|
|
The following year in 1991, the 9030 debuted as a multi-effect processor with the power of the 9010 but condensed to half-rack size. It was an instant bestseller. They also overwhelmed the competition with the hit launch of a more refined 9002, called the 9000, which sold for 40% less than 9002.
"Since our main target is primarily the amateur user, we tried to offer a little more than the required functionality and sounds while using all our technical know-how at our disposal to bring the low-cost. In fact, that has been one of our guiding principles to this day," says Michihito Nozokido. This policy is well understandable for all the people.
In the meantime, however, ZOOM also poured its technological assets into the development of high-end models as well. In 1992, they came out with the 9200, their first model compatible with XLR balanced In/Out, and featuring a Reverb only. At that price point, the 9200 was an undoubtedly made to suit professional needs. And yet the 9200 left no stone unturned when it came to maximizing operational ease and sound quality with simple functions. Although the 9200 seemed to mark a departure from the previous image of ZOOM products, it was never more characteristic of the company's direction for rupturing convention and exceeded expectations.
|
ZOOM 9000
ZOOM 9200
|
ZOOM continued its "unpredictable development drive"coming out that same year with their first stomp box style, single-function effect processor, the 5000, which fused digital and analog technologies and produced distortion capable of simulating a variety of guitar amps. Although such "Modeling"technology has since become commonplace, ZOOM prescience is exemplified by their having this technology already installed in products available on the market.
ZOOM gradually began filling out its lineup to extend from amateur to high-end markets.
|
|
|
|
|
|
|
|
