No. NAME
COMMENT
RAT Drive
ClearCho
W Screamer
Funky Wah
Phaser100
FlangeDly
MetalDist
NaturalCMP
ShortDly
RitchHall
SEQ Wah
ModDelay
Blues OD
SilverHaze
AMB KING
PitchDist
Star Synth
AsiaPalace
RK"1"
RK"2"
Whip Clean
Whip Lead
castles
just_got_p
Dbl V wet
Dbl V box
PureBlues
FunkStrat
LM R&B Luv
LM M Funk
STOMPMULTIARTIST
*Patches 31-50 are empty by default.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
Manufacturer names and product names mentioned in this patch memory list are trademarks or registered trademarks of their respective owners and do not indicate any affiliation with ZOOM CORPORATION.
All product and artist names are intended only to illustrate sonic characteristics that were used as reference in the development of this product.
MS-50G Patch List E-1
This distortion sound, which uses Squeak to stand out, is suitable for leads. Use the delay as you like.
This chorus setting has a sharp edge and is perfect for cutting through the mix.
This setting uses T Scream directly in the chain. Turn the stages before it ON instead of a booster when soloing.
This auto-wah setting is perfect for cutting through. A little reverb is the secret ingredient.
This phaser setting is in the style of the MXR Phase100.
This setting combines a little bit of flanger with a dotted eighth-note synchronized delay. Put distortion in front of it to
bring the flanger effect out even more.
This is a great metal sound for playing riffs. Turn on the Analog Dly and you can use it for lead parts too.
This is a natural-sounding compression setting that is useful in every circumstance.
Using Analog Dly, this setting is great for creating a galloping sound. You can combine it with any overdrive sound you like.
This hall reverb setting has a beautiful edge and is great for arpeggios and long tones.
This sequenced filter synchronizes with the tempo.
The delay sound is modulated in this slightly distorted delay setting.
This practical overdrive sound can be boosted using Z Clean. Use spring reverb and delay with it as you like.
This fuzz sound brings back the late sixties. Turn The Vibe ON to give it a psychedelic sheen.
This phantasmal ambient sound is fine for both chords and single notes.
With distortion added to a 4th up pitch shift, this distortion patch is perfect for leads.
Delay is the secret ingredient in this synthesizer sound. How the filter opens can be controlled with the guitar volume.
This patch is inspired by the sounds of ethnic instruments from Southeast Asia.
Overdrive Tone with Delay, Perfect for Classic Rock Solos or Rhythm.
Lush Clean Tone with Tremolo and Low end boost.
Whip Clean is modeled after my Roland JC 120.
Whip Lead is modeled after my Bogner Fish preamp (brown sound).
This crunch sound is based on a British combo amp.
This distortion sound combines Marshall 1959 and T Scream.
Combines multiple reverbs, delays and chorus for a lush string sound. Volume pedal attack included.
Great for big chords and orchestral scapes.
This is a small boxy sound. I use this when the instrumentation is dense and I want to stand out.
This patch features a slightly overdriven and very natural sounding “blues” lead tone. The voicing
features equal amounts of top-end bite. beefy midrange, and bottom, and will sound crunchy and
well-balanced on any of a Strats’ pickup selections.
It features slight compression, as well as some “detune” effect, ideal for obtaining a punchy, funk rhythm
guitar sound.
Clean all around tone, but great fit funky rhythms.
Funky parliament flavor turn on and off the octave pedal for fresh low end funkiness.
Richie
Kotzen
Michael
Wilton
Zach Myers
Vinny
Valentino
Steve
Briody
Larry
Mitchell
MS-50G Patch Memory List
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