The G9.2tt is currently Zoom’s top-of-theline multi-effects unit. In addition to the features we have come to expect from multi-effectors, the G9.2tt offers up something new with the Z-pedal.
The Z-pedal is Zoom’s take on the pervasive expression pedal with a literal twist. It can do the typical up/down thing, then controls another set of parameters with a horizontal sweep. That’s four, count ‘em, four assignable parameters! Although this feature may smack of a Ronco infomercial, it is surprisingly useful in practice. Suggested uses are controlling delay time with the vertical sweep while assigning the horizontal parameter to control the delay’s feedback, or setting one axis for modulation rate, while the other controls chorus depth.
The G9.2tt also includes two 12AX7 tubes, one tied to the Energizer feature, the other is used in the Accelerator circuit. Without going into too much detail, these tubes intend to give a warmer, more analog vibe to the proceedings, and seem to do just that. Zoom uses a proprietary DSP chip in the G9.2tt that offers up a 96kHz sampling rate and 24-bit analog/digital/analog conversion. That horsepower equates to quick patch changes – 7ms – and good modeling sounds.
Not being a delicate flower, my initial concern was my two-hundred plus pounds of overzealous Z-pedal twisting mass. Fortunately, the best single word to describe the G9.2tt is solid. Zoom has always been known for good sounds, features, and value, but has had a reputation for past build issues. The sturdiness evident here should put all of that to bed. This multi-effector is intuitive enough to allow plug and play, with just a casual perusal of the “Operation Manual” to gain access to more advanced features.
Zoom offers up an amp select feature that, along with a -10dB pad, allows the guitarist to plug into the front of an amp and quickly get a good sound without having to make endless EQ adjustments to the amp itself. Cabinet emulation is also included for direct use. These features are welcomed for both jam and praise bands, where ease of setup and stage volume are respective concerns.
Inputs and outputs are what would be expected, and after getting set up, one finally faces the factory presets. The majority of multi-effects makers program presets with the idea of getting a customer’s attention over the Saturday din at Guitar Center, with the end result usually resulting in the sonic equivalent of a smack upside the head. Zoom, for the most part, sidesteps this. While there may still be room for improving the tastefulness of the factory presets, they are certainly far from horrible, and they do successfully showcase the G9.2tt’s capabilities without getting too cheesy. Impressively, a few of the presets uncharacteristically flirt with the concept of “subtlety.” A nice touch, to be sure.
Programing one of the 100 user patches is easy enough, with the majority of the amp models getting really close to the real thing. The effects models were for the most part good, with some sonic weirdness that may or may not be useful to everyone, but it seems like most bases are covered. Competition is fierce in the G9.2tt’s price range, but one would be hard-pressed to find anything both as powerful and flexible.
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ZOOM
MSRP $659.99
www.zoom.co.jp
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The new coiled cables are available in four eye-grabbing retro colors – Surf Green, Electric Blue, Orange and Caramel – as well as three standard colors: Black, White and Red. There is also a CME exclusive “Chicago Cream” color on the way.
Guitarists can choose between three different connector configurations: straight/straight plugs, right angle/straight and right angle/right angle options.
The Voltage Vintage Coil offers superior sound quality and durability thanks to ISO-COAT treatment, a patent-pending hermetic seal applied to solder terminations. This first-of-its-kind airtight seal prevents corrosion and oxidization, a known factor in cable failure and degradation. ISO-COAT protected cables are for guitarists who value genuine lifetime durability and consistent tone throughout their career on stage and in the studio.
Voltage cables are hand made by qualified technical engineers using the finest components available and come with a lifetime warranty.
Voltage Vintage Coil features include:
- Lifetime guarantee, 1000+ gig durability
- ISO-COAT treatment - corrosion & oxidization resistant cable internals
- Strengthened structural integrity of solder terminations
Voltage Vintage Coils carry $89.00 USD pricing each and are available online at voltagecableco.com, as well as in select guitar stores in North America, Australia, Thailand, UK, Belgium and China.
About Voltage Cable: Established in 2021, Voltage Cable Co. is a family owned and operated guitar cable company based in Sydney, Australia. All their cables are designed to be played, and built for a lifetime. The company’s ISO-COAT is a patent pending hermetic seal applied to solder terminations.
Built on powerful dual‑engine processing and world‑class UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* – the notorious 120‑watt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp – with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120‑watt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete album‑ready sounds with built‑in noise gate, TS‑style overdrive, and TC‑style preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
- Timeless UA design and craftsmanship, built to last decades
For more information, please visit uaudio.com.
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MonoNeon, aka Dywane Thomas Jr., came up learning the bass from his father in Memphis, Tennessee, but for some reason, he decided to flip his dad’s 4-string bass around and play it with the string order inverted—E string closest to the ground and the G on top. That’s how MonoNeon still plays today, coming up through a rich, inspiring gauntlet of family and community traditions. “I guess my whole style came from just being around my grandma at an early age,” says Thomas.His path has led him to collaborate with dozens of artists, including Nas, Ne-Yo, Mac Miller, and even Prince, and MonoNeon’s solo output is dizzying—trying to count up his solo releases isn’t an easy feat. Premier Guitar’s Chris Kies caught up with the bassist before his show at Nashville’s Exit/In, where he got the scoop on his signature 5-string, Ampeg rig, and simple stomp layout, as well as some choice stories about influences, his brain-melting playing style, and how Prince changed his rig.
Brought to you by D’Addario.
Orange You Glad to See Me?
This Fender MonoNeon Jazz Bass V was created after a rep messaged Thomas on Instagram to set up the signature model, over which Thomas had complete creative control. Naturally, the bass is finished in neon yellow urethane with a neon orange headstock and pickguard, and the roasted maple neck has a 10"–14" compound radius. It’s loaded with custom-wound Fireball 5-string Bass humbuckers and an active, 18V preamp complete with 3-band EQ controls. Thomas’ own has been spruced up with some custom tape jobs, too. All of MonoNeon's connections are handled by Sorry Cables.
Fade to Black
MonoNeon’s Ampeg SVT stack isn’t a choice of passion. “That’s what they had for me, so I just plugged in,” he says. “That’s what I have on my rider. As long as it has good headroom and the cones don’t break up, I’m cool.”
Box Art
MonoNeon’s bass isn’t the only piece of kit treated to custom color jobs. Almost all of his stomps have been zhuzhed up with his eye-popping palette.
Thomas had used a pitch-shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. “When I started playing with Prince, he put the Whammy on my pedalboard,” Thomas explains. “After he passed, I realized how special that moment was.”
Alongside the Whammy, MonoNeon runs a Fairfield Circuitry Randy’s Revenge (for any time he wants to “feel weird”), a literal Fart Pedal (in case the ring mod isn’t weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
