SKU: 88176953111
cabinet simulator pedal

cabinet simulator pedal Shift Line A+ CabZone X

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Description

cabinet simulator pedal Shift Line A+ CabZone XNo Taxes, Duties or Tariffs Fast Free Shipping Free Returns: $199 is your total cost here for the Shift Line A+ CabZone X IR CabSim, Cab Simulator Pedal. Meet the new Shift Line A+ CabZone X, IR cabinet simulator (cab sim) pedal! CabZone X is the new generation of our digital IR based cab simulator. The IR Impulse Response Convolution technology provides a realistic sound and preserves the unique character of the cabinet and microphone used to record

No Taxes, Duties or Tariffs - Fast Free Shipping - Free Returns: $199 is your total cost here for the Shift Line A+ CabZone X - IR CabSim, Cab Simulator Pedal.

Meet the new Shift Line A+ CabZone X, IR cabinet simulator (cab sim) pedal! CabZone X is the new generation of our digital IR-based cab simulator. The IR Impulse Response Convolution technology provides a realistic sound and preserves the unique character of the cabinet and microphone used to record the impulse. We have taken into account user feedback, and created a new version of our cabsim device that allows you to play and record, without having to use unwieldy cabinets and complex signal chains.



Simply put, the CabZone X is a part in your signal chain that is responsible for the overall sound of your guitar, bass, or other instrument. CabZone X can replace the power amp, cabinet and microphone all at once. Plug it directly into any receiver (e.g. mixing console, audio interface, headphones, or monitors) and get your preferred tone, without having to worry about the guitar and bass amps, and mics available at the venue.

The CabZone X still has a very simple user interface, although it has been substantially expanded from the earlier CabZone LE. First of all, CabZone X has a fully functional XLR balanced output with ground lift, which will come in handy at live gigs. With this option, you don't need to worry anymore about using a separate DI box to transmit the signal over many meters of cable.




Download the Shift Line CabZone X Cab Sim Manual PDF


Another important CabZone X addition is a set of 10 power amp emulations, that will let you sculpt your tone even further. This cabsim now allows you to not only emulate the delicate response of a clean power amp, but also to add the characteristic harmonic distortion of various overdriven power amp types. Besides, you can now control power amp gain via input volume.

CabZone X also features an updated headphones amp, revised universal power intake (it can now work with Power Bank-type power supplies), extended dynamic range, and improved signal to noise ratio. Impulses are now uploaded via USB, so there is no need to buy a microSD card. This cabsim also features a sturdy aluminum enclosure with recessed knobs. Plus, CabZone X has become only slightly larger in size!





MAIN FEATURES:

  • A simple and intuitive user interface which doesn't require any external devices to use the key functions.
  • 10 stock impulses selected by a single knob.
  • Third-party impulse upload via Micro-USB to the internal Flash memory.
  • 10 stock power amp emulations for guitar and bass.
  • Great sound quality and signal to noise ratio.
  • Unprocessed THRU output for sending the dry signal to a different processing chain.
  • Fully functional XLR balanced output and Ground Lift switch to eliminate ground loops.
  • AUX input for sending audio to headphones only.
  • High-quality headphones amp with a separate output (for silent practice or monitoring).
  • The possibility to use all of the device's outputs simultaneously, and connect it to up to 4 signal receivers at once.
  • Input overload indicator.
  • Compact and convenient input and output layout: all audio jacks and their control knobs are placed on the same side.
  • Small size and recessed knobs, which allow you to place the device at any point on your pedalboard, with no risk of messing up the settings.
  • Universal power intake (all sold separately), 9V supply with at least 200mA of power or more, or 12V supply with at least 150mA of power or more. Also, autonomous work from USB power, including Power Banks.
  • Open architecture which allows you to create your own patches and upload them via Micro-USB.



CONNECTIONS:

  • IN - signal source input (with a PAD switch to control input volume).
  • THRU - unprocessed parallel output that duplicates the signal from the IN jack.
  • OUT - mono output for processed signal (to go into the PA, audio interface, mixing console or powered speakers).
  • AUX - input for external audio (the signal from the AUX input only goes to the headphones output).
  • PHONES - headphones output.
  • BALANCED OUT - XLR balanced output (with ground lift option via the GND switch).
  • POWER IN - power supply input (9V DC 2.1mm center negative tip supply with at least 200mA of power or more, or a 12V DC 2.1mm center negative tip with at least 150mA of power or more, sold separately).
  • MICRO-USB - a port to connect the device to a PC for impulse upload or firmware update. This port can also be used for USB power, including Power Banks (sold separately).


CONTROLS & LED:

  • CAB knob selects the impulse.
  • VOLUME knob controls the OUT and PHONES volume.
  • AMP knob selects the power amp emulation.
  • PAD switch selects input sensitivity:
    • INST - instrument level (0dB, input resistance at 500kOhm);
    • LINE - line level (-6dB, input resistance at 20kOhm).
  • The GND switch helps to eliminate ground loops that may occur when using balanced connections. In the bottom position, the grounds of the cabsim and the sound receiver are connected; in the top position, they are disconnected. The optimal setting is the one where you hear the least amount of 50Hz hum and harmonics.
  • The LED displays the device's current mode. In standard mode, it is green. When USB connection is used, the LED is blue. The same LED indicates input overload: if it turns yellow, decrease the volume of the incoming signal.


There is no bypass switch. The bypass is digital, and allows to disengage various sections separately:

  • When set to OFF, the CAB knob disengages the cabinet section.
  • When set to OFF, the AMP knob disengages the power amp section.
  • When both the CAB and the AMP knobs are set to OFF, both sections are disengaged. In this case, the incoming signal is passed to all outputs, and its volume is controlled via the VOLUME knob.


CAB KNOB AND STOCK IMPULSES:

The CAB knob has 11 positions and allows to select the impulse or to switch off the IR section. The device comes with 10 stock impulses (8 for guitar and 2 for bass) which can be easily used in most styles of music.

By default, the 11 positions of the CAB knob are as follows:

  • OFF: the IR section is off.
  • 01: impulse of a 1973 Fender Twin Reverb combo amp cabinet with two JBL D120F speakers, recorded with a Lomo 19A19 mic using the combo's built-in power amp.
  • 02: impulse of a Marshall 1960 cabinet with Celestion G12T-75 speakers, recorded with a Shure SM57 mic using the power amp in Marshall JCM800 MkII.
  • 03: impulse of a VOX AC30 Custom combo amp cabinet with Celestion Alnico Blue speakers, recorded with a Royer R-121 mic using the combo's built-in power amp.
  • 04: impulse of a Supro Thunderbolt combo amp cabinet with one 15-inch speaker, recorded with a Shure SM57 mic using a neutral power amp.
  • 05: impulse of an Orange PPC412 cabinet with Celestion Vintage 30 speakers, recorded with a Royer R-121 mic using a neutral power amp.
  • 06: impulse of a Peavey 5150 cabinet with Peavey Sheffield Model 1200 speakers, recorded with a AKG C414 mic using the power amp in Peavey 5150 MkII.
  • 07: impulse of an Engl E412SGB cabinet with Celestion Vintage 30 speakers, recorded with a Shure SM57 mic using a neutral power amp.
  • 08: impulse of a Mesa Boogie 4x12 Recto Standard cabinet with Celestion Vintage 30 speakers, recorded with a AKG C414 mic using the power amp in Mesa Dual Rectifier.
  • 09: impulse of a SUNN 200s bass cabinet with two 15-inch speakers, recorded with 3 different mics with some EQ to make it sound great. A neutral power amp was used while recording the impulse.
  • 10: impulse of an AMPEG SVT-810E bass cabinet, recorded with 3 different mics with some EQ to make it sound great. A neutral power amp was used while recording the impulse.


The stock impulses can be fully or partially replaced by uploading third-party impulses via Micro-USB.
At the Shift Line Website, you can find exclusive impulse packs ready for use with the CabZones, for free, or optional donations.


AMP KNOB (POWER AMPS):


The AMP knob has 11 positions and allows you to select the power amp emulation, or to switch off the power amp section.

The 11 positions of the AMP knob are as follows:

  • OFF: the power amp section is off.
  • A - Neutral: The cleanest and loudest neutral power amp we could muster. It features a characteristic mild rolloff at the extremes of the range (-1dB in the highs and -2dB in the lows) resulting from a design limitation of a real output transformer. The dynamic range is interpreted in a way that doesn't make the signal sound compressed but instead saturates and livens it up. This power amp is practically impossible to overload with input volume. It should be your top pick if you want the cleanest sound for your guitar or bass. If you prefer overdriven power amps, take a look at presets B to J.
  • B -6V6SE: The Class A power amp with 6V6 tubes is one of the most sought after, and rightfully so. Design imperfections introduce asymmetry into amplification and highlights even harmonics across the whole guitar range, which is a nice feature for booster users. The higher the input signal amplitude, the more characteristic overdrive there is. Our preset isn't a fully overdriven singletact amplifier but more on the verge of mild breakup. The compact transformers in such amps provide a mild rolloff below 80Hz and often make the highs stand out a little more. This virtual power amp goes into overdrive very tenderly; the dynamic range is interpreted in a way that only the loudest sounds get distorted, so it is not always clear if the distortion comes from the amp or the speaker.
  • C - 6L6PP Classic: The American amp classic which all the various modern solutions stem from: a Class AB virtual push-pull amplifier which we just couldn't leave out. Almost as direct across the whole range as the Neutral one but with its own character. This amp cannot remain crystal clean at all volumes, but this imperfection makes it a substantial element of the signal chain. The incoming signal gets saturated by odd and even harmonics; this highlights guitar mids and highs without adding any nonsense in the lows. The dynamic range of such amps is peculiar: even quiet sounds showcase their nuances. We have attempted to reflect this in our preset, which will probably suit those who want to "round out" their guitar sound without introducing considerable distortion.
  • D - EL84PP California: EL84s are very divisive tubes as many people tend to dislike the way they operate at high volumes. However, one cannot overestimate what those tubes add to the guitarist's sonic palette. Power amps with EL84s often have characteristic "torn-up" lows and slightly "whistling" highs; this is a result of uneven amplification of odd and even harmonics across the spectrum. In our model, the second and fifth harmonics are very prominent in the lower part of the range, which should appeal to blues lovers. The virtual power amp is set to "max volume" and has a great response to changes in input volume. The characteristic non-linear compression and mild low shelf at 160Hz mean that the amp takes fuzz and classic low-gain overdrives extremely well.
  • E - EL84PP England: The sound of the British invasion. In a different part of the world, the same old El84s gave birth to characterful Class AB power amps with super juicy mids. Trying to set the amp to a higher volume results in an entirely different sonic character: focused, round, and rich in harmonics. This amp's dynamics model highlights the characteristically "compressed" and "sharp" sound which gets along well with treble boosters but doesn't really suit high gain. The amp has a mild low shelf at 40Hz and cutting presence.
  • F - EL34PP England: The next step in the British effect on guitar music: push-pull amps based on EL34 tubes. Those were perhaps the most widespread amps in the 70s and 80s. Fully cranked, they provide substantial overdrive with boosted mids, a bit of harshness in the highs, and focused lows. Our virtual British guy works great for classic rock: all you have to do is put a mid-gain preamp or classic Tube Screamer in front. Additionally, the resonance at 80Hz results in a very characteristic palm-muted sound. To get a cleaner sound from this power amp, just roll back the volume on your guitar — that's the classic way to go.
  • G - 6L6PP Modern: The development of push-pull amps based around 6L6s went in different ways. One of the results is the "Californian amp". Loud, cutting and with a pronounced "oomph" on palm mutes, it is the dream power amp of any metal guy from the 90s and early 2000s. Silicon diode PSU is emulated in this preset. A slightly "barking" character, pronounced low frequency detonation, harmonic saturation and considerable compression, all of these are fully present. This model works great with high-gain distortion pedals. Of course, the V-shaped EQ is more fitting than ever here!
  • H - EL34PP Modern: Another legendary branch of British amps tries to be modern but in a slightly different way. The secret is not in tolex color but in the approach to power amp overdrive. It's basically hot bias of the same EL34s, an emulation of a kenotron-based PSU with the characteristic bump in compression and distortion resulting from increased input level (just like the SAG knob on fuzzes) and great low frequency response. All of this results in highlighted third and fifth harmonics along with substantial compression and distortion; however, the sound remains "huge". This virtual amp's master volume is always set to max, and gain depends on input level. You can get a pretty wide gain range via your guitar's volume knob alone but overdriving this power amp won't hurt (particularly in the mids). Hard-hitting modern rock is where this power amp feels at home.
  • I - 6L6PP Mississippi: The third remarkable variation of Class AB power amps based on 6L6 tubes. Unlike the previous two, this one has notable distortion in output tubes in cold bias. The distortion from the "underbiased" amp is audible even at lower gain and is characteristic of heavy genres. The preset features medium damping, which adds some room to low frequencies. The higher the volume, the more compressed and distorted the signal gets, which results in characteristic "crunch". This virtual amp is meant for high gain first and foremost, but it will also work great for classic rock. If you love palm muting and dive bombs, this is the power amp for you. It's also worth noting that the amp isn't set at max volume but has some headroom. This amp tends to feed back at high volumes, which is something to keep in mind.
  • J - 6550PP Overloaded: Today, relatively few power amps feature 6550 tubes on board, so we couldn't pass up on modelling one. Imagine a monster with four of those tubes overdriven beyond any reasonable limit. This is where the fun starts! The sound starts to show some pretty weird features: a roar in the lows and lots of aggression in the highs. Add a classic Rat, and you can play doom metal using headphones which won't make your ears bleed. This might indeed be the least common power amp model out of the 10 but we just couldn't do without it. Surprisingly enough, this amp is pretty great with bass.


USB OPERATION AND IMPULSE UPLOAD:

To upload impulses, connect the CabZone X to your PC (a USB A (m), micro-USB cable is sold separately). After that, the device will be identified as a drive, allowing for impulse upload.

When the microSD card is used for the first time, an AFX folder with stock impulse files is automatically created on it. The files are stored in subfolders corresponding to the CAB knob positions. To use custom impulses, replace the stock files with your own.

Impulse format: mono 24bit 48kHz WAVE PCM1, uncompressed. The device uses the first 1000 samples of the impulse (about 20ms). If you upload a longer impulse, the CabZone X won't process any data beyond the 1000 samples. The first thousand contains all the crucial data on the cab's own initial reflections. Longer impulses also include reflections and frequency distortion introduced by the room where the impulse was recorded.

When the CabZone X is connected via USB, the LED turns blue. The cabsim's audio functions are still accessible. If you haven't copied any new impulses to folders in the device's memory, no changes happen to its operation. If you have copied a new impulse to the folder corresponding to the current position of the CAB knob, turn the knob to another position and go back to the previously selected one. After that, the new file will be uploaded to the device's memory.

To re-record the stock impulse files to the built-in memory, delete all folders from the drive. This will cause the device to automatically create the AFX folder and all its contents.

When done using the device, eject the drive safely and disconnect the USB cable.

Alternative firmware (patch) upload is currently in testing. The function is already available at the Shift Line CabZone LE support page. The detailed description for the CabZone X will appear later.


ADDITIONAL INFO:

  • The CabZone X is not only an IR-based cabsim but also a full-fledged DI box. The balanced XLR out allows sending the signal to long distances with no quality loss.
  • The CabZone X can be used as an IR-based cabsim with the Shift Line Twin/Olympic tube preamps (MkI and MkII), the Shift Line Beta preamp, or any third-party preamps without a built-in cabsim.
  • Plug the amp loop's SEND, into the cabsim's IN, then return the signal to the amp from the THRU output. This way, you'll have access to the full signal chain with a power amp and a cabinet, as well as to the second chain with cabinet simulation on all of the CabZone X's outputs. If you are using effects in the amp's FX loop, put the cabsim last in the chain.
  • The cabsim has no built-in load, so make sure not to plug your amp's cabinet out into the CabZone X.
  • Note that the THRU output has no latency; when working with processed and unprocessed signals simultaneously, the difference in latency should be compensated.
  • CabZone X has a very low level of own noise; however, that doesn't mean that the device doesn't amplify incoming noisy signal. Also note that "overdriven" power amp models (E to J on the AMP knob) distort the input level significantly, so any present noise gets amplified substantially.
  • If the CabZone X cannot read your impulse files, check if the files are in the correct format. Make sure to only use the mono 24bit 48kHZ WAVE PCM1, uncompressed format.
  • The device is based on the ADAU1701 digital signal processor and supports firmware upload for this processor. This option allows you to record up to 10 custom effects (such as chorus or flanger with fixed parameters) to the device. You can create such patches in SigmaStudio. The detailed description of this function will appear later.


SPECS:

  • IN - 6,3mm, mono, unbalanced, input resistance: instrument level - 500kOhm, line level - 20kOhm.
  • THRU - 6,3mm, mono, unbalanced, unbuffered.
  • OUT - 6,3mm, mono, unbalanced, output resistance at 100Ohm.
  • BALANCED OUT - XLR, mono, balanced.
  • AUX - 3,5mm, stereo, unbalanced, input resistance at 10kOhm.
  • PHONES - 3,5mm, stereo, unbalanced.
  • Processed signal latency - 1,2ms.
  • Effective impulse length - 1000 samples (20ms).
  • Impulse format - mono, 24bit 48kHZ WAVE PCM1, uncompressed.
  • Power - (sold separately). This device does not use a battery. Use a regulated PSU only.
    • 9V DC 2.1mm center negative tip supply with at least 200mA of power or more.
    • Or, 12V DC 2.1mm center negative tip with at least 150mA of power or more
  • USB Power - the device can be powered via USB cable, including by Power Banks (all sold separately).
  • Dimensions - (LхWхH - 4.33"x2.83"x1.26")
  • Weight - 7oz


WARRANTY:

Comes with Shift Line's 3 year warranty for all electronic components, and 1 year for components subject to mechanical impact (potentiometers, footswitches, switches, jacks, etc.).

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Our added value, when purchased here at coolguitarshop.us:

  • Best Total Price: $199 is your absolute final/total cost here.
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  • No Risk: Try it on your own rig for 30 days. Don't love it? Return it for a full refund... no hassles, no costs. (We'll send you a prepaid return label link.)
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Imagine one of the most feature-packed, modern guitar and bass cab sims available, in your own rig in a few days! Shift line has done it... with the new Shift Line A+ CabZone X, IR cabinet simulator pedal.

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Verified Purchase
William Echols
Fort Morgan, US
★★★★★ 5
Beyond the Usual Left/Right bifurcation
When thinking about Howard Zinn's "A People's History of the United States, I am reminded of E.H. Carr's seminal work "What is History?" whereby he stated: "The belief in a hard core of historical facts existing objectively and independently of the interpretation of the historian is a preposterous fallacy, but one which it is very hard to eradicate". As Carr famously stated, millions of people had crossed the Rubicon, but only Julius Caesar's crossing in 49 BC has been given normative value by historians. For those familiar with the philosophical treatment of historical understanding in Tolstoy's War and Peace, this sentiment will ring true. A People's History is designed to give voice to those millions who passed the rubicon but never found their way into the annuals of history. A couple of points. This book was intended to be a supplement as opposed to a strictly chronological account of history that will give you the bullet points for the most important people, dates and events. [sic] It is not meant to be a replacement for a more standardized textbook. Secondly, Zinn did not hate America, and he in fact stated: "I want young people to understand that ours is a beautiful country, but it has been taken over by men who have no respect for human rights or constitutional liberties. Our people are basically decent and caring, and our highest ideals are expressed in the Declaration of Independence, which was that all of us have an equal right to life, liberty and the pursuit of happiness. The history of our country, I point out in my book, is a striving, against corporate robber barons and war makers, to make those ideals a reality-and all of us, of whatever age, can find immense satisfaction in becoming part of that." Regardless of your political position, between the Great Recession and the Iraq war, there is a relevance to this sentiment that cuts across political lines. Now, what one will notice in the bulk of the one star reviews is the sense that either the reviewer has not read the book, they copied and pasted their criticism from another source or they have strictly given the book one star because it does not conform with their view of reality. "Blame America first", "socialism", "communism", "Marx, "liberal propaganda", you can easily get the gist of the talking points because many American conservatives apparently got the same memo in dismissing anything they don't agree with. The disservice they do to themselves and the sphere of ideas in the outright dismissal of any perspective which does not conform to their own is truly sad. When someone gives a book one star merely for not conforming to their view of reality,they have obviously lost the plot. In university I knew many conservative history professors who liked and used Zinn's work. They believed it was important to incorporate and deal with the claims that Zinn made. You cannot whitewash history and blindly stick by the most comforting narrative. That does not mean that one should agree with Zinn's conclusions or think that he has a monopoly on the truth. Zinn himself would not have wanted that. For those who claim Zinn is a socialist or any other kind of -ist, that he is not completely objective, they have obviously never done any research. Pure positivism was dismissed long ago. Even Max Webber started that our subjective bias comes in the moment we choose to study something, for by seeing the subject matter as valuable, we have placed a normative value on it. There is no pure value objectivity, stating one's position and bias from the outset is what responsible social scientists do these days. A dryly academic text with an obvious bias concealed by a detached form of writing gives a falsely omniscient perspective whose reality is psychological but not objective. However they write, they are just a person, and without expressing their biases it will inevitably turn up in their work without necessarily being obvious. This is far more dangerous than what Zinn does in stating his bias from the outset. So it is a red herring to dismiss Zinn for having a perspective. We all have one and it will come into whatever we do. There is no knowable, objective reality (for humans) living in the Platonic world of perfect forms. History was a puzzle of immeasurable size that was blown apart and the pieces scattered over the cosmos. The vast majority of the pieces are gone, never to return. We are stabbing at an imperfect speculation, not ultimate truth when we engage in historical study. Any physicist will tell you that the particle wave duality of light has pretty much closed the book on the notion that we can objectively, perfectly know anything. This book is important because the poison of partisan politics has come to dominate even the dialogue of academic research. If the sole criterion for giving a book one star is the notion that you don't agree with its thesis, then you obviously live in a fragile world and are incapable of being challenged intellectually. This book is of the upmost importance for the conservative to read and digest. In developing a coherent narrative of the United States, you need to wrestle with its sins and determine, despite our historical shortcomings and transgressions, what is it that makes this imperfect union the pinnacle of nation states if one agrees with that prospect. For the liberal, you should not view Zinn's work as the last word on anything, but rather use it as a stepping stone to further develop your own historical understanding and consider how well has American done on a relative scale in light of the political, societal and human failings that have marred all human civilizations. This book is well worth the challenges it presents, and should be a 5 star treat for the conservative who loves his country and wants to develop the most cogent and nuanced argument as to why that is the case despite those unsettling realities to be found in this book as well as the liberal who wants to give voice to his disaffection with certain aspects of American society and the reasons why we need to change it. This is not another tool in the mindless and poisonous Manichean bifurcation of American politics. It is a vehicle to help you strengthen and deepen your understanding of US history, regardless from which direction you are coming. Recommended to all who are interested in the journey of learning as opposed to a presupposed outcome that serves a vested interest.
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Reviewed in the United States on February 13, 2010
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Dr. Lee D. Carlson
Fort Morgan, US
★★★★★ 5
A 50 carat learning gem
The teaching of American history in elementary and middle schools reminds one of the cleaning of a commode: any rings or crud are removed and the bowl is disinfected. It then looks shiny and pretty, as if no foul stuffs were ever deposited in it. The tall tales and antiseptic methodologies employed in the teaching of American history in these citadels of bias are finally being countered by some historians, who are also clearly biased but self-consciously so. They do not hesitate to study the foul stuffs that have been part of the history of the United States, and are willing to put up with the strong odors thereof. What results in their writings is a compilation of the facts that are left unreported by the sycophants of established educational hierarchies. The picture they paint is not a pretty one, but for those who desire the bare, naked truth, and not the stale platitudes of whitewashed historical analysis, it can be a grand viewing. The author of this book is one of these new historians, and he does not hesitate to dig deep into the real stories that have remained hidden for decades. Historical analysis of course is more then muckracking, and requires an accounting of what has occurred in the past without blinders. It also must put to rest the notion that historical events are controlled by a ruling elite, and the latter are not the distinguishing features of history. History is not a history of kings, queens, and princesses. They play a role but it is an ancillary one. The title of this book refreshingly reminds us of this. History is governed and directed by the actions of many individuals, known and unknown. The author calls them "the people", and their story is told unabashedly in this book. The author is clearly a socialist, but his attitude is one of a healthy skepticism towards government, and justified distrust of the military establishment. He reminds us that the draft was in place as early as the Revolutionary War, as were the exceptions granted for avoidance of it. For example in Connecticut Yale students and faculty were exempted from the draft, as were ministers and various government officials. There was also the familiar schism between officers and "ordinary" soldiers, and any in the latter class who chose not to respect this distinction were whipped severely. Wealthy individuals dominated the Continental Congress, but most "ordinary" soldiers were not getting paid. Some groups of "ordinary" soldiers rebelled and some executed by firing squad when the rebellion was suppressed (in one case by soldiers of George Washington himself who led the suppression). The author's commentary and documentation on the Revolutionary War certainly act as a counterexample against the belief that this war had universal support and thought of as a noble cause by the general populace of the time. The Revolutionary War, like all other wars, was an ugly, messy affair, and had its share of false patriotism, brutality, and cowardice, and it affected many other peoples that had no interest or stake in it: native American tribes such as the Iroquois and the Mohawk. These tribes did not come under the umbrella of the Declaration of Independence. Some of these tribes therefore launched, with complete justification, a guerilla war against the new American citizenry, especially when the latter decided to push westward and indulge itself in the forced acquisition of land. The author tells us of the smallpox biological warfare launched against the Appalachian tribes by the British, causing a major epidemic. He tell us of the thousands of black slaves who fought with the British in the Revolutionary War, as did the majority of the Indian tribes. He tell us of the keeping of slaves by Thomas Jefferson throughout his life, of the fact that most of the authors of the Constitution were men of wealth, and none were slaves, indentured servants, women, or men without property. He tell us of Shay's rebellion and its counter, the Riot Act, which allowed authorities to keep people in jail without trial, and of the defiance of Anne Hutchinson against the church fathers in the Massachusetts Bay Colony. He tells us of New Jersey's rescinding of women's right to vote in 1807, of a "feminist" movement as early as the 1840's, and of the founding in 1821 of the Troy Female Seminary by Emma Willard. The author reminds us that the war of 1812 was a conflict waged for expansion into Florida, Canada, and Indian territories, that Congress deliberately and without hesitation appropriated money for war against the Seminoles, and that President Van Buren openly bragged to Congress about the forced removal of Cherokees from lands east of the Mississippi. He reminds us of the doctrine of "manifest destiny" and its justification of the brutal war against Mexico waged by President James Polk in the 1840's with the jingoistic assistance of the newspapers (no other course would be rational some of them reported), with Mexico losing half its territory in the 1848 treaty of Guadalupe Hidalgo. He reminds us of the Anti-Renter movement in the Hudson valley of New York, and that the Renssalaer family at one time ruled over eighty thousand tenants. He reminds us of Dorr's Rebellion in Rhode Island that attacked the idea, and its perpetrators, that only landowners could vote. So yes, there is much in this book that is fascinating and that is food for a hungry and inquisitive mind. It certainly goes against the mainstream view, and any teacher of history will probably come under fire from those who employ them if they decide to discuss the facts and analysis in this book. The history of the United States has been one of brutality mixed with brilliance, the former of which is emphasized in the pages of this book. A future treatise might emphasize the latter, and together they can give a more accurate picture of what the United States is, what it has been, and its future potential.
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Reviewed in the United States on December 30, 2006
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Verified Purchase
Davut Habip
Pawtucket, US
★★★★★ 5
An amazing book ...
Format: Paperback
An amazing book. Reading the book helped me understand why the US is experiencing difficulties in "perceived righteousness" today. I would recommend it to anyone who would like to change the World for the better. Howard Zinn is a benevolent hacker: the kind of hacker I would like my children to be, and why not: all children to be. For me, Zinn’s A People’s History of the United States hacks history and defines a problem and offers a solution: 1. The problem: a one-sided patriotic history enslaves the masses, 2. The solution: a bottom-up, humanistic history empowers everyone and opens the doors for future reconciliations among different communities.(1) At this critical juncture of human history both are relevant not only for the US but rather for our race. A one-sided patriotic bias in history: at what cost? 1. hides wrongdoings and the associated guilt, 2. serves as the first line of defense to deflect current & future criticisms for the past & current mistakes, 3. tampers data gathering, silences questioning & divergence of opinions, 4. reduces communication among communities, 5. defines “the patriotic” and increases the chances of populating the armed forces, 6. defines the other: “the unpatriotic,” 7. increases insecurities, 8. evokes fears (of retribution, etc.) 9. can be misused to justify violence against “the other,” 10. builds a common memory for the masses, builds their egos so that these egos can later be exploited, 11. allows the word “culture” to be used as an equivalence: American culture = being American; (2) 12. a politician can mix these facts to incite emotional reactions of the masses and eventually reach a higher number of votes in a predetermined direction, inexpensively, 13. at school, in the media, in speeches of politicians, and during different rituals (starting with reciting the pledge of allegiance and singing of the national anthem) the patriotic history is repeated and reinforced. Under these conditions, the masses learn to repeat what is given to them. They shun away from questioning further. Their concept of free-will is replaced by a misplaced trust. They learn not to deviate from the norm: they are enslaved and are not even aware of this enslavement. Many words lose their meaning: “a more perfect Union” “Justice” “secure the Blessings of Liberty,” “democracy.” A higher degree of cynicism and later a deep feeling of helplessness ensue. There are costs to the individual, the family, the society. Since many worldwide look up to the US morally, the use of one-sided patriotic history in the US produces world leaders who imitate bad examples. Consequently, Humanity pays dearly. A bottom-up, humanistic history empowers everyone: 1. can eliminate ignorance, 2. can eliminate convenient forgetfulness, 3. can eliminate arrogance, 4. improve self-esteem, communication, & understanding 5. can reduce violence, 6. can empower the individuals and the masses: psychologically and economically and thus improve the quality of life, 7. can help the path to sustainable peace. Among the different communities, the wounds are real. A one-sided history often does not address all of these wounds. Denial freezes any possibility of a reconciliation. A reconciliation process would pass through an acceptance of a historical wrong doing. In time, mankind may realize that what Howard Zinn has started may be the building blocks of sustainable peace. As a new year starts, I wish upon all of us: nations, creeds, ethnicities, etc. our very own Howard Zinns. (1) In the US, these communities can be whites, blacks, American Indians, Mexicans, WASPS, Catholics, Jews, Moslems, Chinese, Japanese, etc. In Turkey, where I am from, these communities include the seculars, non-seculars, Alevites, Armenians, Greeks, Jews, Kurds, etc. (2) Most of us are led to believe that “being” American/WASP/Jewish/Moslem/... is a “culture;” we almost always have these attributes thanks to coincidences; i.e. we are born into these “states;” how can a state that is largely a coincidence, be culture? I would suggest that only what is done through our free-will is deemed culture. Interestingly worldwide, the education systems, the media, and politicians use and propagate the word “culture” to imply largely a static state, rather than the result of a willful action.
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Reviewed in the United States on December 24, 2016
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Verified Purchase
Lyy
Draper, US
★★★★★ 5
Good quality
Format: School & Library Binding
Perfect!
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Reviewed in the United States on April 30, 2026
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Verified Purchase
Jovana
Massapequa, US
★★★★★ 5
Great book perfect for history lovers
Format: School & Library Binding
This book is perfect for people who love history in general. Very interesting topic in that it deserts why different cultures became more prominent than others over time. I’m still getting through it, but wanted to write a positive review because I’m enjoying it so much.
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Reviewed in the United States on January 23, 2024

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