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Hi All,

I've just become aware of a third party patch editor for the Zoom MS50, MS60 & MS70 series of pedals. This is browser based app (Chrome).
I've not tried it so can't give any oppinions.
All info here: https://g200kg.github.io/zoom-ms-utility/
I'm hoping in the future for an editor for the Zoom G1on/G1xon!

Ian

I started using my Zoom Multistomp MS100-BT this last week, I programmed in the Shadows echoes and all my other sounds and it is probably going to be my main unit in the coming months, as I bought the new Vox MV50 amp head which is tiny, linked it up with a Boogie cabinet with a Celestion Century 12" neodymium speaker and it sounds fantastic. The big bonus is a powerful rig with minimal weight (the cabinet weighs 25lb or 12kg and the amp 1.1lb)
I would defy anybody to tell me the difference between the sound when compared with all the usual expensive machines.
I bought the Zoom about three years ago around the time I was programming the G3. The only difference in the programming is that you have to rememember the patches as there wasn't any software for the MS50 / 75 or 100 available.
The programming is easy enough to do though once you have done it - and it was less than £100

I forgot to mention that the MS100BT isn't included in this particular software, but maybe later the way it's going.

Ian Miller wrote:Hi All,

I've just become aware of a third party patch editor for the Zoom MS50, MS60 & MS70 series of pedals. This is browser based app (Chrome).
I've not tried it so can't give any oppinions.
All info here: https://g200kg.github.io/zoom-ms-utility/
I'm hoping in the future for an editor for the Zoom G1on/G1xon!

Ian

Thanks for sharing that Ian, I have been using the MS50 for some time now and this gives a way to save the patches, transfer to a second machine etc
VERY handy

Take care

dave robinson wrote:I would defy anybody to tell me the difference between the sound when compared with all the usual expensive machines. I bought the Zoom about three years ago around the time I was programming the G3. The only difference in the programming is that you have to rememember the patches as there wasn't any software for the MS50 / 75 or 100 available.
The programming is easy enough to do though once you have done it - and it was less than £100

Does this kick the Hall & Collins into the long grass?

Hi All,

I personally had an Ms70CDR up to a year ago. I moved over to the Zoom G1on which I am very happy with, it does seem somewhat easier to program. The available effects are more or less the same as the MS series but has some additions such as a looper incorporated. I have just bought a G1Xon which has the addition of a pedal.

I don't know whether the editor will develop to accommodate the MS100 as this model has now been discontinued by Zoom.

For those wishing for a Librarian, there is a third party one available which is compatible with quite a few current models. I may have already mentioned this s while ago. Information here: http://www.zoompatches.com/forum/index.php
I have used this myself and works well.

Ian

Iain Purdon wrote:

dave robinson wrote:I would defy anybody to tell me the difference between the sound when compared with all the usual expensive machines. I bought the Zoom about three years ago around the time I was programming the G3. The only difference in the programming is that you have to rememember the patches as there wasn't any software for the MS50 / 75 or 100 available.
The programming is easy enough to do though once you have done it - and it was less than £100

Does this kick the Hall & Collins into the long grass?

Depends on who is twiddling the knobs Iain

petercreasey wrote:

Iain Purdon wrote:

dave robinson wrote:I would defy anybody to tell me the difference between the sound when compared with all the usual expensive machines. I bought the Zoom about three years ago around the time I was programming the G3. The only difference in the programming is that you have to rememember the patches as there wasn't any software for the MS50 / 75 or 100 available.
The programming is easy enough to do though once you have done it - and it was less than £100

Does this kick the Hall & Collins into the long grass?

Depends on who is twiddling the knobs Iain

And, who's playing the guitar.

Exactly, Dave. Without the fingers, all the technology in the world won't cover it.

What I meant was, given this gear, do you personally need the H&C any more?

To be honest I think that the H&C arrived way too late to have the impact it deserves.
I was programming my Yamaha FX 550 with decent Shads echoes before I got to know about all this lot and my sound was more than acceptable back then, we're talking early nineties here.
What happened was we all met up here and due to some phenomina were mistakenly railroaded towards what Hank was using regarding pickups, amps and echoes, which in all honesty were no better than many of us already had. All of this was just a cash cow for various people who made gear.
I bought the H&C after I had already been successful making my own eho patches for my Vox Tonelab SE, the Zoom G3 and the Zoom MS-100 BT. In truth those three devices do the job equally as good as the H&C to my ears and I would defy anyone to tell the difference between all of them should there be a blind test on a live gig.
That said, I have recently bought an old early sixties Klemt Echolette and none of them come close to the actual sound that comes from that machine. It's all about opinion, but if it's the recorded sound of the 1960 Hank that you are seeking, none of the digital machines do it. I listen over again to everyones demoes then go back to the records and they are worlds apart.
I now have a sound that I'm happy with which I seem to be able to achieve whether or not I use my Vox AC30, Mesa Boogie, Vox MV-50, Vox Valvetronix VT-30 or Peavey Delta Blues, using my Vox Tonelab SE mostly. The H&C never gets a run out, though I sometimes use my Klemt Echolette if I want to put a big smile on my face.