Using custom modified Zoom B3 in a large ROCKCase with my Trace Elliot Tower

• Overview and Wiring diagram (more or less current setup, but without MS-60B)

• The signal from the bass arrives (1) at a wireless receiver from Line 6 (Relay G30). Its output goes to the main instrument switch (see below Y-switch arrangement).

• The signal from the e-cello arrives (2) through a cable with a female jack (6.5 mm). For level and sound adjustments I run the e-cello signal first through the MXR Kerry King 10-band EQ MXR KFK-1 (3) from Dunlop for some equalisation and further level gain before it goes to the main instrument switch (see below Y-switch arrangement).

  Option extra e-cello amp: I can optionally use a separate amp for the cello, e.g. a little Fender guitar amp. Using an AB-Y stomp switch (7) from Morley. For this alternative I connect the e-cello to the center IN/OUT plug of the Morley AB-Y and then output A to the extra cello amp directly (no need to adjust the e-cello signal to that of the bass, since all tweaking can be done at the two separate amps separately). I can still play the e-cello also over the main bass amp, since output B of Morley AB-Y goes then into the e-cello signal path (2), i.e. as shown into the FDR-1 (Fender '65 Deluxe Reverb, 3) and then into the MXR Kerry King 10-band EQ (4) as in the regular case without an extra e-cello amp. This way I can play the e-cello both over the bass amp or the extra cello amp (amp choice by switching the Morley AB-Y). Note, that's fine for switching between songs. However, switching instruments in the middle of a song requires to play over the same main bass amp and using my custom built Y-switch arrangement, i.e. the stomp switch (5) triggering the Nobel AB-V selector box (6) to switch among my two instruments (see below for more on this).

• Next the two instrument signals go to a Y-switch arrangement (4, 5), since I play either bass or e-cello, even if the bass dangles in front of me while playing the e-cello for quick instrument switching in the middle of a song. LED's tell me which instrument is currently connected to the sound system:
  
      •   The red LED is for e-cello playing
      •   the green LED for bass playing
  
  This Y-switch is performed by a very special switch arrangement: The actual audio signal is switched by a very versatile AB-V Selector Box (4) from Nobels. Input A receives the bass signal, Input B the e-cello signal. Output B serves as the main output. However, that switch box, the versatile it is, is NOT a stomp box and I needed therefore a stomp box to be able to trigger the instrument switch with my feet. I found no product on the market, which would have done the job. I needed a stomp box switch that can trigger the switch in the Nobels AB-V box and which shows me clearly the status by two easily visible LED's even on a dark stage. Thus I built myself a latching stomp switch MusEQ FS-LAF (5). That switch shows nicely the status (• - b / • - cello) under all light conditions. This custom built switch arrangement allows me to switch between my two instruments in the middle of a song absolutely noiselessly without any click nor other audible noise!

• The main output from the instrument switching AB-V switch (carrying either the bass or the e-cello signal), is Y-ed (duplicated). One cable goes into the preamp-effects signal chain (see below Zoom B3) the other cable leaves directly the board (10).

• The latter dry signal (10) goes to the main input on my big bass amp bypassing any effects (The only exception to this is the fact that the e-cello signal passes through an EQ; note, that equalisation serves mostly also the adjustment of the signal levels between the two instruments, which is of particular relevance as of here the signal chain is shared by both instruments).

  Note, impedance and all signal levels are adjusted such that no signal deteroriation or other problems are created. Using this setup I can choose via my effects loop stomp of the Trace Elliot amp conveniently the traditional amp use (dry from bass 10 or only EQ-ed from e-cello 2) or using the wet output from the Zoom B3. All this switching works without any clicks or other noise and thanks to basic unity gain settings generally without any volume change.

• The preamp-effects signal chain is that part of the signal chain that generates on board the alternative wet signal. It goes into the amp's effect loop return.

  In that wet part of the signal chain I used first a MS-60B (not shown in Overview and Wiring diagram). It mainly served as a noise gate as the e-cello signal comes with some noise. To this end I simply set the MS-60B always merely to ZNR, "ZOOM's unique noise reduction cuts noise during pauses in playing without affecting the tone".

  Option (insert reverb): Insert in the wet signal chain a "Fender '65 Deluxe Reverb Amp" FDR-1 (Fender '65 Deluxe Reverb) from BOSS for level gain and tone before going into the Zoom B3 instead of the MS-60B (3, here shown only as part of another setup)

• Then the signal goes into the Zoom B3 (12). The B3 served as my main bass effects and amp simulator and replaces fully my bass amp's preamp (effects unit as a preamp). A very versatile setup with excellent and powerful sounds I loved greatly. The output signal coming from the B3 leaves the effects case via an extra cable (10) going to the amp's effects loop return (mono/right). Note, this wet signal chain completely bypasses the preamp of my big Trace Elliot amp intentionally.

  The B3 is also connected to an expression pedal FP02 (6, wiring diagram) to control volume or a wah-wah etc. All devices in this chain, i.e. the B3, the MS-60B, and the expression pedal FP02 are from Zoom.

  I modified the Zoom B3 by adding a stomp bar to control efficiently patch select, rhythm and tap tempo on stage (7). For details see my modification of the Zoom B3 (this document allows you to make the same modification). This modification greatly enhanced the usability of the B3 on stage. Patch switching can be done with a single stomp. Without this modification you need either to bend down and change patches fiddling with the small buttons on the B3. Yes, you can accomplish this also with stomp switches, but this is even more cumbersome. First you neeed to activate the patch selection mode by holding down for 1 second stomp 1. Then you have to use stomp 2 or 3 to select next or previous patch. Finally you need to holding down stomp 1 again for 1 second to leave the patch selection mode. Impossible to do on stage. The modification gives you access to the patch selection buttons via two stomps (7). As the sound produced by the B3 dedicated to bass is great, this modification makes all the difference for stage use!

  At the back of the B3 there is an XLR output, which could be connected to the front of house mixer. However, the two post EQ etc. DI outputs (left, right) on the back of the Trace Elliot amp provide the best output for the front of house, since they correctly reproduce all settings, regardless which instrument I currently play and regardless whether I currently use the preamp-effects signal wetted by the floorboard effects or the dry signal having gone through the also great preamp of my Trace Elliot.

• The many devices in the case call for power: I am very happy with a Dunlop DCB-10 Brick (8) providing 9V DC power to all devices on the board. The power supply unit for the DC brick is plugged into into a power strip (11) that offers power for further needs, e.g. the stage light of my e-cello or a device used by the singer.

• The board is connected with the amp via 3 cables forming a little "multicore" (10):
  • First there is the cable that connects from the back of the amp (external control) to the footswitch BFC-6 (9) to control the amp conveniently and remotely from the effects board.
  • Second the dry output signal coming directly from the instrument switch connecting to the main regular input of the amp.
  • Third the wet output signal from the B3 connects to the return of the effects loop at the back of the amp (mono/right).

Final Remark: Thanks to above described arrangement I can bypass the B3 by disengaging the effects loop of the amp (stomp switch 'LOOP' off, see 9) or using the B3 by engaging the effects loop of the amp (stomp switch 'LOOP' on, see 9). This arrangement is soundwise much better than having the B3 in the effects loop of the bass amp. Using the B3 as a preamp as I do (cf. wiring diagram) results in a significantly better sound and avoids a somewhat slightly muddier sound, which I would get if I use the B3 in the effects loop and having the preamp of the Trace Elliot daisy chained with the preamp of the B3. In such a configuration I can use only the Trace Elliot's power amp and totally bypass its preamp. If I do not use the B3 I use the ordinary Trace Elliot with its preamp and power amp. A lot of flexibility, the best of two worlds!

Using Pod X3 and my Trace Elliot Tower

• In this setup I used as effects processor a POD X3 from Line 6 (model description, manufacturer) in the effects loop of my Trace Elliot amp. I placed the POD X3 on top of the amp head. I controlled the POD X3 with the legacy Line 6 foot pedal FBV Express (12, model description, manufacturer). The FBV Express – sitting in the effects case of my standard stage setup – was connected to the POD X3 via a RJ45 ethernet cable.

• I have sent the bass signal wirelessly via the MIPRO ACT 707 Transmitter to the MIPRO ACT-707S Receiver (1).

• For other items see above

Using Digitech BP8 and a Carvin Cyclops Combo

• Effects processor BP8 for bass made by Digitech (2) (Tech Specs, manufacturer).

• Tuner 19 inch rack mountable (RT-1601) made by Sabine. For easier transport I have actually mounted it in the rack of the amp-combo case (see below) instead of the head. Handy while tuning is a little stomp box (6), which allows me to mute the entire rig. That stomp box opens or closes the connection from the AB-V Selector output (Y-switch arrangement for instrument switching, see above).

• Amp and speakers are from a Carvin Cyclops Combo (amp overview, tech specs, amp manual, actual Cyclops Combo is no longer available from the manufacturer). The amp is a R600 (2x300 W) head which supports bi-amping. The amp head is actually mounted in a separate head case. It's easier to carry that way. The rest of the combo enclosure contains the speakers (1x15", 2x8", 1 horn) and the light-weight rack tuner (see above). The amps settings can be controlled by a foot switch (7). With a little help from a friend I have customized this foot switch. It shows me now the current settings via LED's. Really neat and most useful on a dark stage! I have custom installed an extra power outlet in the amp head, which is switched by the main on/off switch of the head. Turning on the main switch does now power up all gear in the amp rack.

• For other items see above

Last modified 3/2/25