that has an LPF (high-damping) is the Hold Delay.

REVERBS:

The reverbs are pretty good. Ironically, Bright Hall and Bright Room are the only reverbs with a TONE control (LPF). So the two "bright" reverbs are the only ones with darkening capability.

The Air module is actually quite a nice stereo-izer when the values are cranked. When summed to mono, it sounds like a small room (but still good).

 

SFX:
The fretless simulator is a subtle filter effect. I wish it had a wet/dry balance. Combined a short, dark room reverb and a kind of thumpy amp, we might get fairly close to an upright pizz character.

 

I wish the Bomber had three modes: fart, plop, and explosion. I'd use the first two more. This was the first module I removed with the app.

 

PEDAL:

The pedal effects are the ONLY way to make use of the expression input.

 

The Output Volume Pedal module has no settings. Toe-down, it's whatever level is set by your master level. Heel down it's silent. Any patches with this pedal in the chain will be immediately affected by whatever level the pedal is at. For example, if the pedal is heel down, all patches with this pedal module in the chain will be silent as they load.

 

NOTE: All the other Pedal FX have a P before the first knob (see the FX List doc). This P knob value is the initial "pedal" value that is set when the patch is loaded. This is useful if we might not always have a pedal connected. Moving the pedal will immediately override the stored (knob) setting. Likewise, in "effect" (edit) mode, turning this first knob will temporarily override the current pedal position until the pedal is moved again.

 

The Pedal Volume module has min/mix and curve A/B options-- funny how similar the letter A & B look in that display font. "A" curve increases more at the toe end (exponential), and "B" increases more at the heel end (convex).

 

The Bass Pedal Pitch is officially polyphonic, but it sounds pretty terrible. The Bass Pedal Mono Pitch is ok for changing the pitch of a sustaining note, especially with "Down" which just drops the pitch down to zero.

 

AMPS:
The selection and quality of the amp/cab combos is excellent. When they are called up, their default settings tend to be quite woofy and humpy in the lows. I did find that even with just the amp EQ knobs, they can all be brought into a more sane spectrum. Additional fine-tuning can be done with an EQ module or two.

PATCHES

The patches don't show off versatility, rather focusing on usable tones. There are varying degrees of drive, lots of clean tones with hyped lows or low mids. The env filters are all too wide open. Makes me wonder if they were made with/for low output basses?

Fortunately any and all factory patches can be tweaked and over-written in their same ID number. If we ever want the original factory patch back, they are easily restored.

USEABILITY

FUN FACT: when we are in the FX Library (choosing a module with arrows), we are auditioning each module by itself, in isolation from what is in the rest our chain; and we can adjust knobs while in the library, so we can adjust before choosing.

In the editor, when we turn a knob the values appear, then vanish after 3 seconds. I understand why it is this way, but it is very frustrating in use. Often, I go to press the right arrow to switch pages between knobs, but I'm too slow and I end up selecting the next column of modules.

It would be a little better if Zoom added a preference setting for 

Knob Display Dwell Time:
3 seconds
5 seconds
10 seconds
BUTTON EXIT (pressing the center button exits the knob-value display)

But better yet, Zoom should just use the screen real-estate differently Put the patch #/name and slot dots on top of the screen, same size, and rework the module graphics. This way knobs could just be always visible for the currently selected module.

APP

I installed the app before I bought the unit, to see if I could learn stuff just from the app, but it has no "off-line" mode, so no dice. Once my unit arrived, connecting the unit was easy enough. BTW, I have no qualms about buying the app for $1.

There are three sections:

The Effect Pool shows a full list of available FX modules (FX, amps). I don't know if Zoom will put new FX there as they become available, but for now it is a list of all of the built-in modules with descriptions. From here we can remove some FX from our unit, or put them back. This could reduce unwanted clutter in the FX Library on the unit. 

The Patch Pool is empty until we load some patches into it. As far as I can tell, we cannot remove patches from the Patch Pool. We have to uninstall and reinstall the app to clear them.

In the News Feed, there is an option to download the factory patches which puts them in our Patch Pool.

The Editor is nice because it doesn't do the disappearing knobs trick. To change/add an FX module, choose "Change". Then tap a slot or module. It helps to think of "blank" as a pass-thru module. Enable/bypass via the square above each module. Re-order by tapping/holding on a module then drag.

SUMMARY

I have no regrets about this purchase. I knew I'd be getting good basic FX and a versatile signal path. Gives lots of opportunities to change character, texture, tone, and response of the bass. It will definitely serve the purpose I intended.

Pros: Versatile, flexible, uncomplicated. Many good and useable FX modules. 300 patch-memory locations.

Cons: No patch level setting. Knob display awkward. Some modules lack editing depth (i.e., some important parameters are missing). The Slow Attack module lacks a dry level control. The env filters have poor sensitivity range. The Tremolo is very weak, needs to be reworked. Most pitch shifters weak. Cursor buttons awkward for foot. Routing limitations. DI models prevent stereo operation, no custom button or expression assignments.

Superb review. Thank you.

[Machines]

I've had mine long enough now to judge it.

 

I have set up a patch per bass I use to be able to set the right levels/EQ to get the sound I want without any on the fly tweaking. It does what I want better than the B3n did and the USB connectivity to my laptop for BandLab works great. The UI is definitely not intuitive, however I overcame this within a couple of days as muscle memory kicked in. I have A/B'd all of the DI models and cannot for the life of me tell any difference between them nor it being off altogether. 

 

I could do with them releasing the Android app as that is currently iOS only, which feels a bit elitist.

 

That said, overall it does what I need and I thought the price was reasonable for the improved connectivity over the B3n I had.

[Chienmortbb]

3 hours ago, Machines said:

could do with them releasing the Android app as that is currently iOS only, which feels a bit elitist.

I understand your chagrin, it is perhaps a sign that the Apple platforms are better for audio, even though this app is just a User Interface for the B2 Four.

 

3 hours ago, Machines said:

overall it does what I need and I thought the price was reasonable for the improved connectivity over the B3n I had.

This was why I bought it. It has better connectivity than some more expensive units, including the Helix Stomp. Although I have a decent DI on my amp, If I ever have a decent PA, I can just take the B2 Four and leave my separate DI at home.

 

On another matter, many of the effects are the same, or at least called the same, as those on the B1 Four. However, there are extra blend controls on one that I found. I have ported one of @JohnDaBass's Free/Bad Company patches from the B1 Four thread and will do some sound samples soon. I also find this to be extremely quiet except on some extreme patches.

[Machines]

1 hour ago, Chienmortbb said:

On another matter, many of the effects are the same, or at least called the same, as those on the B1 Four. However, there are extra blend controls on one that I found. I have ported one of @JohnDaBass's Free/Bad Company patches from the B1 Four thread and will do some sound samples soon. I also find this to be extremely quiet except on some extreme patches.

 

This is a sign of the times where older devices can be updated form the internet to become more current. Only really processing power and interfaces can change with newer products if the manufacturer maintains support for the older.

 

I was getting on fine with my B3n with a few workarounds, but this one does what I need better. I don't use any factory patches, mostly just compression, drive models and ZNR.

[MichaelDean]

8 hours ago, Chienmortbb said:

I understand your chagrin, it is perhaps a sign that the Apple platforms are better for audio, even though this app is just a User Interface for the B2 Four.

It isn't that Apple gear is necessarily better at audio, it's just easier to make an app for iOS. There are only a handful of devices with similar hardware you need to support and Apple do everything they can to make it work nicely between their products to enhance the user experience and lock people into their ecosystem. 

 

When developing for Android, there are how many different manufacturers with how many different models with different hardware combinations? Plus custom stuff put on top of the android base OS. I think Google have tried to make it easier over the years, but it is generally harder. 

 

Also, Apple users are more likely to pay for an app. That might mean it's easier to attract better talent to make them because there's more incentive to work in that field.