Digitech 2112 User Manual

Dual

OWNER’S MANUAL

OWNER’S MANUAL

Clean Comp Delay

2

FACTORY

USER



dB

0

1

CHANGED

LINK



dB

0

2

CHANGED

LINK





dB

0

3

CHANGED

LINK

%

100

4

CHANGED

LINK

COMP WAH TUBE EQ

L/R OUTS

DIGITAL

CLIP





GATE

SEAMLESS







Visit Digitech on the World Wide Web at http://www.digitech.com

Visit Digitech on the World Wide Web at http://www.digitech.com

WARNING

FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING:

WATER AND MOISTURE: Appliance should not be used near water (e.g. near a bathtub,

washbowl, kitchen sink, laundry tub, in a wet basement,or near a swimming pool,etc). Care
should be taken so that objects do not fall and liquids are not spilled into the enclosure
through openings.

POWER SOURCES:The appliance should be connected to a power supply only of the
type described in the operating instructions or as marked on the appliance.

GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding
or polarization means of an appliance is not defeated.

POWER CORD PROTECTION: Power supply cords should be routed so that they are
not likely to be walked on or pinched by items placed upon or against them, paying particular
attention to cords at plugs, convenience receptacles, and the point where they exit from the
appliance.

SERVICING: To r educe the risk of fire or electric shock, the user should not attempt to
service the appliance beyond that described in the operating instructions. All other ser vicing
should be referred to qualified service personnel.

FOR UNITS EQUIPPED WITH EXTERNALLY ACCESSIBLE FUSE RECEPTA­CLE: Replace fuse with same type and rating only.

SAFETY INSTRUCTIONS

NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A
POWER CORD.

WARNING: THIS APPLIANCE MUST BE EARTHED.

The cores in the mains lead are coloured in accordance with the following code:

GREEN and YELLOW - Earth BLUE - Neutral BROWN - Live

As colours of the cores in the mains lead of this appliance may not correspond with
the coloured markings identifying the terminals in your plug, proceed as follows:

• The core which is coloured green and yellow must be connected to the termi­nal in the plug marked with the letter E, or with the earth symbol, or coloured
green, or green and yellow.

• The core which is coloured blue must be connected to the terminal marked N
or coloured black.

• The core which is coloured brown must be connected to the terminal marked
L or coloured red.

This equipment may require the use of a different line cord, attachment plug, or both,
depending on the available power source at installation. If the attachment plug needs
to be changed, refer servicing to qualified service personnel who should refer to the
table below. The green/yellow wire shall be connected directly to the unit's chassis.

WARNING: If the ground is defeated,certain fault conditions in the unit or in the
system to which it is connected can result in full line voltage between chassis and
earth ground. Severe injury or death can then result if the chassis and earth ground are
touched simultaneously.

U.K. MAINS PLUG WARNING

A moulded mains plug that has been cut off from the cord is unsafe. Discard the mains
plug at a suitable disposal facility. NEVER UNDER ANY CIRCUMSTANCES

SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13
AMP POWER SOCKET. Do not use the mains plug without the fuse cover in place.

Replacement fuse covers can be obtained from your local retailer. Replacement fuses
are 13 amps and MUST be ASTA approved to BS1362.

The symbols shown above are internationally accepted symbols that warn of potential
hazards with electrical products.The lightning flash with arrowpoint in an equilateral
triangle means that there are dangerous voltages present within the unit.The exclama­tion point in an equilateral triangle indicates that it is necessary for the user to refer
to the owner’s manual.

These symbols warn that there are no user serviceable parts inside the unit. Do not
open the unit. Do not attempt to service the unit yourself. Refer all servicing to quali­fied personnel. Opening the chassis for any reason will void the manufacturer’s warran­ty. Do not get the unit wet. If liquid is spilled on the unit, shut it off immediately and
take it to a dealer for service. Disconnect the unit during storms to prevent damage.

CAUTION

LITHIUM BATTER

Y WARNING

CAUTION!

This product may contain a lithium battery.There is danger of explosion if the battery is
incorrectly replaced. Replace only with an Eveready CR 2032 or equivalent. Make sure
the battery is installed with the correct polarity. Discard used batteries according to
manufacturer’s instructions.

ADVARSEL!

Lithiumbatteri - Eksplosjonsfare.Ved utskifting benyttes kun batteri som anbefalt av
apparatfabrikanten. Brukt batteri returneres apparatleverandøren.

ADVARSEL!

Lithiumbatteri - Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med
batteri av samme fabrikat og type. Levér det brugte batteri tilbage til leverandøren.

VAR OITUS!

Paristo voi räjähtää, jos se on virheellisesti asennettu.Vaihda paristo ainoastaan laite­valmistajan suosittelemaan tyyppin. Hävitä käytetty paristo valmistajan ohjeiden
mukaisesti.

VARNING!

Explosionsfara vid felaktigt batteribyte.Använd samma batterityp eller en ekvivalent typ
som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens
instruktion.

ELECTROMAGNETIC COMPATIBILITY

This unit conforms to the Product Specifications noted on the Declaration of
Conformity. Operation is subject to the following two conditions:

• this device may not cause harmful interference, and

• this device must accept any interference received, including interference that
may cause undesired operation. Operation of this unit within significant elec­tromagnetic fields should be avoided.

• use only shielded interconnecting cables.

ii

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE

CONDUCTOR

L

N

Line

Neutral

Earth Grnd.

WIRE COLOR



Brown

Blue

Green/Yel.

Black

White

Green

DECLARATION OF CONFORMITY

Manufacturer’s Name: DigiTech
Manufacturer’s Address: 8760 S. Sandy Parkway

Sandy, Utah 84070, USA

declares that the product:

Product Name: 2112 Studio Guitar System
Product Options: All

conforms to the following Product Specifications:

Safety: EN 60065 (1993)

IEC 65 (1985) with Amendments 1, 2 & 3

EMC: EN 55013 (1990)

EN 55020 (1991)

Supplementary Information:

The product herewith complies with the requirements of the Low Voltage
Directive 73/23/EEC and EMC Directive 89/336/EEC as amended by Directive
93/68/EEC.

.

DigiTech
President of DigiTech
8760 S. Sandy Parkway
Sandy, Utah 84070, USA

Effective December 15, 1996

European Contact: Your Local DigiTech Sales and Service Office or

International Sales Office
3 Overlook Drive #4
Amherst, New Hampshire 03031, USA
Tel [phone]
Fax [phone]

iii

iv

CONNECT CABLES:

Connect guitar input into the front panel and output
cables to the rear jacks. Balanced (tip-ring-sleeve) or
unbalanced (tip-sleeve) cables can be used with the out­put jacks.

CONNECT C

ONTROL ONE FOOT

CONTROLLER

(IF APPLICABLE)

Connect the output of the optional DigiTech Control
One foot controller to the Foot Controller jack found
on the rear of the 2112. Make sure that connection is
made before applying power to the 2112.

WARNING: DO NOT CONNECT ANYTHING BUT
THE OPTIONAL DIGITECH CONTROL ONE FOOT
CONTROLLER TO THE FOOT CONTROLLER JACK
ON THE REAR PANEL! DOING SO MAY DAMAGE
THE DEVICE.

If you want to control the 2112 via MIDI, connect your

MIDI controller to the MIDI In jack.

APPLY POWER:

Use the supplied AC power cord to connect the 2112 to
an appropriately grounded outlet. Be sure you run all
your power cables away from audio cables.This will pre­vent noise and stray magnetic fields from entering the
signal path.

EFFECTS LOOP:

Connect any external effects devices (such as an old
favorite FX pedal) to the 2112 effects send and return
jacks.The FX loop level switch (located on the rear
panel) allows you to either boost or cut the level by 6dB
by simply pressing the switch in or out.

NOTE: Adjust external devices so that they return
the same signal level to the 2112 as they receive from
the 2112.This will avoid level changes when switching
the effects loop in and out.This signal level relationship
is called unity gain.

ADJUST INPUT:

Set the guitar to the loudest operating level that will be
used. Make sure your amp is set for a clean sound, that
your tone controls are all neutral (flat), and the amplifi­er's main volume is all the way down. At this point, use
the Input knob on the front panel to adjust the Input
level to the desired setting, so that the loudest guitar sig­nal occasionally lights the clip LED indicator.

ADJUST OUTPUT:

Set the 2112 output level to the 12 o'clock position and
turn up the amplifier's main volume to the desired level.

SELECT PROGRAM:

Begin playing your guitar, and choose any program using
the Program/Effect wheel. User Programs 1-100 are
duplicates of the Factory programs.They are user-pro­grammable and you can modify and store them as you
want. Factory Programs 1-100 are not user-programma­ble. Factory Programs. 101-124 are Basic programs that
represent the 24 effect configurations. All 124 Factory
Programs cannot be overwritten.

QUICK START

For those of you who prefer to burn now and read later, we've included this Quick Start section to help you do it
right the first time.

v

TABLE OF CONTENTS

Safety Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ii

Declaration of Conformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iii

Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iv

Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v

INTRODUCTION - SECTION

1

Congratulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Included Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Product Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

A Quick Tour of the 2112

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

The Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

The Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

The Guitar Preamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Compression
Dual Distortion Paths
Digitally Controlled Wah
Noise Reduction
Programmable Cabinet Emulation

The Digital Effects Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Digital Effects
Up to 8 Digital FX at once
Seamless Program Changes
Real-Time Modifiers

The Solo Boost Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Basic Specs

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

1 in/2 out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Programmable FX Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Control One Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

2112 Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Module Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Module Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

SETTING UP - SECTION 2

Making Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

2112 into a Stereo Power Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

2112 into a pair of Combo Amps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

2112 direct with the Programmable Speaker Cabinet Emulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Getting Around the Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Program Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

FX Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Utilities Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Levels Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Assign Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Loading A Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Getting Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Input/Output Knob Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Gain Knob Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

EQ Knobs Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

vi

Wet/Dry Mix Knob Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Program Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Using the Tuner

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

EDITING PROGRAMS - SECTION 3

Storing/Naming Programs

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Editing a Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Changing Effect Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Selecting Effect Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Adjusting FX levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Custom Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Comparing Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

EDITING M

ODULES - SECTION 4

Storing/Naming Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Editing a Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Effect Module Size and Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Effect Module and Defaults List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Preamp Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Chorus Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Flanger Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Phaser Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Detuner Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Pitch Shifter Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Delay Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Multi-Effect Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Reverb Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Other Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Equalizer Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

EFFECT LIBRARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Pr

eamp Effects:

Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Digitally controlled Analog Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Tube Distortions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Solid State Distortions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

10-Band EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Noise Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

EQ and Mix (Global and Local) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Digital Eff

ects:

Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Chorus & Flangers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Phasers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Rotary Speaker Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Tr emolo & Auto Panner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Pitch Shifters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Detuners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Equalizers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Noise Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Multi Effect Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Whammy Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Auto Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

vii

ADVANCED TOPICS - SECTION 5

Using Modifiers

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

MIDI CC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Dynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

External Expression Pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Linking a Parameter to a Modifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Setting up an LFO and a Dynamic Modifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

MIDI Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

MIDI Merge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

MIDI Receive Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

MIDI Transmit Map

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

SysEx Device Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

SysEx Dumps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Program Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

System Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

CC Controlled Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Resetting to Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Global-Local Cabinet Emulator

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Global-Local EQ & Wet/Dry Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Output Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

C

ONTROL ONE - S

ECTION 6

Configuring the Pedalboard

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Connecting the Control One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Expression Pedal Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Assigning Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Programs to Footswitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Parameters to Footswitches/Expression Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Other Footswitch Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Assigning MIDI Control to the Exp. Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Toggle MIDI CC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Assigning CC Numbers to Expression Pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

CC Transmit Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Other Pedalboard Tidbits

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Bank Up/Tuner & Bank Down/Bypass Footswitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Naming Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

APPENDIX - SECTION 7

Factory Program List

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Program Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Effect Configuration Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Harmony Interval Charts

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Specifications

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

SysEx Implementation Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

viii

MIDI Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

General Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Request One Program - 01(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Receive One Program - 42(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Request Bulk Dump - 49(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Receive Bulk Dump - 57(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Request Utilities Settings - 11(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Receive Utilities Settings - 12(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Request Parameter Value - 17(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Receive Parameter Value - 18(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Request All Current Parameter Values - 23(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Receive All Current Parameter Values for a different program - 24(h) . . . . . . . . . . . . . . . . . . . . . . .72

Request Module Configuration-25(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Respond Module Configuration-26(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Receive Key Scan Code - 54(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Receive Key Accepted - 56(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Select One Program - 1F(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Reset Program - 20(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Reset Device - 21(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Reset Factory Settings - 22(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Request User Defaults - 13(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Receive User Defaults - 14(h) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Key Scan Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

FX Modules and Parameter Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

SysEx Program Dump Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

• Full bandwidth effects (20-20kHz)

• 24-bit signal path, 48-bit internal data path

• Up to 15 effects at once

• Dual S-DISC II ® Processing

• Flexible, easy-to-use effect routing

• Effects can be repeated in a chain,

(e.g. EQ + flange + EQ + pitch shift)

• Instant module access

• Multiple dynamic effects capability

(e.g. chorus + flange+ pitch shift)

• Programmable Speaker Cabinet Emulator option

• World-class tube preamp with 8 distortion types (4

tube, 4 solid state)

• Dual Tubes (12AX7)

• DigiTech’s exclusive modulation delays

• Chromatic tuner

• Digital EQ

• MIDI Merging

• MIDI program transmit and receive mapping

• All effects and parameters available for MIDI continu-

ous control

• Optional Control One foot controller with built-in

Expression Pedal for ultimate programmability and

control

• Continuous Controller insertion jack to add an exter-

nal CC pedal for additional CC options

C

ONGRATULATIONS. You are now the proud owner of a DigiTech 2112, the most pow-

erful, flexible, and easy-to-use guitar preamp/processor there is.Your 2112 is the next gen­eration of high-performance guitar processing from DigiTech, going far beyond the expected and
offering unprecedented flexibility and control over your tone and digital effect processing.

T

HIS OWNER'

S MANUAL IS YOUR KEY

to understanding the powerful world of the

2112.

READ IT carefully. After you've had time to familiarize yourself with the unit, try

experimenting with unusual effect combinations. You may get some interesting results. Good
luck, and thank you for choosing DigiTech.

Your 2112 was carefully assembled and packaged at the factory. Before you proceed any further, make sure the fol-

lowing items are

INCLUDED:

• (1) Owner’s Manual (OK... your reading it)

• (1) DigiTech 2112 Guitar Preamp/Multi-Effects Processor

• (1) Power Cord

• (1) Rack Screws

• (1) DigiTech warranty card

• (2) Control One functions

PLEASE SAVE ALL PACKING MATERIALS. They were designed to protect the unit from dam-

age during shipping. In the unlikely event that the unit requires service, use only the factory supplied carton to

return the unit.

Your 2112

FEATURES

:

1

We at DigiTech are very proud of our products and back-up each one we sell with the following

WARRANTY:

1.The warranty registration card must be mailed within ten days after purchase date to validate this warranty.

2. DigiTech warrants this product, when used solely within the U.S., to be free from defects in materials and work­manship under normal use and service.

3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence
of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts
and labor will be covered up to a period of one year. A Return Authorization number may be obtained from
DigiTech by telephone. The company shall not be liable for any consequential damage as a result of the prod­uct's use in any circuit or assembly.

4. Proof-of-purchase is considered to be the burden of the consumer.

5. DigiTech reserves the right to make changes in design, or make additions to, or improvements upon this prod­uct without incurring any obligation to install the same on products previously manufactured.

6.The consumer forfeits the benefits of this warranty if the product's main assembly is opened and tampered
with by anyone other than certified DigiTech technician or, if the product is used with AC voltages outside of
the range suggested by the manufacturer.

7.The foregoing is in lieu of all other warranties, expressed or implied, and DigiTech neither assumes nor autho­rizes any person to assume any obligation or liability in connection with the sale of this product. In no event
shall DigiTech or its dealers be liable for special or consequential damages or from any delay in the perfor­mance of this warranty due to causes beyond their control.

DigiTech™, S-DISCII™,Whammy™, and Silencer II™ are registered trademarks of the Harman Music Group
Incorporated.

NOTE: The information contained in this manual is subject to change at any time without notification. Some
information contained in this manual may also be inaccurate due to undocumented changes in the product or
operating system since this version of the manual was completed.The information contained in this version of the
owner's manual supersedes all previous versions.

2

1) Output Level Knob - Controls the overall output
level of the 2112.

2) Display - This large custom display is where you get
most of the information you need to move around
the operating system.The display has several sec­tions:

2a) Program Number Indicator - Three large dig-

its in the upper left corner of the display indicate
which Program is currently selected.

2b) Factory / User Indicators - Directly below the

Program number, the Factory and User Program
icons indicate whether the current program resides
in either a Factory or User Bank.

2c) Bank / Page Indicators - Located in the bot-

tom left corner of the display, the Bank/Page indi­cators display:

• the Bank number in which the current program
resides in Program Mode. (This is displayed onl

y

when the Control One is connected).

• the Page which is currently selected in various
Edit modes.

2d) Information Line - Row of 24 characters in the

top line of the display gives more detailed infor­mation about specific functions and items, and
contains things like Program names, Parameter
names, and Utility or auxiliary information.

2e) Parameter Data Sections - Immediately below

the Information line are four Parameter Data sec­tions. They correspond with the <1> through
<4> knobs on the front panel. Each section dis­plays the current value of the indicated
Parameter.

A CC indicator in each group tells whether the

indicated Parameter is set up to be continuously
controlled. When a parameter has been modified,
the Changed icon will appear under the parameter
that has been modified and the <Store> button will
light to indicate a change has been made to the
Program, but not stored.

2f) Input Level / Clip Meters - An Input Level and

Clip meter is located in the bottom center of the
display. This meter shows the Preamp level, and
uses a peak detector action to display the highest
levels at the input. The Clip indicator at the end
of the meter, indicates if the the input signal is
being clipped at the analog input section (pre-digi­tal) or in the digital effects domain.

2g) Effect Routing Matrix - The Effect Routing

Matrix shows the signal flow of the currently
selected Program. This matrix includes boxes that
represent each effect module along with lines that
indicate how those effects are connected to
inputs, outputs and each other. If an effect module
is bypassed, a line appears through that module's
box in the Matrix.

When in FX Edit mode, the box that represents
the currently selected effect module will flash.

3) Input Jack - Plug Guitar in here.

4) Clip LED -The Clip LED Indicates that the input sig-

nal is causing input stage clipping in the 2112.

5) Input Level Knob - Controls the input level to the

2112.

6) Gain/Page Knob - Controls the Distortion Gain
Parameter either locally or globally. Selection of
either Global or Local mode can be found on Page
11 of the Utilities Menu.When the 2112 is in Edit
mode, the Page knob is used to scroll through the
pages of the selected Module.

A QUICK TOUR OF THE 2112

THE FRONT PANEL

3

1

56

3

4

FACTORY USER

2a - 2-g

Clean Comp Delay



1

0



dB

CHANGEDLINK

COMP WAH TUBE EQ

2

SEAMLESS





2

3

0

0

dB

CHANGEDLINK

CHANGEDLINK

GATE

DIGITAL



CLIP

7

9-16







%

4

100

dB

CHANGEDLINK

L/R OUTS

8

17-23

24

7) Parameter knobs - Parameter knobs <1> thru <4>
are used to:

• change the gain of the EQ (<1> - <3>) and the mix
between the Wet and Dry signals (<4>) in Program
Mode.The EQ and Mix modes can be set to either
Local or Global modes on Page 1 of the Utilities.

• change the parameters you want to edit in FX Edit
mode.

8) Program/Effect Wheel - Selects Programs (in
Program Mode) or changes effect modules (in FX Edit
Mode).

9) Program Button - Toggles between User and
Factory banks. A successive press will also return the
2112 to Program mode.

10) Solo Button - Toggles the SOLO parameter On/Off.

11) Levels Button - Exits current mode and enters

Levels mode.

12) Assign Button - Initiates the Assign Program func-

tion if Control One is connected and/or allows the
modifier assignments to be made.

13) FX Edit Button - Exits current mode and enters

FX Edit mode. A successive press will also return the
2112 to Program mode.

14) Store Button - Initiates Store function, indicates

changed status.

15) Utility Button - Exits current mode and enters

Utilities mode. A successive press will also return
the 2112 to Program mode.

16) Bypass Button - Toggles Bypass status (On/Off).

17-23) FX Library Buttons:

17) [PreAmp] - Exits current mode and enters FX

edit mode at the Preamp module.A second press
enters the FX Edit mode and selects the first mod­ule of the PreAmp section. Successive presses
move to the next available module in the PreAmp
section.

18) [Mod] - Exits current mode, enters FX Edit mode
and selects the first available Modulation module.
Successive presses move to the next available
Modulation module.

19) [Pch] - Exits current mode, enters FX Edit mode

and selects the first available PitchShift or Detune
module. Successive presses move to the next avail­able PitchShift or Detune module.

20) [Dly/Rvb] - Exits current mode, enters FX Edit
mode and selects the first available Delay or
Reverb module. Successive presses move to the
next available Delay or Reverb module

21) [Other] - Exits current mode, enters FX Edit
mode and selects the first available Digital Effect
Modules not included in above selections.
Successive presses move to the next available
Digital Effect Module until finally reaching the
Master Mix Module.

22) [TapIt] -The TapIt button is used to set the delay
tap tempo for precise delay time taps.To use the
Ta pIt button, simply press the TapIt button at the
desired tempo and the delay module will automati­cally recalibrate the delay taps.

23) [Tuner] - Exits current mode and enters Tuner
mode.

24) Power Switch - Turns the unit on and off.

4

1) AC Line Input - Connect the supplied power cord
here.

2) MIDI In - The MIDI In port allows the 2112 to
respond to incoming MIDI messages, including
Program Change, Continuous Control, and System
Exclusive data.

3) MIDI Out/Thru - Sends out or passes any MIDI
data generated by the 2112 to other devices.

4) Control One Input - This is a 5-pin DIN plug for
connecting the optional DigiTech Control One foot
controller. Connection of the Control One should be
made before the 2112 is turned on.

IMPORTANT: THIS IS NOT A MIDI PORT. CON­NECTING A DEVICE OTHER THAN THE DIG­ITECH CONTROL ONE TO THE JACK CAN DAM­AGE THE UNIT.

5) Expression Pedal Input - This 1/4” input jack gives
you the option of connecting external voltage con­trolled continuous control pedal.

*Notice: When using the 2112 with the Control One
foot controller, the 1/4 Expression Pedal input on the
rear of the unit is referred to as EXP 3. When the
2112 is used alone, the Expression Pedal Input
becomes known as EXP 1.

6) FX Loop Level Switch - This switch gives you the
option of either standard level (switch out), or a 6 dB
cut (switch in) in the fx loop level. This is great to
use when inserting an FX pedal that may not have the
same output level to keep the level even in the chain

7) FX Send - This is the effects loop mono send jack.
Connect the input of an external effect device here.

The send gets its signal immediately following the
Analog Wah module. It is a balanced-TRS connector.

8) FX Return - This is the effects loop return. It is fed
back into the signal chain before the distortion sec­tion of the 2112.

9) Left/Mono Output - This is the left audio output.
Use both left and right outputs when you are running
in stereo mode. If you are running in mono mode, use
the Left output. It is a balanced-TRS connector. Page
11 of the Utilities mode gives you the option to
select either Stereo or Mono output modes.

10) Right Output - This is the right audio output for

use when running in stereo mode.This is a balanced­TRS connector.

11) AC fuse receptacle - Direct access to the fuse

can be reached here.

THE REAR PANEL

5

11

2112

1

2

3

4

10

5

7

6

8

9

GUITAR PREAMP

The 2112 offers world famous DigiTech Preamp tones
that have become an absolute necessity in the Recording
Studio or on Stage.

C

OMPRESSION: Every program of the 2112 has a

dynamic range Compression circuit specially designed
to be used in guitar applications.

D

UAL D

ISTORTION PATHS

: Now you really do have

even more choices with the 2112’s distortions. Within
the signal path of the 2112, you can select which distor­tion path the signal is routed through. Along with dis­tortion path selection, you can also run the two in par­allel, and morph between the two paths. And, if having
these options were not enough, the 2112 gives you the
ability to combine and pan both Distortion paths to the
right and the left at the same time to produce “mam­moth” guitar tones.

DUAL TUBES AND EQ: When the Dual Tube distor­tion tube path is selected, you have two 12XA7 pre­amp tubes at your tone disposal, as well as a dedicat­ed 10-band graphic EQ. After the 10-Band EQ, the
Dual Tube EQ path is run into the Speaker Cabinet
Emulator, which can be placed before or after the
digital effects section.

SOLID STATE AND EQ: With the Solid State distor­tion path selected, you get the versatility of solid
state distortions along with the 10-band EQ. From
here, the Solid State Distortion path is run into the
Speaker Cabinet Emulator.

D

IGITALLY CONTROLLED ANALOG WAH: Now you can

have vintage analog Wah effects at your finger tips and
toes.The digitally controlled analog Wah produces true
Wah tonal characteristics, while being controlled digital­ly, thus remaining quiet.

N

OISE REDUCTION: With the Silencer II noise reduc-

tion system, you can hear a pick drop. Back ground
noise in recordings will no longer be getting it’s “big
chance” to go to tape with noise reduction of this cal­iber.

P

ROGRAMMABLE CABINET EMULATION: The days of

spending hours upon hours trying to mic' a speaker
cabinet to get a good sound are now just a thing of the
past with the Programmable Cabinet Emulation Module
in the 2112. Whether it be live or in the studio, just
about any speaker cabinet emulation is possible by sim­ply running directly to the board, or to tape.

DIGITAL EFFECTS

When it comes to digital multi effects, Digitech’s reputa­tion is second to none.We’ve been perfecting this art
form for almost twenty years, so you know that the 2112
is loaded to the hilt with a pristine, ultra-quiet digital
effect section.

E

FFECTS INCLUDE:

• Digital EQ

• Noise Gates

• Reverbs

• Choruses

• Flangers

• Intelligent Pitch Shifters

• Chromatic Pitch Shifters

• Detuners

• Digital Delays

• Long Delays (lower-bandwidth for double delay
times)

• Smooth Whammy

• Phasers

• Tremolos

• Auto Panners

• Rotary Speaker Emulation

U

PTO 8 DIGITAL EFFECTS AT ONCE (DUAL S-DISC II

CONFIGURATIONS) When utilizing a dual S-DISC II con-

figuration, you can link up to 8 digital effects at once
from the vast effect palette.

S

EAMLESS PROGRAM CHANGES (SINGLE S-DISC II

ALGORITHMS): Smooth program changes are a breeze

with Seamless program changes.When a program
change is made, there is no apparent “drop out” of sig­nal.Along with no signal loss, you can also program the
hold and release times so program effects overlap each
other in turn, producing a morphing effect.
Setting and changing seamless program times can be
done on Page 5 of the Master mix menu of each pro­gram in the Edit mode. Seamless program changes time
range from 0.0 seconds to Infinity for both hold and
Ramp times.

R

EAL TIME MODIFIERS: Modifiers are unique tools that can

be used to dramatically alter your sound based on infor­mation from signal amplitude, the settings of a Low
Frequency Oscillator (LFO) or MIDI Continuous
Controller information.

Every Program in the 2112 has a set of Modifiers. Up to
16 Modifier links can be assigned to control parame­ters.There are three types of Modifiers that can be
linked to a parameter: MIDI CCs, LFOs, and Dynamic
(signal level dependent).

6

MIDI CCs:When you use MIDI CCs, your 2112
responds to CC numbers 0-127 and CHP (channel
pressure or aftertouch).

For example, you can have a synth's modulation
wheel (usually MIDI CC#1) control the in level of a
reverb and chorus in one program while the delay
feedback may be controlled in another.

LFOs:When you use LFOs, parameter values can be
controlled automatically between a defined minimum
and maximum setting at a user-definable rate.Your
2112 has 2 user definable LFOs in each program that
can be assigned to any Parameter.

For example, you can create an auto panner without
using an auto panner module. Simply link an effect's
output pan parameter to the LFO modifier and the
LFO will move that parameter back and forth.This
modifier can be a very useful weapon in the ongoing
battle of new sound creation.There are two LFOs
available in each program that can use unique speeds
and waveforms.

DYNAMIC MODIFIERS: When you use Dynamic
Modifiers, the Parameter values are controlled in
relation to the dynamics of the input signal.The pos­sibilities are nearly endless, and they cannot be dupli­cated using any other method.

For example, you could link the Dynamic Modifier of
a Program to control a chorus level. It doesn't sound
like much on paper, but imagine the expressiveness
of this type of effect on a lead.As the dynamics of
the music increase, the chorus becomes less appar­ent. Ease up on the solo a little and the chorus
increases.ALL IN REAL TIME!

For more information on using modifiers see the
“Using Modifiers” section. on page 47

THE SOLO BUTTON

How many times have you been on stage and your big
solo comes up and that great Blues tone that you’re using
for rhythm playing just needs to be louder. Unfortunately,
your trusty sound man is trying to collect phone num­bers in the lobby. Well don’t fret, you just kick in the
Solo Button and you can become your own sound man.

What does this mean? The unique Solo Button feature
when engaged (either via the Front panel control, or the
optional Control One foot controller), will give you an
additional 6dB of boost.This feature is also ideal to use in
the studio (or live) to give you a little extra punch for
solos.

To assign the Solo button function, simply press the
<Solo> button then store. If you wish to link it to a
footswitch, access can be made in Page 3 of the Master
Mix menu in the Utilities menu.

7

BASIC SPECIFICATIONS

1 INPUT AND

2 O

UTPUTS BALANCED (TRS)

With the 2112, the input and output are set up in a mono input and stereo or mono output configurations.The input
jack of the 2112 is located on the front panel of the unit.The output jacks are TRS (tip-ring-sleeve), and are a Left
(mono) and Right output configuration for full stereo separation of effects.

PROGRAMMABLE MONO

FX LOOP

For those of you that feel the need to add additional effects to the already extensive menu of sounds , the 2112 pro­vides a programmable line level mono programmable FX loop.The signal leaves the unit after the Wah section of the
2112 and returns just before the Dual distortion paths. For a better representation of the FX loop, please refer to the
signal flow chart below.

SIGNAL FLOW

Listed below, is a chart showing the signal flow path of the 2112. Notice that with the 2112, you have the choice of
selecting either one or both of the Distortion signal paths. Also take notice that a noise reduction system is available
in the Analog Preamp section and the first DSP section, making for ultra-quiet performance.

CONTROL ONE COMPATIBILITY

The 2112 is an ideal stand alone multi effects processor, but to out-do ourselves, we have made the 2112 compatible
to use with the legendary Control One foot controller.The optional Control One can help you maximize the poten­tial of your 2112. Since the Control One “talks” to the 2112 using a proprietary communication protocol. It offers bet­ter response time and capabilities not available with conventional MIDI pedalboard controllers.

The Control One includes 12 footswitches for Program and Parameter control. It also features a built-in Expression
pedal.The Control also gives you the option of adding another expression control (via the external expression pedal
jack which is located on the front of the Control One footcontroller). Combined with the Expression controller
insert (located on the rear panel of the 2112) this gives you a grand total of 3 Expression controllers in one box!. The
large 20 character display constantly feeds you important information like program names, CC info, and tuner indica­tors.

8

Analog Section

Gate Det.

FX Loop

Bar

Graph

Clip LED

Input Buf.

10 GEQ

St. Gate

10 GEQ

DSP Section-1 (TI 070 Chip)

Comp

Speaker
Cabinet
Emulator

Wah

Global/

Local

3-Band

EQ

SS Dist.

A/D

Tube Dist.

SoloBoost

S-DISC II

DSP Section-2 Dual (S-DISC IIs)

S-DISC II

2112 ARCHITECTURE

It is IMPORTANT to make the distinction between parameters, defaults, modules and programs.Throughout this
manual we will refer to “effects.” Depending upon the context, the word “effects” could refer to an Effects Program,
an Effect Module within a Program, or the Default Effects within a Module.

EXAMPLE:

Program #4,“Electric 12-String”, is comprised of the following digital effect modules linked in series:

• Within the Stereo Pitch Shifter module, there are 10 parameters which can be set to create and define
the sound of a particular Stereo Pitch Shifter.

• After having tweaked the various parameters to create a particular Pitch Shifter effect, the parameter set­tings can be saved off as a “Default.”

• The Stereo Pitch Shifter module contains 12 different factory created Defaults that can be dialed up
quickly and easily (see page 24 for a list of all the default effects).The Default Stereo Pitch Shifter effect
that “Electric 12 String” uses is #F-4,“Octave Up.”

For more information on editing parameters and creating your own Defaults and Programs see Section 3-Editing
Programs and Section 4-Editing Modules.

ReverbQuad ChorusSt. Pitch Shift

each default is comprised of a number of different parameters.

each effect module contains a number of default effects (“defaults”) . . .

each program is comprised of up to 15 effect modules . . .

Your 2112 contains 224 Programs . . .

9

MODULE TYPES

There are three basic types of FX Modules:

• Mono

• Dual

• Stereo

The figure below illustrates what the signals do as they enter the Module. Although all three Modules are shown with
stereo inputs, they can still be used with a mono source. The mono source would just be routed to both sides of the
module’s inputs. Notice how the Dual FX Module maintains stereo compatibility while the mono FX Module always
sums the signals together.

MODULE

SIZES

In order to achieve the nearly endless combinations of effects and routings, we've supplied you with four different
module sizes:

• Whole (module type =

FUL

)

• 3/4 (module type =

3-4

)

• Half (module type =

HLF

)

• Quarter (module type =

4th

)

Dividing each S-DISC II’s processing power is what allows your 2112 to handle up to 15 effects at one time.
The figure below represents how each S-DISC II can be divided to accommodate a wide variety of effect routing.

A Whole module type offers effects with more flexibility and power than the Half modules, and so on, but all four
sizes of FX Modules feature very high quality effects, so you don’t have to worry if you need to divide the S-DISC II
pie four ways.

For a complete list of these FX Types please see Editing Modules. For a complete list of effect configurations please
see Appendix on page 64.

10

Mono FX Module

Effect

Processing

Dual FX Module

Effect

Processing

Stereo FX Module

Effect

Processing

S-DISC II (A)

S-DISC II (B)

For those of you out there that feel that state of the art

is a must, this is probably the 2112 set-up that would be
best suited for your needs.

From the output jack of the guitar, run the cable into the
Input jack on the front panel of the 2112.At this point (if
you so choose) you can utilize the mono Fx loop of the
unit by running out of the fx send of the 2112 into the
desired unit being used. From there, run from the output
(or send) of the chosen unit back into the Fx return jack
of the 2112.

At this point, run out of both the Left and Right output
jacks of the 2112 into the respective inputs of the stereo
power amp. From the Stereo Power Amp, run out of the
Left and Right outputs into the chosen speaker cabinets.

This is an ideal opportunity to see and hear how the
Masters of Stereo Effects have outdone themselves in
achieving mind-boggling stereo separation. Stereo Delays,

Phasers,Tremolos, and Auto panners will produce effects
in this set-up that are simply out of this world.

When using a guitar system set-up such as this, it is
always a good idea to make sure all connections are
secure. Be sure to keep the levels of sending and receiv­ing unit even so they do not have a tendency to clip (or
distort) the inputs of each unit.

MAKING CONNECTIONS

Because of its flexibility, your 2112 can be connected in several different ways to meet the requirements of specific
applications.The following diagrams offer some ways your 2112 can be connected.

NOTE: In all the diagrams we have shown use of the external FX loop (this is of course, optional).

2112 INTO A STEREO POWER AMP

11

Clean Comp Delay



1

2

0

dB

0



CHANGEDLINK

CHANGEDLINK

COMP WAH TUBE EQ

2

FACTORY USER

SEAMLESS

Input

Clip



Page

2

1

Stereo Power Amplifier

Input

Output

FX Send FX Return

Program









%

3

4

dB

dB

0

100

CHANGEDLINK

CHANGEDLINK

GATE

L/R OUTS

DIGITAL



CLIP

3

3

Effect

Right OutLeft Out

When vintage combo amps meet the the powerful pro-

cessing world of the 2112, you just cannot help but get a
great sound. More often than not, guitarists are hesitant
to accept state of the art in signal processing, because
they feel that they have to betray their beloved and trust­worthy combo amps.With the 2112, this just simply is
not the case. Using a set-up similar to the one shown
above will give you the chance to optimize the potential
of both the 2112 and the combo amplifiers.

The best signal route for a combination such as this one,
is to first run out of the guitar output into the input jack
of the 2112.Then, if you prefer to use an additional effect
unit in the signal path, you can utilize the programmable
mono fx loop of the 2112. In doing this, you will want to
run from the fx send of the 2112 into the selected effect
unit. From the chosen effect unit, run out of either its
output or Fx send back into the fx return of the 2112.
From the 2112, you will now want run out of both the
left and right outputs of the 2112 into the input jacks of
both Combo Amps.

You will be able to achieve lush, smooth stereo effects,
while retaining the great amp tones of both the 2112 and
the Combo Amps. So, in sense, you can have your tweed
cake and eat it too.

As usual, make sure that all of the connections are good
and solid when making the connections. It is also a good
idea to make sure that the signal levels going from one
unit to the other are even. Meaning that the output level
going into the input of the receiving unit is not set so
high that it distorts (or clips) the input section. Always
remember that the better your rig sounds clean, the bet­ter your 2112 will sound.

2112 INTO A PAIR OF COMBO AMPS

Input

12

Input

FX Send FX Return

Program

Effect

%

L/R OUTS

Clip

Left Out

2

FACTORY USER

Page

Right Out

Clean Comp Delay



1

2

0

0

dB



CHANGEDLINK

CHANGEDLINK

COMP WAH TUBE EQ

SEAMLESS



1

2









3

4

0

100

dB

dB

CHANGEDLINK

CHANGEDLINK

GATE

DIGITAL



CLIP

43

(Optional)

Now that you have the indispensible Programmable

Cabinet Emulator of the 2112, chances are pretty good
that you are not going to want to be spending those fun­filled hours of the past by doing the ole’ Microphone
Placement two-step.

To use the Programmable Speaker Cabinet
Emulator, simply enter the Edit mode of the selected
Program and scroll to Page 2 of the Master Mix menu.
From here, the 2112 gives you the options of activating
the Cabinet Emulator, selecting defaults and/or placing
the Cabinet Emulator either Pre Digital (Preamp Only),
or Post Digital (the whole signal path is included).These
selections can be made by using the <2> or <3> knobs.

So let’s cut out the middleman (speaker cabinet), and run
from the guitar output into input jack of the 2112. From
this point, you now have the option of utilizing the
Programmable Mono Fx loop that is offered in the 2112.

To use the Fx loop, run from the Fx send of the 2112,
into either input or Fx return of the selected effects unit.
Now, run out of either the output or the Fx send of the
chosen unit back into the Fx return of the 2112.
At this point , you will want to run from either Left or
Right outputs (or both for a stereo mix), into the select­ed inputs of the Mixer.

As usual, it is a good idea to check all of the cables being
used when making connections to ensure that good con­tact is being made.

Notice that once the Programmable Speaker Cabinet
Emulator is turned On, the Speaker icon will appear in
the display and will appear as follows:

2112 RUNNING DIRECT WITH THE PROGRAMMABLE CABINET EMULATOR

Input

13

Aux Send 1

Aux Send 2

Pan Control

Input

FX Send FX Return





Clean Comp Delay







1

2

3

0

dB

dB

dB

0

0



CHANGEDLINK

CHANGEDLINK

CHANGEDLINK

COMP WAH TUBE EQ

2

FACTORY USER

Page

Clip

GATE

SEAMLESS

DIGITAL





CLIP

1 2 3 4

Right OutLeft Out

2

0

2

0

-2

-3

-4

-5

Mute
L / R

+10
+5

0

-5

-10

-20

-30

-∞

46

Aux 1

46

Aux 2

-10+1

Pan

10

10

+5

+2

8

8

+3
+4

2

2

-2

-3

-4

Mute
L / R

+10

+5

0

-5

-10

-20

-30

-∞

0

Aux 1

46

0

Aux 2

-10+1

-5

Pan

2

8

8

0

10

10

Aux 1

46

2

8

8

0

10

10

Aux 2

-10+1

-2

+2

+2

-3

+3

+3

-4

+4

+4

-5

+5

+5

Pan

Mute
L / R

+10

+5

0

-5

-10

-20

-30

-∞

46

46

1234

4

100

CHANGEDLINK

2

2

-2

-3

-4

Mute
L / R

+10

+5

0

-5

-10

-20

-30

-∞

%

L/R OUTS

L/R OUTS

46

0

Aux 1

46

0

Aux 2

-10+1

-5

Pan

Program

Page

46

46

46

46

2

2

8

8

0

0

10

Aux 1

46

2

8

0

10

Aux 2

-10+1

-2

+2

-3

+3

-4

+4

-5

+5

Pan

Mute
L / R

+10

+5

0

-5

-10

-20

-30

-∞

5

10

10

Aux 1

46

2

8

0

10

10

Aux 2

-10+1

-2

+2

-3

+3

-4

+4

-5

+5

+5

Pan

Mute
L / R

+10
+5

0

-5

-10

-20

-30

-∞

6

+2

8

8

+3
+4

2

2

-2

-3

-4

Mute
L / R

+10

+5

0

-5

-10

-20

-30

-∞

0

Aux 1

46

0

Aux 2

-10+1

-5

Pan

7

2

8

8

0

10

10

Aux 1

46

2

8

8

0

10

10

Aux 2

-10+1

-2

+2

+2

-3

+3

+3

-4

+4

+4

-5

+5

+5

Pan

Mute
L / R

+10

+5

0

-5

-10

-20

-30

-∞

8



L/R OUTS

PROGRAM MODE

Program mode allows you to scroll through the Factory
and User Programs using the Program/Effect Wheel.
When your 2112 is turned on, it sets itself to Program
mode. Program mode is active when the <Program> but­ton is lit and a Program name is present on the
Information line (top line) of the display.

FX EDIT MODE

This mode allows you to edit:

1. FX Modules

2.The Modifier Module

3.The Output Mode Module of your Programs

Use the <Edit> button to enter the FX Edit mode and
then to select the next module for editing.

A helpful hint: If you look at the Effect Routing
Matrix while you press the FX <Edit> button, the
currently selected module will flash.

Your 2112 uses “Pages” to navigate within an effect.A
“Page” is a group of up to four effect Parameters that
appear on the screen at one time. Use the <Gain/Page>
knob to move through the Pages in the menu. Note that
as you scroll through the Pages, the Page indicator in the
lower left corner of the display changes to show the cur­rently displayed Page number.

UTILITIES MODE

From the initial power-up of the unit, access to all of the
menu pages of the utility mode can be made by simply
pressing the <Utilities> button located on the front panel
of the unit. From this point, the display will tell you that
you are in the Utilities library and you can scroll through
the options of the utilities menu by simply turning the
<Page> knob.

LEVELS MODE

Adjustments to the Preamp (Tube or Solid State), DSP,

and Master levels can be made by simply pressing the
<Levels> button to access the levels menu, then you
make the adjustments until your ears and level indicators
are happy.

ASSIGN MODE

Once the 2112 is in assign mode, all modifier assignments
can be made from this point. Ranging anywhere from pro­gram numbers to modifier links to the Wah module.
Access to this function is located on the front panel or in
the utilities pages within the 2112.

OUTPUT MODULE FUNCTIONS

The Output Module of the 2112 gives you assignment
control over crucial aspects of your sounds.The Menus
of the Output Module include: Master Mix (Page 1),
Cabinet Emulator Settings (Page 2), Solo button assign­ment (Page 3),Volume pedal assignment (Page 4) and
Seamless Program Time changes (Page 5).

To access the Output Module of the 2112, from Program
mode press either the <Edit> button and use the
<Program/Effect> and turn either counter or clockwise
until the shows the Master Mix Module. If you wish to
cut out a step or two in this process, simply press the
<Other> button until the display shows the Master Mix
Module as well.

Once you are at the Master Mix Module, you simply use
the <Page> knob to move to the various editing pages of
the Output Module.

To leave the Output Module section , simply press the
<Program> button.Always make sure to store any
changes made to the selected Program.

GETTING AROUND IN THE OPERATING SYSTEM

The menu structure of your 2112 has been specially designed to be easy to use.The display shows the information
you need, but to make things even easier for you, illumination of the front panel buttons offers additional operating
information.

THE FRONT PANEL BUTTONS give you information in one of two ways:

1 - If the button is dim, its function is INACTIVE. Pressing an a dim button causes it to light brightly and its func-

tion becomes the active item in the display. If the dim button doesn’t light after you press it, the button is
unavailable.

2 - If the button is bright, its function is ACTIVE. Pressing an active button (other than the <Program> button)

reselects the already active item in the display.

14

LOADING A PROGRAM

When you first turn on your 2112, it boots up in Program Mode and the display looks something like:

To select a Program, do the following:

• Make sure Program mode is selected (the <Program> will be brightly lit). If the <Program> button is dim, press
it once to return to Program mode.

• Use the <Program> button to select the Program bank (Factory or User). Each successive press of the
<Program> button toggles between the Factory and User bank of Programs.

• Using the <Program/Effect> wheel, scroll to the Program you want to hear.

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G

ETTING SOUNDS

It never fails, there always seems to be a sound man at the back of the room, or an engineer in the control room that
wants “more of this, or less of that” (bottom line: your ear is king). But, to accommodate these situations, you may
need to make some minor adjusting here and there along the way. So here are some helpful guidelines for getting great
sounds, while keeping everyone happy.

INPUT AND OUTPUT ADJUSTMENTS

For all you Nigel Tuffnels out there, the 2112 really can go to 100, if that is the sound you require. But we at Digitech
suggest that you keep it a little lower than that (we would prefer that you purchase our products instead of hearing
aids).The best setting for the input control is to use the <Input> knob so you have strong signal coming into the 2112
occasionally lighting the clip LED.As far as setting the Output level, let your ears be the judge. But, if you can’t hear the
rest of the band, chances are that you need to back off on the Output level of the 2112 or the input of your amplifi­er(s).

GAIN

ADJUSTMENTS

To adjust the gain in the Tube or Distortion section, either turn the <Gain> knob on the front panel or press the
<Edit> button to put you in Edit mode. Now use the <Program/Effect> wheel to scroll to the Tube or Distortion mod­ule. From this point, turn the <Page> knob to move to Page 2 of 2 of the Tube or Distortion module. The number of
different preamp tones are almost unlimited when making gain adjustments.Your gain settings range from 0 to 100, so
this gives you plenty of room for great tones in between.

EQ

AND MIX ADJUSTMENTS

Adjusting the global EQ is as easy as grabbing the knob and turning. Knob <1> controls the level of the bass frequen­cies, knob <2> controls the level of the mids, and knob <3> controls the highs. In Program mode the level of each fre­quency band is displayed on the screen. Global EQ settings range from -12 to 12. For more information on the
Global/Local EQ and Mix, see page 29.

WET/DRY MIX ADJUSTMENTS

To change the mix of dry and wet signal use knob <4>. Mix settings range from 0 (all dry) to 100% (all wet).The Mix
knob really comes in handy when playing live because the acoustics of any room will change throughout a gig due to
changes in crowd size, humidity, temperature, the dreaded gig gremlins, or whatever. As the room acoustics change,
you can easily adjust the level of your effects accordingly with the turn of a knob.The Master Mix of each program can
be modified in the Master Mix menu while in edit mode by either pressing the <Edit> button then scrolling through
the program pages. Or, simply press the <Other> button until this menu is reached.

PROGRAM LEVELS

To adjust the overall level of a program push the <LEVELS> button.Then use the <1> Knob to either bypass or acti­vate the Tube or Solid State levels. At this point, you now want to use the <2> knob to adjust the level of the selected
distortion. From here, you will now want to use the <3> knob to set the DSP level. Last but not least, knob <4>.This
controls the Master output. All of the these level range from 0 (off) to 100%.

USING THE TUNER

When using the Tuner of the 2112, it can be accessed one of two ways. Either by pressing the <Tuner> button on the
front panel or using the optional Control One foot controller.The following, explains both modes of operation.

Front Panel

• Press the <Tuner> button.The display reads:

.• As you play a note on the guitar, the top line will tell you which note you are playing, while the meter will show you

if you are flat or sharp. If the meter is moving right, the note you are playing is sharp. If the meter moves left, you
are flat.The goal is to tune your guitar so that the meter stops moving, and the display will lock-in, indicating that
you are in tune. Once you start playing the selected note, the display will read as follows:

• Press the <Tuner> button to exit the Tuner mode.

Reference and Output

The 2112 gives you the option of changing the Tuning reference from F# to 453, by simply turning the <3> knob while
the 2112 is in Tuner mode. Another feature available in the 2112 Tuner mode, is the ability to set the amount of signal
that is passed to the output while tuning.This has a range from 0 (mute) to 100%.The output can be changed by turn­ing the <4> to the desired level while the 2112 is in Tuner mode.

Control One Tuner Mode

To access the Tuner mode using the optional Control One foot controller, press and hold the Bank Up/Tuner
footswitch to engage tuner mode on the Control One.

• As you play a note on the guitar, the indicator in the display of the Control One will move either to the right, or the
left. If the indicator is moving right, the note you are playing is sharp. If the indicator moves left, you are flat.The goal
is to tune your guitar so that the indicator stops in the middle and the display locks-in, indicating you are in tune.

• In both methods of tuning, the tuner is referenced to A=440Hz. If you prefer tuning sharp or flat according to the A
reference, use the <3> knob to select a new reference.This can be set as high as A=453Hz or as low as A=427Hz.
The tuner can also be used for alternate tuning references where A=Ab (meaning you play an A note, but you hear
an Ab note). It is possible to tune as low as A=Gb.

• At this point, press any footswitch on the Control One to exit the Tuner mode.

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NAMING THE PROGRAM

• Using the <Program/Effect> wheel, change the charac­ter to the one you want in the selected position.

• When the correct character is displayed in that posi­tion, use the <Page> knob to scroll the cursor to the
next character you want to change.

• Use <1> knob to change the letter’s case.The <2>
knob is used to select numbers,The <3> knob is used
to insert spaces.The <4> knob is used to copy and
paste characters.

• To copy a character, position the cursor under the char­acter you want to copy (using the <Page> knob), then
turn the <4> knob clockwise.To paste the copied char­acter, position the cursor where you want to paste the
character, then turn the <4> knob counter-clockwise.

• To abort the procedure, push either the <Program>
button to take you to Program Mode, the <Edit> but­ton to take you to FX Edit Mode, or the <Utilities>
button to take you to Utility Mode, depending upon

which mode you want to enter.

STORING THE PROGRAM

• When you have the name how you want it, press the
<Store> button again.The top line of the display reads:

Store To: [Program Name]

This screen allows you to select the location of the new
Program. Note that when the Program is stored, it is
stored in the User bank of Programs because Factory
Programs cannot be overwritten.

• Use the <2> knob or the Program/Effect wheel to
select the Program number where you want to store
the new Program.

• Press <Store> again.The top line of the display briefly
reads:

STORING PROGRAM TO ##

after which you are taken to the Program you just
stored.

The newly created Program is now loaded, and can now
be recalled at any time.

• To abort the procedure, push either the <Program>
button to take you to Program Mode, the <Edit> but­ton to take you to FX Edit Mode, or the <Utilities>
button to take you to Utility Mode, depending upon

which mode you want to enter.

18

STORING/NAMING PROGRAMS

Before we get into editing programs and creating your own, let’s learn how to store changes so you won’t lose any
modifications you’ll want to keep.The Store procedure allows you to rename, relocate and save any modifications you
have made to Programs so that they can be accessed easily later.

• Press the <Store> button once.The display shows the current Program name (which may look something like this):

A cursor appears under the first character of the Program name

Name: Clean Comp Delay

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CHANGING EFFECT MODULES

Each program can be comprised of up to eight digital
effects (in addition to the Preamp section).You can scroll
through the modules in each program two different ways:

1. By pressing the <Edit> button to enter FX Edit
mode and using the <Program/Effect> wheel to
scroll through the different modules, or

2. By using the FX Library buttons. Pressing the
<Preamp> button takes you directly to the first
module in the preamp section. Subsequent pushes
will scroll you through the successive modules in
the preamp section. Likewise, pushing the
<Dly/Rvb> button takes you directly to the first
module in the Digital FX section which has a delay
or reverb loaded in it. Subsequent pushes of the
button scrolls you through subsequent modules
that are loaded with a delay or reverb (assuming
there are more delays or reverbs loaded in the
program of course.)

Once you reach a module you want to change (ie: you
want to swap a delay for a reverb), use the <2> knob to
select a new effect.

SELECTING A DEFAULT

Once you have selected the effect you want in the pro­gram (ie: StDual Reverb), you can quickly scroll through
several different StDual Reverb defaults stored in your
2112's library.

EXAMPLE:

There are 7 Stereo Pitch Shifter defaults to choose
from. Some Factory Programs use these Default set­tings. So, if you like the Pitch shifter that is being used
in Factory Program #4, and would like to use it in
Program #98, simply scroll to the Stereo Pitch Shifter
module, then use the <4> knob to recall the default
(which happens to be F4-Octave Up) in Program #4.
This eliminates the need to copy all those parame­ters from one location to the other.

For a list of all the FX Modules and their Defaults, see
page 23-27.

ADJUSTING THE MODULE’S LEVEL

Once in Edit Mode, the parameters of every default mod­ule can be accessed through a series of pages.You adjust
the level of a particular module from Edit page 2. If you’re
not already in Edit Mode, press the <Edit> button.You
can then use the <Program/Effect> wheel to scroll to the
module you want to change (ie: St Pitch). Using the
<Page> knob, scroll to page 2. You can now change the
individual module’s level using the <1> knob. Settings
range from 0 (off) to 100%.

CUSTOM DEFAULTS

Once you have tweaked the parameters of an effect
Module, you can store it off as part of the program. Once
it is stored off, it becomes a custom default for that pro­gram, but is not added to the User default library.To save
the settings as User Defaults, please see pg. 21

19

EDITING A

PROGRAM

It is extremely easy to create custom Effect Programs because your 2112 gives you access to a complete library of pro­fessionally developed default effects (“Defaults”).

• From Program mode, press the <Pitch> button.The display looks something like this:

When you enter FX Edit mode, the first page of every FX Module allows you to:

1) Bypass that effect module (by turning it on or off) using the <1> knob.

2) Select an Effect Module (Only in the Digital Effect section), using the <2> knob.

3) Store the Default using the <3> knob (for more info on storing Defaults, see pg. 21)

4) Select a Default for the selected Effect Module using the <4> knob.

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COMPARING CHANGES

During the course of editing Programs, you may find that you want to compare the edited version of the Program to
the original, stored version. Fortunately, your 2112 provides you with this valuable A/B feature in the Compare func­tion.

To compare an edited Program with the original Stored version, do the following:

• While in FX Edit Mode, press the <Edit> button once.The top line of the display reads:

When this message is displayed, the stored Program is temporarily loaded and active.

• To return to the edited version, press the <Program> to get to Program Mode or the <Edit> button to get back
to FX Edit Mode.

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