We at Crate extend our sincere “welcome” into a whole new world: a world where the
legendary performance of a musician-made Crate amplifier combines with the wonders of
digital amp modeling and effects. We bring you the only amplifier you’ll ever need: the
Crate DX-112 / DX-212. The heart and soul of sixteen different amplifiers have been captured through the miracles of digital software engineering and placed into the DX amplifier.
Not only does the amp sound like the originals, it performs like the originals, with the same
tones and character of all your favorites – from vintage British grit to today’s heavy metal –
with a wide variety in between.
Along with digital amp modeling comes sixteen digital effects, all designed to rock your
world from here to Sunday. And, you can tweak each effect to your heart’s content!
Got your own favorite effects? Not to worry – the DX amps have stereo line in and line
out jacks for use as a stereo effects loop, or for connecting to an external stereo power
amp. It’s like having your cake and eating it, too – with extra icing!
The DX amplifier is programmable and can be controlled in a number of ways, including
through the front panel keypad, with the optional Crate Foot Controller, or via MIDI.
Within the pages of this Operating Guide you will find all sorts of pertinent, useful and sometimes technical information which we at Crate
felt you ought to have. Please indulge us a bit and take the time to
actually read through this Guide at some point. Until then, for those
of you who just can’t wait to plug in and go, we offer you:
There you’ll find just enough information to get you started. If you run
into any situation that isn’t covered in the Quick Start section, you
might have to – guitar gods forbid – read this guide first.
We at Crate thank you for choosing the DX-112/212 Digital Guitar Amplifier!
DX-112/212 Digital Guitar Amplifier
i
DX-112/212 Digital Guitar Amplifier
ii
Declaration Of Conformity
#37, Effective 01-01-2001
Manufacturer’s Name:SLM Electronics
Production Facility:11880 Borman Drive, St. Louis, MO 63146, USA
Production Facility:700 Hwy 202 W, Yellville, AR 72687, USA
Shipping Facility:1400 Ferguson Ave., St. Louis, MO 63133, USA
Office Facility:1400 Ferguson Ave., St. Louis, MO 63133, USA
Product Type:Audio Amplifier
Complies with Standards:
Supplementary information provided by your local Sales & Services Office or:
SLM Electronics - R & D Engineering
1901 Congressional Drive, St Louis, MO 63146, USA
Tel.: 314-569-0141, Fax: 314-569-0175
IMPORTANT SAFETY INSTRUCTIONS
• READ, FOLLOW, HEED, AND KEEPALL INSTRUCTIONS AND WARNINGS.
• DO NOT OPERATE NEAR ANY HEAT SOURCE AND DO NOT BLOCK ANY VENTILATION OPENINGS ON THIS APPARATUS. FOR PROPER OPERATION, THIS UNIT REQUIRES 3”
(75CM) OF WELL VENTILATED SPACE AROUND HEATSINKS AND OTHER AIR FLOW PROVISIONS IN THE CABINET.
• DO NOT USE THIS APPARATUS NEAR SPLASHING, FALLING, SPRAYING, OR STANDING LIQUIDS.
• CLEAN ONLY WITH LINT-FREE DAMP CLOTH AND DO NOT USE CLEANING AGENTS.
• ONLY CONNECT POWER CORD TO A POLARIZED, SAFETY GROUNDED OUTLET WIRED TO CURRENT ELECTRICAL CODES AND COMPATIBLE WITH VOLTAGE, POWER, AND
FREQUENCY REQUIREMENTS STATED ON THE REAR PANEL OF THE APPARATUS.
• PROTECT THE POWER CORD FROM DAMAGE DUE TO BEING WALKED ON, PINCHED, OR STRAINED.
• UNPLUG THE APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR LONG PERIODS OF TIME.
• ONLY USE ATTACHMENTS, ACCESSORIES, STANDS, OR BRACKETS SPECIFIED BYTHE MANUFACTURER FOR SAFE OPERATION AND TO AVOID INJURY.
• THIS APPARATUS DOES NOT OPERATE NORMALLY AND REQUIRES SERVICE WITH ANY PHYSICAL DAMAGE FROM IMPACT OR ANY EXPOSURE TO MOISTURE.
• SERVICE MUST BE PERFORMED BY QUALIFIED PERSONNEL.
• OUR AMPLIFIERS ARE CAPABLE OF PRODUCING HIGH SOUND PRESSURE LEVELS. CONTINUED EXPOSURE TO HIGH SOUND PRESSURE LEVELS CAN CAUSE PERMA-
NENT HEARING IMPAIRMENT OR LOSS. USER CAUTION IS ADVISED AND EAR PROTECTION IS RECOMMENDED IF UNITIS OPERATED AT HIGH VOLUME.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE
THIS APPARATUS TO RAIN OR MOISTURE. TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER
SERVICING TO QUALIFIED SERVICE PERSONNEL.
PRECAUCION
RIESGO DE CORRIENTAZO
NO ABRA
PRECAUCION: PARA REDUCIR EL RIESGO DE INCENDIOS O DESCARGAS ELECTRICAS, NO PERMITA QUE ESTE APARATO QUEDE EXPUESTO A LA LLUVIA O LA HUMEDAD. PARA DISMINUOIR EL
RIESGO DE CORRIENTAZO. NO ABRA LA CUBIERTA. NO HAY PIEZAS ADENTRO QUE EL USARIO
PUEDO REPARAR DEJE TODO MANTENIMIENTO A LOS TECHNICOS CALIFICADOS.
ATTENTION
RISQUE D'ELECTROCUTION
NE PAS OUVRIR
ATTENTION: PROTÉGEZ CET APPAREIL DE LA PLUIE ET DE L'HUMIDITÉ AFIN D'ÉVITER TOUT
RISQUE D'INCENDIE OU D'ÉLECTROCUTION. POUR REDUIRE D'ELECTROCUTION NE PAS ENLEVER
LE COUVERCLE. AUCUNE PIECE INTERNE N'EST REPRABLE PAR L'UTILISATEUR. POUR TOUTE
REPARATION, S'ADRESSER A UN TECHNICIEN QUALIFIE.
"IT IS NECESSARY FOR THE USER TO REFER TO THE INSTRUCTION MANUAL"
“ES NECESARIO QUE EL USUARIO SE REFIERA AL MANUAL DE INSTRUCCIONES.”
"REFERREZ-VOUS AU MANUAL D'UTILISATION"
EXPLANATION OF GRAPHICAL SYMBOLS:
EXPLICACION DE SIMBOLOS GRAFICOS:
EXPLICATION DES SYMBÔLES GRAPHIQUES:
All Crate products are designed for continuous safe operation, as long as common sense is used and steps are taken to help avoid certain problems. Abiding by the following rules can help prevent damage to your amplifier, yourself and others.
• The amplifier is equipped with a three-pronged AC power cord. To reduce the risk of electrical shock, NEVER remove or otherwise attempt to defeat the ground
pin of the power cord.
• Connect the amplifier ONLYto a properly grounded AC outlet of the proper voltage for your amp.
• Avoid sudden temperature extremes, rain and moisture. Also, avoid sudden and intense impact. (If the unit has been subjected to any of the preceding abus-
es, have it looked at by an authorized service center.)
• NEVER set the amplifier on a support that might give out under its weight.
• Always keep the total speaker impedance at or above the rated load.
• Unplug the amplifier before cleaning it. NEVER spray liquid cleaners onto the amplifier. Wipe it with a slightly dampened, lint-free cloth to remove dirt and film.
• Do not use the amplifier if it has sustained damage to the chassis, controls, or power cord. Refer the unit to an authorized service center for inspection.
• Amplifiers capable of producing high volume levels are also capable of inflicting permanent hearing loss or damage, if the exposure to such levels is prolonged.
Such damage is progressive and irreversible! Consider using quality hearing protection devices.
• You may want to start out with the Master
control turned down low, since this amp
can get LOUD.
• Connect your guitar, plug in the amp and
turn it on.
• Select the manual mode by pressing the
MAN button on the keypad.
• Adjust the Gain control to get the amount
of gain you want.
• Try out the amp models by turning the
Amp Selector knob.
• Use the Bass, Mid, Treble and Channel
Level controls to change the tone and volume. The EQ settings will vary depending
on the amp model you choose.
• Choose a digital effect by turning the
Effects Selector knob.
• Modify the chosen effect by turning the
Effect Adjust control.
• Adjust the reverb by turning the Reverb
Level and Depth controls.
• Try out the factory presets by pressing the
numbered buttons and the A/B button on
the Keypad.
•When first turned on, the A/B button is
not lit, and the numbered buttons recall
presets 1-5 (bank A). When you press the
A/B button it lights up, and the numbered
buttons recall presets 6-10 (bank B).
AA LLooookk aatt tthhee FFrroonntt PPaanneell CCoonnttrroollss::
PRESET PARAMETERSINPUT/OUTPUT
α
α
Ω
HIGH
GAIN
LOW
GAIN
Top Mount
Clean
High Power
Tube Rectifier
Studio Tweed
Black Face
Large Tweed
60s Era UK
70s Era UK
α
Ω
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ω
Ampeg VL
Calif ModFuzzbox
α
MASTERGAINBASSMIDTREBLECHANNEL
123456789
EFFECTSPOWER
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
α
Ω
REVERB
DEPTH
Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Touch Wah
Rotating Spkr
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
101112131415
α
Ω
α
Ω
Ω
LEVEL
QQUUIICCKK SSTTAARRTT
DX-112/212 Digital Guitar Amplifier
4
TThhee FFrroonntt PPaanneell ::
1, 2. Inputs: Use High Gain for standard
pickups, Low Gain for “hot” pickups and/or
on-board active electronics.
3. Master: Sets the overall output level. The
Master volume is the only non-programmable setting on the amplifier.
4. Amp Selector: Chooses the desired amp
model.
5. Gain: Adjusts the input gain.
6, 7, 8. Bass, Mid, Treble: Adjusts the sig-
nal tone.
9. Channel Level: Sets the output level of
the current preset.
10. Effects Selector: Chooses the effect
applied to the signal.
11. Effects Adjust: Changes one or more
parameter of the current effect.
12. Reverb Level: Sets the amount of reverberation applied to the signal.
13. Reverb Depth: Changes the depth and
high-frequency damping of reverberation,
from a very small room (fully counter-clockwise) to a very large hall (fully clockwise).
14. Keypad: Recalls and saves presets, using
the numbered buttons and the A/B button.
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
DX-212
MODEL
D-112/212
AEIOU1269
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION:
OF FIRE, REPLACE FUSE WITH SAME TYPE
AND RATING.
ATTENTION:
UTILISER UN FUSIBLE DE RECHANGE DE
MEME TYPE.
100-120V
T1.5A 250V
220-240V
T.75A 250V
TO REDUCE THE RISK
FUSE
AC:
AC:
DX-212DX-112
100-120V
T2A 250V
220-240V
T1A 250V
AC:
AC:
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
IN
STANDARD
MIDI
CRATE
FOOT
CONTROLLER
MIDI
THRU/
OUT
MIDI IN/
FOOT
SWITCH
181920212223
QQUUIICCKK SSTTAARRTT
DX-112/212 Digital Guitar Amplifier
6
TThhee RReeaarr PPaanneell ::
16. AC Line Cord:
Plug the male end of this
cord into a properly grounded AC outlet of
the correct voltage. DO NOT DEFEAT THE
GROUND PIN OF THE AC PLUG!
17. Fuse:
The fuse protects the amplifier
against damages caused by overload conditions in the unit. If the fuse blows, replace it
only with the same size and type as indicated on the rear panel.
18. Stereo Headphones:
For those private
moments, plug a pair of stereo headphones
into this jack. The internal speaker(s) is (are)
muted when headphones are used. (Can also
be used for recording.)
19. Stereo Line Out:
Connect this output to a
stereo amplifier or effects unit.
20. Stereo Line In:
Connect the output of an
external effects unit here.
21. Standard MIDI/Crate Footswitch
Controller:
This switch lets you choose how
you control your DX-112/212 – via MIDI or
with the optional Crate Foot Controller.
22. MIDI Thru/Out:
Connect to another
MIDI device you wish to control with the
foot controller.
23. MIDI In/Foot Switch:
This jack either
accepts a standard MIDI input or lets you use
the Crate Foot Controller.
RReeffeerr ttoo SSeeccttiioonn // PPaaggee::
“Stereo Headphones Jack” – page 9,10
“The Stereo Line In and Line Out Jacks” – page 7,8
“The Stereo Line In and Line Out Jacks” – page 7,8
TO REDUCE THE RISK
OF FIRE, REPLACE FUSE WITH SAME TYPE
AND RATING.
ATTENTION:
UTILISER UN FUSIBLE DE RECHANGE DE
MEME TYPE.
FUSE
DX-212DX-112
100-120V
AC:
100-120V
T1.5A 250V
T2A 250V
220-240V
AC:
220-240V
T.75A 250V
T1A 250V
AC:
AC:
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
MIDI
STANDARD
IN
CRATE
FOOT
CONTROLLER
MIDI IN/
MIDI
THRU/
FOOT
OUT
SWITCH
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
DX-212
MODEL
D-112/212
AEIOU1269
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
AVIS:
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
CCOONNNNEECCTTIIOONNSS
DX-112/212 Digital Guitar Amplifier
8
The Input Jacks:
The DX-112/212 has two input jacks – High Gain (straight) and Low Gain (padded) – to accommodate a wide range of pickups and playing styles. The jack you use depends on your type of
pickups and the sounds you’re after.
For example, most players will plug their guitars into the High Gain jack. These players include those
with “normal output” pickups and some players with “hot” pickups who are looking for some
added distortion.
Some players will choose the Low Gain jack. These players are mostly those with “hot”/active
pickups who want a cleaner sound, with more headroom for the Gain control.
When nothing is plugged into either jack, the DX-112/212 mutes its internal speaker(s).
The Stereo Line Out/In Jacks:
The DX-112/212 has a Stereo Line In and Line Out jack (rear panel), for use as a stereo effects
loop, or to send a preamplified signal to an external stereo power amp.
To use an effects loop, connect the Line Out jack to the input of the effects device, then connect
the output of the device to the Line In jack.
To send a preamplified signal, connect a stereo signal cable from the Line Out jack to the input of
the stereo power amplifier.
The jacks are wired as follows: TIP = left channel, RING = right channel, SLEEVE = ground.
The Line Out jack signal is post master, post eq, and post effects.
•If you want to connect a DX-112 to
another guitar amplifier for stereo
sound, you’ll need to make a custom
patch cable like the one shown to the
right. Use this cable to connect your
DX-112 Line Out jack to the Line In
jack of the second guitar amp AND
the DX-112 Line In jack.
TO REDUCE THE RISK
OF FIRE, REPLACE FUSE WITH SAME TYPE
AND RATING.
ATTENTION:
UTILISER UN FUSIBLE DE RECHANGE DE
MEME TYPE.
FUSE
100-120VAC:
T1.5A 250V
220-240VAC:
T.75A 250V
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
DX-212
MODEL
D-112/212
AEIOU1269
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
AVIS:
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
DX-212DX-112
100-120VAC:
T2A 250V
220-240VAC:
T1A 250V
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
MIDI
STANDARD
LINE
IN
CONTROLLER
MIDI IN/
MIDI
THRU/
FOOT
OUT
SWITCH
CRATE
FOOT
OUT
CAUTION:
TO REDUCE THE RISK
OF FIRE, REPLACE FUSE WITH SAME TYPE
AND RATING.
ATTENTION:
UTILISER UN FUSIBLE DE RECHANGE DE
MEME TYPE.
FUSE
T1.5A 250V
T.75A 250V
DX-212DX-112
AC:
100-120V
T2A 250V
AC:
220-240V
T1A 250V
100-120V
220-240V
AC:
AC:
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
MIDI
STANDARD
IN
CONTROLLER
MIDI IN/
MIDI
THRU/
FOOT
OUT
SWITCH
CRATE
FOOT
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
DX-212
MODEL
D-112/212
AEIOU1269
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
AVIS:
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
IN
CAUTION:
TO REDUCE THE RISK
OF FIRE, REPLACE FUSE WITH SAME TYPE
AND RATING.
ATTENTION:
UTILISER UN FUSIBLE DE RECHANGE DE
MEME TYPE.
FUSE
T.75A 250V
DX-212DX-112
AC:
100-120V
T2A 250V
AC:
220-240V
T1A 250V
100-120V
T1.5A 250V
220-240V
AC:
AC:
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
MIDI
STANDARD
IN
CRATE
FOOT
CONTROLLER
MIDI IN/
MIDI
THRU/
FOOT
OUT
SWITCH
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
DX-212
MODEL
D-112/212
AEIOU1269
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
AVIS:
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
CAUTION:
TO REDUCE THE RISK
OF FIRE, REPLACE FUSE WITH SAME TYPE
AND RATING.
ATTENTION:
UTILISER UN FUSIBLE DE RECHANGE DE
MEME TYPE.
FUSE
T1.5A 250V
T.75A 250V
DX-212DX-112
AC:
100-120V
T2A 250V
AC:
220-240V
T1A 250V
100-120V
220-240V
AC:
AC:
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
MIDI
STANDARD
IN
CONTROLLER
MIDI IN/
MIDI
THRU/
FOOT
OUT
SWITCH
CRATE
FOOT
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
DX-212
MODEL
D-112/212
AEIOU1269
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
AVIS:
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
CCOONNNNEECCTTIIOONNSS
DX-112/212 Digital Guitar Amplifier
10
UUssiinngg aa MMIIDDII FFoooottsswwiittcchh::
You can store and recall a total of 100 presets when using a MIDI footswitch. These presets are
accessed by MIDI program numbers 0 through 99. (Also, see the MIDI Implementation Chart,
Appendix B, page 45.)
WARNING: The MIDI In/Crate Foot Controller button must be in the OUT position
for MIDI operation. (The IN position applies power to the Crate Foot Controller
which could cause damage to another type of MIDI footswitch.)
The optional Crate Foot Controller (model DX-FC) lets you store and recall a total of 100 presets and
allows foot control of the tap tempo function. The controller gets its power straight from the amplifier,
so no external power source or batteries are needed!
Plug the connecting cable into the MIDI In/Foot Switch jack and set the MIDI In/Crate Foot Controller
button to the IN (foot controller) position. This applies the power needed for the Crate Foot Controller.
(See the Foot Controller’s User’s Guide for more complete information-when you get one!)
TThhee MMIIDDII TThhrruu//OOuutt JJaacckk::
The MIDI Out/Thru jack lets you control other MIDI devices with the Foot Controller. Connect this
jack to the MIDI In jack of the device you wish to control.
The MIDI Thru works with either a standard MIDI input (footswitch) or with the Crate Foot Controller
plugged into the MIDI In jack, since the Crate Foot Controller sends standard MIDI messages.
Plug a pair of stereo headphones into this jack, for private listening. The internal speaker(s) is (are)
disconnected when headphones are used. The headphones signal is speaker compensated for a
realistic sound even without a guitar speaker cabinet. Since this amp can play LOUD, be careful
when using headphones – prolonged exposure to those high dB levels can wreak havoc on your
eardrums!
• The Headphones Jack can also be used as a stereo direct out for recording.
DX-112/212 Digital Guitar Amplifier
11
The DX-112/212 is actually 16 different amplifiers in one! The software inside the amplifier convinces the signal that it’s going through the electronic components of the original amplifier, giving it
all of the characteristics of that amp! (More or less – it’s really a lot more technical than that, but
you get the picture. For a slightly more technical description, see Appendix A on page 43.)
Use the amp selector knob to choose which amp model you want. The chart on the following
page lists the name we gave the amp model, the “make and model” of the amp we emulated, and
a brief description of the original amp.
AAMMPP MMOODDEELLSS
TThhee AAmmpp MMooddeellss
DDeessccrriippttiioonn ooff tthhee MMooddeellss::
Top Mount
Clean
High Power
Studio Tweed
Acoustic
Blue Voodoo
Black Face
Large Tweed
Vintage Club
Flexwave
60s Era UK
Ampeg VL
Calif ModFuzzbox
Tube Rectifier
70s Era UK
α
HIGH
LOW
GAIN
GAIN
Ω
MASTERGAINBASSMIDTREBLE CHANNEL
PRESET PARAMETERSEFFECTSINPUT/OUTPUTPOWER
αΩαΩαΩαΩα
LEVEL
Touch Wah
Comp/Echo
Compressor
Tremolo
Comp/Chorus
Vibrato
Cmp/Flg/Echo
Cmp/Cho/Echo
Chorus
Cmp/Vib/Echo
Flanger
Delay
Flange/Echo
Ω
Chor/Echo
Rotating Spkr
Echo
α
ΩαΩαΩ
EFFECT
REVERB
ADJUST
LEVEL
REVERB
DEPTH
Top Mount
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif ModFuzzbox
Tube Rectifier
High Power
Studio Tweed
Black Face
Large Tweed
60s Era UK
70s Era UK
DX-112/212 Digital Guitar Amplifier
12
AAMMPP MMOODDEELLSS
Model NameModeled After the...Brief Description
Top MountVox AC 30Bright with a great clean sound at low gain, distorts smoothly at high gain
settings – an early 60’s amp with lots of 2nd and 3rd order harmonics,
favored by the Beatles for the rhythm and lead tracks in their early days
High PowerHi Watt DRAn early 60’s “upmarket” alternative to the popular Marshall amp – loud-
er and cleaner than most
Studio Tweed Fender Deluxe 5E3The sound from which Rock ‘n’ Roll was born – Fender’s early 50’s claim
to fame
Black FaceFender Deluxe Reverb AA763 The classic tube amp – one of the first amps with reverb, a mid-60’s sta-
ple to the rock and roll diet (considered by some to be one of the best
amps ever made)
Large TweedFender Bassman 5F6-AOriginally designed for bass, favored by guitarists for its big sound – a late
50’s classic
60s Era UKMarshall 1959The renowned “brown sound” – a softer, smoother Marshall than the
more modern creations
70s Era UKMarshall JCM 800The sound of ROCK! – loud and powerful with a definitive edge
FuzzboxDallas-Arbiter Fuzz FaceJimi would be proud – the classic stomp box distortion of his day
Tube Rectifier Mesa-Boogie Dual RectifierBarre chord Heaven – the beginning of the modern high-gain amp era
Calif ModMesa-Boogie Mark IIC+Tons of overdrive and sustain; the sound of Santana! – the hot-rodded
powerhouse Simul-Class amplifier
Ampeg VLAmpeg VL-501A hot-rodded Marshall-style amp – powerful, lots of distortion and multi-
ple gain stages
FlexwaveCrate GX-140CThe massively overdriven, solid state Crate sound preferred by Metal-
Heads everywhere – a solid-state competitor for most classic tube amps
due to Crate’s proprietary FlexWave circuitry
Vintage ClubCrate VC-60A unique combination of both modern high-gain and classic tube amps
– bringing back the “vintage” sound of the early days of rock
Blue VoodooCrate BV-60Awesome modern high-gain tone – smooth, clean, and powerful
AcousticBoss AC-1 Acoustic Simulator Makes your electric guitar sound like an acoustic
CleanCrate GX-140CClean Jazz sound – just enough of a an edge to get your message across
Vox, Hi Watt, Fender, Marshall, Dallas-Arbiter, Mesa-Boogie, Boss, and the names of their respective products are all trademarks of their
respective companies, and have no affiliation with Crate and/or SLM Electronics, or with the DX-112/212 amplifier. These companies and
their products are acknowledged herein because we listened to their stuff and modeled some of their sounds into our amplifier.
Also, the above descriptions are paraphrased synopses of many of our own experiences with the amplifiers, along with information from the
“The Tube Amp Book, 4th Edition.”
DX-112/212 Digital Guitar Amplifier
13
AAMMPP MMOODDEELLSS
Each DX-112/212 amp model has its own specifications and placement in the signal chain for its
Gain, Bass, Mid, and Treble. (In other words, the controls affect the signal the same in the amp
model as they do on the original amplifier.)
Use the Preset Parameter controls (Gain, Bass, Mid, Treble, Channel Level) to change the gain, eq
and volume of the selected amp model. The chart on the following page lists the model name and
the specifications/placement for the Drive and EQ controls.
TIP! When using the Acoustic or Clean amp models, set the Channel Level to maximum
and use the Gain control for your volume level.
Vox, Hi Watt, Fender, Marshall, Dallas-Arbiter, Mesa-Boogie, Boss, and the names of their respective products are all trademarks of their
respective companies, and have no affiliation with Crate and/or SLM Electronics, or with the DX-112/212 amplifier. These companies and
their products are acknowledged herein because we listened to their stuff and modeled some of their sounds into our amplifier.
GAINEQGAIN
GAINEQGAIN
EQGAINGAIN
GAINEQGAIN
GAINEQGAIN
GAINGAINEQ
GAINGAINEQ
GAINGAINEQ
GAINGAINEQ
GAINGAINEQ
EQGAINGAIN
EQ
(TREBLE)
GAIN
EQ
(MID/BASS)
GAINEQ
GAINEQ
EQGAIN
EQGAIN
DX-112/212 Digital Guitar Amplifier
15
EEFFFFEECCTTSS
The DX-112/212 has 16 built-in digital effects, each with one or more adjustable parameters. The
chart on the following page lists the name of the effect and gives a brief description.
NOTE: The DX-112/212 has built-in noise reduction to ensure a more quiet operation. This circuit
is always active when the amp is on.
Touch WahFunctions as an Auto-Wah (Touch Wah) or normal wah-wah when used
with an expression pedal and the optional Crate Foot Controller
CompressorLimits the dynamic range of the signal – increases the apparent sustain
of the signal (applied pre-amplifier model)
TremoloModulates the amplitude of the signal
VibratoModulates the pitch of the signal
ChorusYesThickens the original signal with slowly pitch-modulated and delayed
versions of the original signal
FlangerAdds a slowly time-varying version of the original signal
DelayAdds a delayed version of the signal
EchoAdds a delayed signal with regeneration
Rotating SpeakerYesReproduces the classic sound of a Leslie rotating speaker
Chorus/EchoYesA combination of chorus and echo
Flange/EchoA combination of flange and echo
Compressor/Vibrato/EchoA combination of compressor (pre-amplifier model) and vibrato and
echo (post-amplifier model)
Compressor/Chorus/EchoYesA combination of compressor (pre-amplifier model) and chorus and
echo (post-amplifier model)
Compressor/Flange/EchoA combination of compressor (pre-amplifier model) and flange and
echo (post-amplifier model)
Compressor/ChorusYesA combination of compressor (pre-amplifier model) and chorus (post-
amplifier model)
Compressor/EchoA combination of compressor (pre-amplifier model) and echo (post-
amplifier model)
Reverb Level and DepthYesReproduces the sound of a reverberant room
(separate from the
Effects Selector knob)
Yet another important legal blurb!
Leslie is a registered trademark of Hammond Suzuki USA, Inc.
EEFFFFEECCTTSS
DX-112/212 Digital Guitar Amplifier
17
EEFFFFEECCTTSS
Each of the digital effects has one or more parameters you can change by using the Effects
Adjust control. All of the effects (except the compressor and the Touch Wah) can also be
changed by using the Tap function – either through the Keypad, or with the Crate Foot
Controller. The chart on the following page lists the effects along with the parameter(s) affected
by the Effects Adjust knob and the Tap button.
NOTE: On multi-effects, modulation speed and echo time are set simultaneously by the Tap button.
• To bypass effects, turn the Effect Adjust control fully counter-clockwise and select the
Compressor effect. (Notice the chart on page 18: There is no compression with the Effect Adjust
knob full counter-clockwise, therefore no effects are applied to the signal – thus, “effects bypass.”)
Note 1: Mix fixed at 50%
Note 2: Tap periods exceeding 1.12 seconds are automatically adjusted to an allowable echo/delay time that fits the current tempo
Note 3: Compression ratio fixed at 10:1
*
The table to the right shows how the Effect
Adjust control changes the compression ratio
when the Compressor ONLY is chosen.
The DX-112/212’s Keypad has many uses – aside from recalling presets (as mentioned in the
QuickStart part of this guide):
Recalling the Presets:
There are ten presets accessible from the keypad, in two banks of five per bank: with the A/B button off (not lit), the numbered buttons to recall presets 1–5 (bank A); with the A/B button lit, the
buttons recall presets 6–10 (bank B). Each preset stores its own set of parameters (amp selection,
tones, level, effect, etc.). Once a preset is selected, turning a knob will change that knob’s setting
only – the other settings will electronically remain at their virtual positions until you change them.
“What’s a virtual position?” (Good Question!) It’s the setting that the amp remembers for each knob when a preset is stored. Example: Let’s say the Gain control
was at 10:00 when preset 1 was saved, then changed to the 3:00 position. The
actual setting for the knob is 3:00. Recall preset 1 and even though the knob is
physically pointing to 3:00, the amp acts as if the knob were set to the 10:00 position – because that’s the virtual position for that knob in preset 1. (Got it?)
Saving New Presets:
Once you get a sound setting you want to keep, assigning it to a preset button is easy: press and
hold the desired button (1–5, bank A; 6–10, bank B) until the keypad flashes (about 3 seconds).
The settings are now stored at that preset location.
(NOTE: The charts on pages 23 through 42 give you a place to record the settings for your presets.
Presets 1–10 are accessible through the keypad, presets 11–100 are accessible by use of the
optional Crate Footswitch Controller)
TThhee KKeeyyppaadd
?
>
Top Mount
Clean
High Power
Studio Tweed
Acoustic
Blue Voodoo
Black Face
Large Tweed
Vintage Club
Flexwave
60s Era UK
Ampeg VL
Calif ModFuzzbox
Tube Rectifier
70s Era UK
α
HIGH
LOW
GAIN
GAIN
Ω
MASTERGAINBASSMIDTREBLE CHANNEL
PRESET PARAMETERSEFFECTSINPUT/OUTPUTPOWER
αΩαΩαΩα
ΩαΩ
LEVEL
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Touch Wah
Rotating Spkr
Compressor
Echo
Tremolo
Vibrato
Chorus
Flanger
Delay
α
αΩα
EFFECT
ADJUST
Ω
REVERB
LEVEL
REVERB
DEPTH
Ω
DX-112/212 Digital Guitar Amplifier
20
The Tap Button:
The Tap button lets you match the delay time and modulation speeds of the effects (except for
the compressor, which has no delay or modulation) to the tempo of the piece you’re playing. Just
tap your finger in time to the beat, on the Tap button of course, and the selected effect will change
accordingly. The Tap button flashes in time with its tempo.
(NOTE: The chart on page 18 lists specifically what the Tap button controls for each effect setting.)
The Manual (“MAN”) Button:
When you call up a preset, the preset remembers how the controls were set when the preset was
stored (their virtual positions), and basically ignores their current settings. Pressing the Manual button makes the amp pay attention to the actual positions of the controls and applies their settings to
the sound.
• Restoring Factory Default Presets: To restore the presets to their original factory settings, press
and hold the Manual button and button #5 until the keypad flashes (about 3 seconds). Then turn
the amp off, wait five seconds, and turn it back on. The presets are now restored to the original
factory settings.
WARNING! Restoring the factory presets wipes out any and all changes
you’ve made and any new presets you’ve stored, so use it carefully.
Other things you should know about the lit buttons:
• As soon as you change any of the controls (except for the Master volume), the preset button
starts flashing. That’s its way of saying “Hey! You’ve changed me!” A tap on the flashing button
returns the preset to its original parameters – and makes the button stop flashing. Of course,
you can save the changes, as described under “Saving New Presets” on the facing page.
• When you change banks, the preset button will go out as soon as you press the A/B button,
but no other changes are made until another numbered button is pressed. In other words,
although there is a visual change, the amp won’t store the preset or switch to a different one
(depending on how long you press the numbered button) until you want it to.
TTHHEE KKEEYYPPAADD
DX-112/212 Digital Guitar Amplifier
21
These two pages show the first ten factory presets for your DX-112/212 amplifier. Use the
numbered buttons and the A/B button on the keypad to access them. (The following pages
provide you with charts for your favorite presets.)
FFAAVVOORRIITTEESS
1
2
3
4
5
FFAACCTTOORRYY PPRREESSEETTSS 11––55 -- BBAANNKK AA
Use the blank charts in this section to record the knob settings of your favorite presets.
(We suggest using a pencil so you can go back and make changes later. You could also
photocopy one of the pages while it’s still blank.)
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Tube Rectifier
Tube Rectifier
Tube Rectifier
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
α
GAIN
α
GAIN
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
α
Ω
Ω
Ω
REVERB
DEPTH
α
REVERB
DEPTH
α
REVERB
DEPTH
Ω
Ω
Ω
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Tube Rectifier
Tube Rectifier
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
α
GAIN
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
α
Ω
Ω
REVERB
DEPTH
α
REVERB
DEPTH
Ω
Ω
24
DX-112/212 Digital Guitar Amplifier
FFAAVVOORRIITTEESS
6
7
8
9
10
UUSSEERR PPRREESSEETTSS 66––1100 -- BBAANNKK BB
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
α
GAIN
α
GAIN
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
α
Ω
Ω
Ω
REVERB
DEPTH
α
REVERB
DEPTH
α
REVERB
DEPTH
Ω
Ω
Ω
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Preset #I think I'll call it:
AMP MODEL:
(CHECK ONE)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
α
GAIN
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
α
Ω
α
Ω
α
Ω
BASSMIDTREBLECHANNEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
EFFECT:
(CHECK ONE)
α
Ω
Ω
LEVEL
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
Set TAP for beats/minute
Touch Wah
Compressor
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
α
EFFECT
ADJUST
α
Ω
REVERB
LEVEL
α
Ω
REVERB
DEPTH
Ω
α
Ω
REVERB
DEPTH
Ω
DX-112/212 Digital Guitar Amplifier
25
FFAAVVOORRIITTEESS
11
12
13
14
15
UUSSEERR PPRREESSEETTSS 1111––1166 -- BBAANNKK AA
NOTE: Presets 11–100 are only accessable through the optional Crate Foot Controller
Building an amplifier model is really not much different than building an actual amplifier. With an
actual amplifier you start with components like tubes, transformers, resistors, capacitors, and a
speaker, and put them together to create an amplifier. With a virtual amplifier you start with virtual
components and put them together to create an amplifier model.
It all starts with what many consider to be the "magic" in the sound of many vintage amplifiers: the
vacuum tube. We created a tube model flexible enough to emulate different types of vacuum
tubes, from preamp tubes such as the 12AX7 to power amp tubes like the 6L6 and the EL84.
Next, we constructed models to duplicate the filtering and equalization that takes place between
the gain stages of an amplifier. These equalization models are adaptable to precisely emulate the
frequency characteristics of a specific amplifier’s controls. We even created models for the output
transformer and power supply sag characteristics.
After extensive research, we discovered that there's really no magic in the tube itself. Much of the
tube amplifier sound is a result of not just the tube, but the way the tube interacts with the other
components in the amplifier. We created our tube models to interact with the other components
in our virtual amplifiers, just like the real thing.
After we developed our component models, we put them together to create our virtual amplifiers.
We sound tested our amplifier models extensively to ensure that they remained true to the sound
and feel of the original amplifier. Although we may have taken the magic out of the tube, we
wanted to keep the magic of the tube sound.
The diagrams on the following page show the signal chain of the DX-112/212 amplifier.
AAppppeennddiixx AA
DX-112/212 Digital Guitar Amplifier
BBlloocckk DDiiaaggrraammss::
• The analog signal path, from the input jack to the speaker(s).
• The digital signal path, which is the path the signal takes inside the digital signal processor.
• A typical Amplifier Model. This simplified block diagram shows the digital signal path through the
many virtual components of the Studio Tweed Amplifier Model. Note that the Fender Deluxe
did not have a Mid or Bass control, so we added these controls post-gain.
44
HIGH
GAIN
INPUT
LOW
GAIN
INPUT
0dB
–6dB
DIGITAL
SIGNAL
PROCESSOR
MASTER
LINE
OUT
LINE
IN
DX-112
MUTE
ONLY
RIGHT PWR AMP
MUTE
LEFT PWR AMP
HEAD
PHONES
DX-212
ONLY
INPUT
EFFECTS SELECT
EFFECTS ADJUST
NOISE
REDUCTION
GAIN
AMP SELECT, GAIN, TREBLE, MID, BASS
COMPRESSORTREMOLO
AMP
MODEL
CH.
LEVEL
DELAY
MODULATION
REVERB
STEREO
OUTPUTS
REVERB LEVEL
REVERB DEPTH
TAP BUTTON
INPUT
FROM
COMPRESSOR
PREAMP
TUBE
PRE EQ/
VOLUME
GAIN TREBLE
PREAMP
TUBE
PREAMP
TUBE
POWER AMP
TUBE
POST EQ*
MIDBASS
*ADDITION TO
ORIGINAL AMPLIFIER
OUTPUT
TRANSFORMER
CABINET/
SPEAKER
OUTPUT TO
CH. LEVEL
CONTROL
45
DX-112/212 Digital Guitar Amplifier
MIDI Implementation Chart:
AAppppeennddiixx BB
[Crate Digital Guitar Amplifier]
MODEL DX-112/212MIDI Implementation Chart
Function
Basic
Channel
ModeDefault
Note
NumberTrue Voice
VelocityNote ON
After
Touch
Pitch BenderDefault
Control
Change
Prog
Change
System Exclusive
Default
Changed
Messages
Altered
Note OFF
Key's
Ch's
True Number
TransmittedRecognizedRemarks
XOMNI
XX
XMode 1
XX
XX
XX
XX
XX
XX
X
XX
X
XX
XX
XO0 – 99
XX
X
X
X
X
Date: 02/18/99
Version: 1.1
System
Common
System
Real TimeCommands
Aux
Messages
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Song Pos
Song Sel
Tune
Clock
Local ON/OFF
All Notes Off
Active Sense
Reset
XX
XX
XX
XX
X
XX
XX
X
X
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
X
X
X
O: YES
X: NO
Specifications:
AAppppeennddiixx CC
Analog:
Output Power RatingDX-112 60 watts RMS; DX-212 100 watts RMS (50W RMS x 2)
Input ImpedanceHigh gain 80k ohm; Low gain 150k ohm