Zoom MS100: where is the complete list of effects you can buy? (without iphone...)

Discussion in 'Digital & Modeling Gear' started by Lele, Mar 15, 2015.

  1. Lele

    Lele Member

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    Hello, it seems a stupid question... but I don't have any i-device.
    Is there a list of all the effects you can buy for the MS100 somewhere, that I can see without an Apple device? Then, I could get the help of a owner of i-phone if there is something interesting to buy, but first I'd like to see a complete list. Thanks for any suggestion.
    I also suppose that after buying an effect, it does not matter if I don't have any i-device, and I'll be able to use the MS100 at its full potential. Right?
     
  2. Tmidiman

    Tmidiman Member

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    I have a list of what you can buy. You can read the descriptions of each in English at the Zoom Japan site. What you would do is use the News link. Click on each effect in the news section and then read about it. If some one has all the information with an easier way to access it maybe they'll post a link.

    Here the Zoom News Link first:

    http://zoom.co.jp/news/


    Once you download what you want you don't need an iOS device again, but BE WARNED! If after you buy effects using, for example, your friend Tony's iPhone, if you later go to your friend Bill and buy effects everything you bought using Tony's iphone will disappear. Buy from atones iphone anod then buy from his iPad, you'll have to reload them all over again. You can supposedly buy up to 100 additional effects.

    2015.02.26[StompShare] Added a new effect model "Stereo Bass GEQ"
    2015.01.27[StompShare] Added a new effect model "Stereo Guitar GEQ"
    2014.12.11[StompShare] Added a new effect model "ECHO"
    2014.11.13[StompShare] Added a new effect model "DYNAMIC DRIVE"
    2014.10.30[StompShare] Added a new effect model "AUTO PAN DELAY"
    2014.10.09[StompShare] Removed an effect model "OCDRIVE"
    2014.10.03[StompShare] Added a new effect model "GATE REVERB"
    2014.09.18[StompShare] Added a new effect model "SMOOTH DELAY"
    2014.09.04[StompShare] Added a new effect model "OCDRIVE"
    2014.08.21[StompShare] Added a new effect model "DYNAMIC REVERB"
    2014.08.07[StompShare] Added a new effect model "CHAMBER"
    2014.07.24[StompShare] Added a new effect model "TREMOLO DELAY"
    2014.07.10[StompShare] Added a new effect model "MANGLED SPACE"
    2014.06.26[StompShare] Added a new effect model "Sweet Drive"
    2014.06.12[StompShare] Added a new effect model "SlowAttackDelay"
    2014.05.29[StompShare] Added a new effect model "AMBIENCE"
    2014.05.15[StompShare] Added a new effect model "LO-FI DELAY"
    2014.05.01[StompShare] Added a new effect model "RC Boost"
    2014.04.17[StompShare] Added a new effect "TREMOLO REVERB"
    2014.04.03[StompShare] Added a new effect "FILTER PP-DELAY"
    2014.03.19[StompShare] Added a new effect "REVERSE REVERB"
    2014.03.06[StompShare] Added free 20 amp / effect models
    2014.02.20[StompShare] Added a new effect model "TB MK1.5"
    2014.02.06[StompShare] Added a new effect model "CHURCH"
    2014.01.23[StompShare] Added a new effect model "OctFuzz"
    2014.01.09[StompShare] Added a new effect model "Corona Tri"
    2013.12.19[StompShare] Added a new effect model "RED CRUNCH"
    2013.12.05[StompShare] Added a new effect model "Carbon Delay"
    2013.11.21[StompShare] Added a new effect model "BG GRID"
    2013.11.07[StompShare] Added a new effect model "Spring63"
    2013.10.23[StompShare] Added a new effect model "BG THROTTLE"
    2013.10.11[StompShare] Added 6 types of Bass Preamps
    2013.09.27[StompShare] Added 6 types of Bass Drive/EQ effects
    2013.08.09[StompShare] Added 6 types of FILTER/DYNAMICS effects.
    2013.07.26[StompShare] Added 4 types of EQ/FILTER effects.
    2013.07.12[StompShare] Added 6 types of Bass SFX effects.
    2013.06.28[StompShare] Added 5 types of Bass MOD effects.
    2013.05.29[StompShare] Added a new effect model "ModReverb"
    2013.05.16[StompShare] Added a new effect model "MirageCho".
    2013.04.30[StompShare] Added a new effect model "SlapBack".
    2013.04.15[StompShare] Added a new effect model "SilkyCho".
    2013.03.26[StompShare] Added a new effect model "Plate".
    2013.03.14[StompShare] Added a new amp model "B-BREAKER".
    2013.02.27[StompShare] Added a new amp model "CAR DRIVE".
    2013.02.15[StompShare] Added a new amp model "FD VIBRO".
    2013.01.28[StompShare] Added "BG Crunch" and "MS Drive".
     
  3. Tmidiman

    Tmidiman Member

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    Make sure to gett your friend 20 free effects too! Some bass amos, but also some effects. Again, read about then using the news Link I provided.

    The 100BT make a great Swiss Army Knife of effects. Lots and lots of good items there, Los if possibilities.
     
  4. clintmartin

    clintmartin Member

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    It would be nice if you could simply plug in a usb cable and download directly from the Zoom site. I don't have an Apple device either and so have avoided this pedal. I do love the Zoom effects. I may add the MS70-cdr at some point.
     
  5. Lele

    Lele Member

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    Thanks a lot Tmidiman!
    and I see that there's a plate reverb, too, that I can buy. I miss that effect in my MS50,
     
  6. Bunther

    Bunther Member

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    Who creates the new effects that become available on StompShare?
     
  7. Tmidiman

    Tmidiman Member

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    I believe Zoom does"

    Another note: 99% or the effects avaliable in the 70CDR are avaliable for the 100BT. My guess is that it will be 100% this month or next.

    I also recommend checking out the TS Drive (better than the T Scream), the Dynamic Drive (the OCD), and the Sweet Drive ( Mad Professor Sweet Honey). There are even 2 Mesa Boogie dirt models that sound pretty good IMHO.

    I'm going to stop there or I'll almost list every thing. Ok let me just say there are some nice choruses, delays, bass preamps, and EQ options.
     
  8. jorgemg1984

    jorgemg1984 Member

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    Hi Tmidian!

    Zoom website does not have old news anymore, can you elaborate on these effects? Thanks a lot!

    2013.10.11[StompShare] Added 6 types of Bass Preamps
    2013.09.27[StompShare] Added 6 types of Bass Drive/EQ effects
    2013.08.09[StompShare] Added 6 types of FILTER/DYNAMICS effects.
    2013.07.26[StompShare] Added 4 types of EQ/FILTER effects.
     
  9. chrisjnyc

    chrisjnyc Member

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  10. jorgemg1984

    jorgemg1984 Member

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    Really? I don't have an IOS device so I need to check it with a friend!
     
  11. chrisjnyc

    chrisjnyc Member

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    Check it out:

    Top In-App Purchases
    1. SPACE HOLE Free
    2. ShimmerRev Free
    3. ICE DELAY Free
    4. SlapBackDly Free
    5. ParticleRev Free
    6. HOLY FLERB Free
    7. ANA234Cho Free
    8. DualDigiDly Free
    9. CoronaCho Free
    10. DRIVE ECHO Free
     
  12. jorgemg1984

    jorgemg1984 Member

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    Lol you're right man, kind of stupid of me.. know I need to call my friend :)
     
  13. Tmidiman

    Tmidiman Member

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    You may be looking at some of the free effects from the list of 20 free effects. Not all of the effects in the app are free. But what you can get is worth checking out.

    Here's a description:

    Here are the details of newly added free 20 amp / effect models.


    ANA234Cho

    This effect models the M234 chorus effects pedal made by MXR. The M234 features an analog circuit that uses a bucket-brigade device. The bucket-brigade circuitry creates a warm feeling that captivates. Use of its modulation is also straightforward and easy. Set the DEPTH high and the RATE slow for a chorus with a sense of detuning or set the RATE to a fast value to achieve a vibrato effect that creates a pleasant sound. The two-band EQ, which allows you to cut high and low frequencies, is another key feature. With it, you can adjust the tone carefully to make sounds that stand out for muted rhythm parts and arpeggios as well as craft sweet and mild chorus tones. This effect has a vintage style output design that allows you to split the direct sound and effect sound between the left and right channels when using a stereo connection.



    CoronaCho

    This effect models the Corona Chorus made by TC Electronic. Even though the Corona Chorus uses a digital circuit, it features a tone parameter knob that can be used to create sounds that evoke the warmth of analog chorus effects. This effect is invaluable for constructing sharp muted rhythm sounds with an 80s style that combine compression and delay, as well as for making arpeggio tones that allow you to feel the width of the space. Moreover, combined with distortion, you can use it to create a heavy riffing sound in the style of Zakk Wylde. Furthermore, the fluctuation of the modulation is extremely natural, so it is optimal when you want to apply a little chorus all the time when playing.



    DUAL DIGITAL DELAY

    We developed the DUAL DIGITAL DELAY based on the Digital Delay effect of Eventide's TimeFactor stompbox. With two delays that can have their time and feedback settings made independently, you can create sounds that would not be possible with a single delay. You can choose stereo or mono output for the two delays. When set to stereo, the two delays are divided between the left and right channels, generating a three-dimensional delay sound. In addition, you can freely change the mix balance between the two delays. Furthermore, when you change this balance, the effect automatically adjusts the panning to keep the left and right channel stereo balance even. This makes it very easy to use. This effect also has modulation that allows you to create delay sounds with the width of a chorus effect and a filter parameter that allows you to change the tonal quality of the delay.



    DRIVE ECHO

    This models the Tube Echo effect of the LINE 6 M9 Stompbox Modeler. Tube Echo itself is an effect inspired by the Maestro EP-1, which is also known as the original Echoplex. One feature is that it adds a drive sound characteristic of tubes to the delay. Since the tube drive is added to the original sound, it can also be used as an overdrive by setting the delay level(MIX) to zero. In addition, you can adjust the wow and flutter, which are distortions that result from tape speed variation and tape stretching, enabling you to use this effect to re-create the warm sound characteristic of a vintage echo machine.



    ICE DELAY

    This effect is based on the ICE setting of the TIMELINE delay by strymon. ICE is in effect that combines delay with pitch-shifting, slicing the input signal finely and reproducing the signal after the set shift interval with delay added to create a freezing sound. The sliced audio signal is transformed into a sound that seems to be playing backward. By shifting the pitch further, unique delay sounds that have no comparison can be generated. The pitch-shift interval can be set between one octave down and two octaves up. It can also be used to slice and output a unison sound or a detuned sound with just a slight pitch difference. One setting that we recommend is to set the delay time slightly long, the interval an octave up and the slice long. The sound an octave above glistens, producing a tone that truly feels chilly like "ice."



    SLAPBACK DELAY

    This models the SLAP delay in the FLASHBACK effect made by TC Electronic. The SLAP delay effect is usually used with relatively short delay times and can easily be used to create a slapback echo sound like that used in rockabilly and other genres. This effect is also useful for producing a doubling effect that sounds like two guitars playing the same part. The SubDv switch is an interesting feature that allows you to change the note division of the delay. Use this effect to create a dotted eighth note delay, which is a classic setting for creating a sequenced effect with a delay, or a ping-pong delay with repetitions alternating left and right on quarter notes or dotted eighths.



    HOLY FLERB

    This is a model of the FLERB setting of the Holy Grail reverb effect made by Electro-Harmonix. The distinguishing feature of FLERB is the combination of reverb and flanger effects, which generates a spacy and refreshing reverb sound. The design is simple with just one control. The REVERB (RVRB) parameter adjusts the effect mix level, making creation of sounds easy. The sound of this effect is beautiful and works great with arpeggios and muted rhythmic chord played using clean tones. This effect is perfect for adding a touch of flavor to backing sounds.



    PARTICLE REVERB

    This models the Particle Verb reverb effect of LINE 6's M9. By combining delay, pitch shifting and modulation with reverb, the Particle Verb features the ability to create complex reverberations that have different flavors compared to ordinary reverb effects. With 3 modes-Stable (STBL), Critical (CRTCL) and Hazard (HZD)-this effect can cover a range of sounds from enveloping synth-like pads and frightening effects that could be used in horror films to spacey tones that evoke the vastness of space. When used in stereo, the effect is more intense, but a mono mode is included for use when needed.



    SPACE HOLE

    This effect is based on the Blackhole setting of the SPACE reverb pedal made by Eventide. By combining delay and reverb, the Blackhole setting is able to create a range of reverberation sounds. Another feature of this effect is that, since modulation can be added, unique reverberation sounds that are impossible in real spaces can also be easily created. By setting the Decay parameter, which adjusts the length of the reverberations, to a negative value, the reverb sound can be given a reverse playback effect. By increasing the feedback when the Decay is negative, you can even create a reverb sound that is sustained without fading. This is very useful for producing extraordinary spatial effects. Although great with clean guitar tones, of course, this effect also suits electric-acoustic and other guitar sounds.


    SHIMMER REVERB

    This effect models the Shimmer mode of the blueSky reverberator made by strymon. Using a combination of reverb, pitch-shifting and delay, this effect features the ability to repeatedly add sound an octave above the reverb sound, resulting in the generation of unique reverberations that cannot be produced otherwise. The true value of this effect is apparent when you turn the DECAY up. When this parameter is at its maximum, the reverb of the octave sound continues for at least 20 seconds, creating a beautiful sound with the transparent feeling of a synthesizer pad. This effect suits clean guitar sounds. In addition to playing backing chords, we also recommend it for single-note melody playing.



    DualComp

    Compression effects control the gain of an amp dynamically by detecting the signal level, but they usually disregard frequency differences. For this reason, when used with sound sources that have strong low-frequency energy, such as bass guitars, the middle and high-frequency gain is often reduced more than necessary. This is not a problem for classic performance styles that stress well-rounded low and mid frequencies. For slapping, tapping and other modern styles that emphasize mid and high frequencies, however, it does not work so well. The idea behind this DualComp effect is to respond to this problem by having separate circuits for the low and high frequencies in order to reduce the impacts of each frequency band on the other and to allow optimal compression to be applied to each one. The Hi and Lo parameters set the depth of compression for the high and low frequency bands. The Freq parameter sets the crossover frequency that separates the high and low frequency bands. To preserve the attack, set the frequency on the lower side.



    SVT

    Since Ampeg began selling this famous model in 1969, it has maintained its status as a standard for bass amplifiers. With its all-tube construction, huge 300W output and wide-range sound, this amp can handle every style of music from metal to funk and reggae. The 3-band equalizer with an adjustable mid frequency range was groundbreaking when it was first sold. The Ultra Low and Ultra High switches expand the range of sound creation. When Ultra Low is on, the thumping heavy lows are so awesome that it can become addictive. The SVT has plenty of headroom and not letting the sound breakup has always been one of its strengths, but with this model you can also raise the Gain to overdrive the amp. Taking advantage of the strengths of modeling, the Mix control allows you to easily adjust the mix of the line output and the sound of the simulated cabinet being captured by a mic.




    B-Man

    The Fender Bassman 100 is a piggyback style amp with two independent channels that first appeared in the 1970s. On the original, the Deep switch that boosts low frequencies is applied to the first channel, which also has a 2-band bass/treble equalizer. Since this model has an additional middle band with a variable frequency point, you can craft the sound with even more precision. If you want to re-create the three-band equalizer of the original second channel, set the middle frequency to 350 Hz. Rather than increasing distortion, raising the gain brings the tube character out more instead. You can select from multiple types of cabinets including the original. The four 12-inch speaker setting (B-Man) is true to the original Bassman setup and is good for blues and R&B. Use this for an even more realistic re-creation of the sound of the original amp with its outstanding full mid and low frequencies.




    Mark B

    With its yellow and black design, the Markbass amp unified stylish looks and Italian musical sense. Alain Caron, Jeff Berlin and many other technical bass players who are picky about sound are fans. This model re-creates the popular and compact Little Mark III. The 4-band equalizer of the original has been replaced with a 3-band equalizer that has an adjustable mid. The VPF control, which is a filter that cuts the mids around 380 Hz while simultaneously boosting the bass and treble, is the most important feature of the original. This has been modeled with the Color parameter. This matches the bass character well, so this control alone allows plenty of tone shaping. The cabinet options include a model of the original single 12-inch speaker setup (MarkB).


    HRT3500

    From David Ellefson to Stuart Hamm and Victor Wooten, the Hartke HA3500 has its fans from a wide range of genres. This amp includes two types of preamps tube for a warm sound and solid-state for a clean hi-fi sound and allows you to mix them as you like. The equalizer of this model with its variable middle frequency has been simplified compared to the original 10-band graphic equalizer, but it still maintains the wide frequency range and distinctive character of the heavy lows. The compressor can be set in a wide range so you can keep a natural sound or create an artificial effect. The thirteen cabinet options include off and a setting for four 4.5XL 10-inch aluminum cone speakers (H3500). This setup is the most distinctive feature of the brand and allows you to fully enjoy the unique Hartke sound.



    acoustic

    The Acoustic 360 amp that this models appeared during the middle of the rock revolution at the end of the 1960s as a bass amp that could fight back against the Marshall stack. From John Paul Jones to Larry Graham and Jaco Pastorius, this amp gained a diverse following. At 220 W, it had a massive output at that time for a transistor amp. Together with the cabinet that uses a front-loaded horn, which has high acoustic efficiency, a synergistic effect is realized for outstanding sound delivery. On the original, the 3-band equalizer used a 6-level switch to set the middle frequency. In this model, however, you can make more precise settings. The original fuzz effect has been omitted, but you can easily add your own fuzz effect since the MS-100BT allows you to use up to six effects simultaneously. Of course, the original cabinet (acstc) has also been modeled.



    Ag Amp

    This high-performance amp model combines the wide dynamic range of a vintage tube amp with the high output of a solid-state amp for a combination of the best of both types. The basic sound is natural without kinks, but its huge 750W output can generate incredible power, making it popular among musicians in a wide range of genres, including Adam Clayton, John Patitucci and George Porter Jr. The 3-band equalizer maintains the character of the vintage amp, but this model allows you to adjust the mid-frequency so you can create an even more tailored sound. Set it to 800 Hz for a character that is close to the original.Switches for deep and bright tones, as well as a re-creation of the original four 10-inch speaker cabinet (AgAmp) are great for the sweet frequency range of bass, including the low B string on 5-string basses. Make good use of it!


    Super
    This effect models the Marshall Super Bass amp head, which was crucial to the bass sound of British rock in the late 60s and through the 70s. Due to its popularity, limited runs have been produced since then several times. The equalizer with Bass, Middle (Mid), Treble (Trebl) and Presence (Prese) parameters is the same as the original. The Middle (Mid) allows you to adjust the frequency, but Marshall tube amp equalizers unlike studio equalizers are not very good at making precise adjustments, so these four controls should be used to balance the sound in consideration of the overall tone. The Gain control primarily adjusts the depth of the distortion, and its effect is most noticeable around 50 to 60. The resonance of the original cabinet in the low and mid frequencies, which is characteristic of Marshall amps, has been reproduced to fulfill its important role.



    FlipTop

    When we think of Ampeg, the first thing that comes to mind is the famous SVT, which is a large bass amp that has been consistently popular for over 40 years. The B-15 amp with its all tube design and compact size, however, should be called its little brother. This amp, which was common both in the studios that gave birth to Motown legends and in the major studios of New York, can truly be called a classic. The "flip-top" amp models, earned their nickname from their outstanding design. It allows the head to be flipped down into the cabinet, which contains a single 15-inch speaker in this case, for transportation. In addition to modeling the Level, Bass and Treble (Trebl) controls of the original, we have added a Middle (Mid) that allows you to adjust the midrange frequencies and a Gain control that allows you to adjust the amount of amp drive. Moreover, we have added "Ultra" preset switches, which are very effective and like those used on other SVT amps, and cabinet modeling to allow you to craft your sound even more precisely. Raise the Gain level to increase the warmth that is characteristic of tubes. You can select from multiple types of cabinets including the original.

    SMR

    In the 1980s, bass recording techniques advanced and a high fidelity sound became established that was both bright and featured a wide range, as exemplified by the slapping techniques of Marcus Miller. Responding to the desire expressed by bassists to be able to hear the same sound on stage as from studio monitors, the SWR handily captured the throne as the go-to bass amp. This model is based on the SM-900 that appeared in 1991, but also refers to the SM-400 power amp that was the first to become popular. One of its best features is its semi-parametric equalizer. Our model is limited to one Middle (Mid) control, but we have also reproduced the Aural Enhancer (ENHNC) control. Rather than simply emphasizing high frequencies, the Aural Enhancer (ENHNC) improves the clarity of the sound while maintaining a balance among all frequency bands. This was the inspiration for cutting-edge studio equipment at the time. The cabinet model is based on the original SWR Goliath (SMR), which was designed for increased frequency range and included a tweeter for high frequencies.
     
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  14. chrisjnyc

    chrisjnyc Member

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    "Newly" might not be the best word for the Zoom FX... those FX got added to the MS100BT March 6, 2014 ;)
     
  15. Tmidiman

    Tmidiman Member

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    Newly was their words when the effects were released, not mine. It's a copy from the site.
     

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