Changing Effect Modules Selecting Effect Defaults Adjusting FX levels. Custom Defaults. Comparing Changes..19.19.19.19.20
EDITING MODULES - SECTION 4
Storing/Naming Defaults.21 Editing a Module.22 Effect Module Size and Type.23 Effect Module and Defaults List.24
Preamp Modules. Chorus Modules. Flanger Modules. Phaser Modules. Detuner Modules. Pitch Shifter Modules Delay Modules. Multi-Effect Modules. Reverb Modules. Other Modules. Equalizer Modules..24.24.24.25.25.25.25.26.26.26.27

EFFECT LIBRARY

.28..28.28.28.29.29.29.30
Preamp Effects: Compression. Digitally controlled Analog Wah Tube Distortions. Solid State Distortions. 10-Band EQ. Noise Reduction. EQ and Mix (Global and Local) Digital Effects: Reverbs. Chorus & Flangers. Phasers. Rotary Speaker Simulator Tremolo & Auto Panner. Pitch Shifters. Detuners. Delays. Equalizers. Noise Gate. Multi Effect Modules. Whammy Effects. Auto Wah.

............

.30.33.36.37.37.38.39.40.42.44.45.45.46
ADVANCED TOPICS - SECTION 5

Using Modifiers.47

MIDI CC. LFO. Dynamic. External Expression Pedals. Linking a Parameter to a Modifier. Setting up an LFO and a Dynamic Modifier MIDI Channels. MIDI Merge. MIDI Receive Map. MIDI Transmit Map. SysEx Device Channels. SysEx Dumps. Program Dump. Bulk Dump. System Dump. CC Controlled Program Changes. Resetting to Factory Settings. Global-Local Cabinet Emulator. Global-Local EQ & Wet/Dry Mixer. Output Mode..47.47.47.47.47.48.49.49.49.49.49.50.50.50.50.51.52.52.52.52

CONTROL ONE - SECTION 6

Configuring the Pedalboard.53
Connecting the Control One. Expression Pedal Names. Assigning Functions. Programs to Footswitches. Parameters to Footswitches/Expression Pedal. Other Footswitch Functions. Assigning MIDI Control to the Exp. Pedal. Toggle MIDI CC. Assigning CC Numbers to Expression Pedals CC Transmit Channel.........53.54.55.56.56.56.56.56.56.57
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
MIDI Basics. General Format. Procedures. Request One Program - 01(h). Receive One Program - 42(h). Request Bulk Dump - 49(h). Receive Bulk Dump - 57(h). Request Utilities Settings - 11(h). Receive Utilities Settings - 12(h). Request Parameter Value - 17(h). Receive Parameter Value - 18(h). Request All Current Parameter Values - 23(h). Receive All Current Parameter Values for a different program - 24(h). Request Module Configuration-25(h). Respond Module Configuration-26(h). Receive Key Scan Code - 54(h). Receive Key Accepted - 56(h). Select One Program - 1F(h). Reset Program - 20(h). Reset Device - 21(h). Reset Factory Settings - 22(h). Request User Defaults - 13(h). Receive User Defaults - 14(h). Key Scan Codes. FX Modules and Parameter Codes. SysEx Program Dump Example.

SoloBoost 10 GEQ St. Gate 10 GEQ Speaker Cabinet Emulator Global/ Local 3-Band EQ S-DISC II S-DISC II
DSP Section-1 (TI 070 Chip)
DSP Section-2 Dual (S-DISC IIs)
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.

2112 ARCHITECTURE

Your 2112 contains 224 Programs.
each program is comprised of up to 15 effect modules.
each effect module contains a number of default effects (defaults).
each default is comprised of a number of different parameters. 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: St. Pitch Shift Quad Chorus Reverb
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.

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 MODULES 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 youre 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 modules level using the <1> knob. Settings range from 0 (off) to 100%.

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.

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

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:

*Comparing Original Prg*

LINK EQ GATE

DIGITAL CLIP L/R OUTS

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.

STORING/NAMING DEFAULTS

Before we get into editing Modules and creating your Defaults, lets learn how to store changes so you wont lose any modifications youll want to keep.The Store procedure allows you to rename, relocate and save any modifications you have made to Defaults so that they can be accessed easily later. When you have satisfactorily altered an Effect Default (or created a new one), scroll back to Page 1 of the effect Module you are editing (if youre not already there).The display looks something like this:

FX:[Name]

Custom
LINK CHANGED GATE LINK CHANGED EQ L/R OUTS

On%kHz 2 msdB

1%kHz 3 Sto%kHz 4 ---%kHz msdB msdB msdB
From Page 1 of the FX Edit Menu, turn the <3> Knob clockwise.You will then be able to name your new default.

NAMING THE DEFAULT

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 the <1> to change the letters case. Use the<2> knob 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 DEFAULT

When you have the name as you want it to read, press <Store>.The top line of the display reads: Store To: [Name] This screen allows you to select the location of the new Default. Note that when the Default is stored, it is stored in the User bank of Defaults because Factory Defaults cannot be overwritten. Use the <2> knob to select the Default number where you want to store the new Default. Press <Store> again.The Default is saved off and you are taken to page 1 of the FX Edit menu. The newly created Default 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.

EDITING A MODULE

Your 2112 comes loaded with pretty much all of the Factory Effect Defaults youll need right at your finger tips. In any given situation, however, you may want to tweak a module just a tad (or more than a tad).The parameters of each Effect Module are reached through a series of pages. Press the <Edit> button.The display looks something like this:

Tube Dist

LINK CHANGED COMP WAH

BrightCln2

LINK EQ EQ DIGITAL CLIP GATE

%kHz 4 F 5 msdB

When you first enter FX Edit mode (by pressing the <Edit> button), you are taken to the Tube distortion module in the Preamp section.Turn the <Program/Effect> wheel to scroll through the modules until you reach a digital Effect module. Notice that as you scroll through the different modules, the currently selected module will flash in the Effect Routing Matrix. Once you have reached a module in the Digital Effects section that you want to edit, use the <Page> knob to scroll to the particular parameters. Notice: Anytime a change is made to either an Effect Module or Default, the Changed icon will appear directly below the effected parameter within the module or default.
SCROLLING THROUGH A MODULES PAGES
Notice in the bottom left corner of the display (just under the Program Number) the display indicates which page you are on and the total number of pages within the module. Each page allows you to access up to four parameters using the <1> - <4> knobs.
To scroll through the parameter pages of the Quad Chorus module, from the Program mode either press the <Mod> button on the front panel until the Quad Chorus module comes up in the display. or, press the <Edit> button and once this button is lit, use the Program/Effect wheel to scroll to the Quad Chorus module. At this point use the <Page> button to scroll through the parameters of the Quad Chorus module. For a description of all the FX Modules and their parameters, see pages 23-27.
DIGITAL EFFECT MODULE SIZE AND TYPE
With all of the work that these digital effect modules do for your sound, they have a tendency to work up an appetite. So, they consume their food from the FX pies chart referred to on page 4. Since some of these effect modules have a larger appetite than the others, they require more pie.To help divide up the pie, we have provided you with a chart below that tells you what size of effect block that each will fit in.This helpful chart will also let you know if the selected module is either a: Mono, Stereo, or Dual output configuration. Note: The Effect Module size will always be displayed in Page 1 of the selected effect module next to the number 2 icon located in the display.

MULTI-FX MODULES

Chorus/Delay MedChoEcho LitChoEcho MedChoSlap DeepChoDly ShimryEcho ModDly300m DeepModDly DlyCho300m Flange/Delay FlaLitD300 FlaMedD300 HeavyFlDly LoSweepDly ThroatyDly DoublGonzo FlangJelly
Dual Reverb BrightHall LngDrkHall ConcrtHall MiniHall FlatChambr WarmChambr BigCathedrl SmlCathedrl GoldPlate ThinPlate VocalPlate PercPlate StudioAmb StudioRoom WoodRoom FlutterRvb Very Thin CementRoom HugeArena Stereo Reverb SmoothHall BarnGrill OakFloorRm VocalRevrb FoilPlate GoldPlate SmphnyHall RichChmbr Sanctuary SaltPalace CmntGarage PlutoVerb Vocal Air Stereo Dual Reverb BrightHall LngDrkHall ConcrtHall MiniHall FlatChambr WarmChambr, BigCathedrl SmlCathedrl GoldPlate ThinPlate VocalPlate

REVERBS

Reverb SmoothHall BarnGrill OakFloorRm VocalRevrb FoilPlate GoldPlate
PercPlate, StudioAmb StudioRoom WoodRoom FlutterRvb Very Thin CementRoom HugeArena Gated Reverb 100msGated 200msDcyEx 200msDecay 200msGated 300msDcyEx 300msDecay 300msGated Reverse150 Reverse300 300msPeak Stereo Gated Reverb 200msDecay 200msGated 400msDcyEx 300msDecay 300msShelf DrkGate400 500msDecay 500msGated Reverse300 Reverse500 Peaking500 Room Echo WideSlap LiveSlap Springy Stage Voxy Drum1 Drum2
Warm120ms 0msHPass1 0msHPass2 0msHPass3 0msHPass4 0msLPass1 0msLPass2 0msLPass3 0msLPass4 Rotary Speaker Simulator SloLeslie MedLeslie FastLeslie Stereo Tremolo DeepSlow DeepMedium Deep Fast Mild Slow MildMedium Mild Fast Auto Pan Wide Slow WideMedium Wide Fast NarrowSlow NarrowMed NarrowFast Auto Wah Low Sens High Sens Noise Gate LoThrsh MedThrsh HiThrsh FastSwell VolumSwell
Sizzle Smiley InvrtPhase 31-Band Mono Graphic EQ Flat Low Pump Sizzle Smiley InvrtPhase 8-Band Stereo Graphic EQ Flat Low Pump Sizzle Smiley PhasInvrtL 15-Band Stereo Graphic EQ Flat Low Pump Sizzle Smiley PhasInvrtL 3-Band Stereo Parametric EQ Flat Low Boost Smiley PhasInvrtL PhasInvrtR SmlBoost LowNudge 60HzNotch 6-Band Mono Parametric EQ Flat Low Boost Smiley 60HzNotch InvrtPhase 6-Band Stereo Parametric EQ Flat Low Boost Smiley 60HzNotch PhasInvrtL

EQUALIZERS OTHER MODULES

Pre Delay 0ms 30ms 60ms 90ms 120ms Warm0ms Warm60ms 8-Band Mono Graphic EQ Flat Low Pump Sizzle Smiley InvrtPhase 15-Band Mono Graphic EQ Flat Low Pump
EFFECTS offerIBRARY low-down on all of the effects offered in the 2112. L the complete The following pages PRE AMP EFFECTS

COMPRESSION

Compression is an invaluable tool in the effect world. It can make or break any recording session or live performance. Compression can take an incredible solo that just seems to be lacking somehow in a recording and bring so much life to it, that it almost jumps off the tape.The way the compressor does this is by turning the signals down as they become louder. After it makes the adjustment to the level, it boosts the overall signal back up.This effect can be used to increase sustain and tighten up guitar signal.

Threshold Attenuation Attack Release

GLOBAL/LOCAL EQ AND MIX

Whether you are playing in over 250 different clubs that have different characteristics and nuances, or recording in five different studios in as many days, the Global/Local EQ and Mix function of the 2112 is a great asset to your programming needs.The sound of each room or studio can vary so much, and change so quickly, in these situations your going to have to be making EQ and Mix changes on the fly.The Global/Local EQ and Mix selection section of the 2112 is located on the front panel of the 2112.The Global EQ can also be set to Local mode to control only the selected program.The Global/Local EQ and Mix selection is located in the 1st page of the utility section.
GLOBAL/LOCAL EQ AND MIX PARAMETERS
Gain Bass Mid Treble Mix Controls the Gain either globally or locally in the 2112. Ranges from: 0 to 100. Controls the Mid EQ frequencies either globally or locally in the 2112 and can be changed in 1 dB increments. Ranges from: -12 to 12dB. Controls the Mid EQ frequencies either globally or locally in the 2112 and can be changed in 1 dB increments. Ranges from: -12 to 12dB. Controls the Treble EQ frequencies either globally or locally in the 2112 and can be changed in 1 dB increments. Ranges from: -12 to 12dB. Controls the overall Digital effect mix of the programs in the 2112. Ranges from 0% to 100%. When Mix is set to Global mode, the <Mix> knob adjusts percentages of the stored mix of the programs.
Reverberation is probably the most widely used effect because it allows you to simulate the sound reflection characteristics of almost any kind of room. In a real room, reverb is a result of sound reflecting off room surfaces such as the walls, floor, ceiling, and objects in the room.The materials, size, and shape of the room determine how long these reflections echo and decay before dying out completely.These factors also help determine the audio characteristics of the room, such as how long the high-frequency reverberations ring when compared to the low frequencies, or how much initial "slapback" the room wall produces when a sound hits. Todays technology allows the 2112 to offer a complete palette of flexible, easy to use reverbs.There are five basic reverbs to choose from: 1) Reverb - Simple, straight ahead reverb with only the most basic parameters. 2) Dual Reverb - Multi-dimensional reverb with flexible frequency band-splitting capabilities.The reverb can be divided into primary and secondary stages using selectable High or Low Pass cross-overs. 3) Stereo Reverb - A true stereo version of the Reverb Module. 4) Stereo Dual Reverb - A true stereo version of the Dual Reverb 5) Gated Reverbs - A very linear, high energy reverb that can be set to decay, stay flat, or ramp up the reverb decay, creating many unique ambient effects. 6) Room Echo - A true stereo, multi-tap delay for creating small ambient spaces.The delays are divided into four sections of early reflections.These reflections can be placed anywhere in the stereo field and can be as dense or sparse as necessary.The Room Delay also includes a feedback loop for delay regeneration.

Prim & Secd Damp

Low Pass
Prim & Secd Blend Decay

Prim & Secd Decay

Prim & Secd Size Prim & Secd Reflct

Delay A Delay B Delay C

Delay D Out A - D Bal A - D Shape Spread FB: Dly Amount Out L - R Prim Out L Prim Out R Secd Out L Secd Out R
Sets the length of time before hearing Delay Group C and Delay Group D. Ranges from 0 to 120 milliseconds. Controls the output level of the Delay Groups. Ranges from Off to 100%. Controls the left/right balance of the Delay Groups. Ranges from -99 to 99. Selects the shape of the output levels for the delay group taps. Shape selections are: Flat, Peak, Decreasing, Increasing, Shelf, and Reverse Shelf. Controls the width of the effects stereo imaging. Ranges from 1 to 10. Sets the amount of time before the delay is fedback in. Ranges from 0 to 170 ms. Sets how much delay is fedback into the signal. Ranges from Off to 50%. Adjusts the overall level of the left/right side of the reverb. Ranges from Off to 100%. Adjusts the overall level of the left side of the Primary reverb. Ranges from Off to 100%. Adjusts the overall level of the right side of the Primary reverb. Ranges from Off to 100%. Adjusts the overall level of left side of the Secondary reverb. Ranges from Off to 100%. Adjusts the overall level of the right side of the Secondary reverb. Ranges from Off to 100%.

CHORUSES AND FLANGERS

Both choruses and flangers use a Low Frequency Oscillator (LFO) to produce their rich, swirling effects.When you change the speed and depth Parameters of modulation effects, you're actually controlling the frequency and amplitude of the LFO.These settings determine the rate and intensity of the modulation effect. In general, here's how choruses and flangers work: after entering the Module, the source signal is split into two paths. One is allowed to pass through the Module unaltered, while the other is delayed and pitch modulated.The modified sound is then sent to the output, along with the original. In Fig. 4-1 below, a sine wave is used to modulate the pitch of the split sound source. The Dual Chorus creates two different pitch voices, while the Octal Chorus creates eight voices for extremely full, rich sounds.

P I T C H

A delay produces discrete, repeating echoes of the source material at a specified interval. In digital delays, the input signal is "sampled" or recorded into memory, where it is held for the amount of time you specify with the delay time setting, after which the sample is replayed at the output.The 2112 delays have a feedback meter that is used to send a portion of the delayed signal back to the input to be re-recorded along with new source material.The feedback setting determines how long the delay repeats take to decay to inaudibility. WHEN DO I USE DELAY? When your the Lone Guitarist in a band, the Delay can be your best friend.The Delay repeats can create the illusion that there is more than one guitar being played. One trick to using delays effectively is setting the delays to fall in time with the music.This used to mean grabbing a calculator, dividing 60 by the tempo (beats per minute), then dividing that answer by the desired sub-beats. Sound like a hassle? Yeah, we thought so too. So the 2112 takes care of all the calculations for you! Suppose you want the delay to decay as triplets in your music. Simply go to any program and select the delay module using the <Edit> button.Turn the <Page> button (you should now see the delay time parameter displayed on
the screen). Now turn the <4> "TapIt" parameter knob to activate. Now press the <TapIT> on the downbeat of each triplet.You can "TapIt" as often as you like to make sure you really nail that downbeat. The delay time will be automatically measured and since the Delay is set up so that DlyA=33%, DlyB=67% and DlyC=100% (DlyD is not used in this program), you'll hear a triplet delay that matches the beat of your music. If you feel like your delays are just a little off, simply use the <Program/Effect> wheel to tweak the delay time parameter into perfect synchronization. Remember that only one parameter needs to be adjusted. Delays A, B, C, and D will be automatically scaled to the new delay time! Another common use for delay is for stereo imaging.Very small amounts of delay (10-25ms) can be used to make a signal sound like it is panned to one side.This trick works because of the way the brain interprets sounds. When your left ear hears something before the right ear, it thinks that the source of that sound is found somewhere to your left.You can also use delays set at 30-60ms, which spreads a sound to the extremes of the stereo image. Be careful with this technique if your mix has a chance of being listened to in mono.

DELAY PARAMETERS

FX: Lvl Dry: Lvl Balance Dly Time Controls the signal input level fed to the Module. Ranges from Off to 100%. Controls the level of the dry (uneffected) signal. Ranges from Off to 100%. Controls the positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right). Sets the maximum delay time available to each delay voice. For example, if DELAYTIME is set to 1000 ms, each delay voice can be set from 0 to 100% of that delay time. Ranges from 0 to 1.4 seconds (Maximum delay times differ between 4th, 3/4, HLF, and FUL module Types.) Half bandwidth delay times automatically double the set delay time used used. Controls the fade time of the delay repeats. Higher settings take longer to fade out, while a setting of zero could be used to limit the delay to one repeat per voice.The delay provide both positive and negative feedback settings. Ranges from -99% to +99%. Allows you to change DELAYTIME in real-time, by tapping the TAPIT button at the tempo you want. Delay voice percentages do not change when using this control. Sets the spread of Diffusion of the Delay Repeats. Ranges from 0 to 100%. Selects where the Low Pass Filter is positioned within the Delay Module. Positions are: Pre Delay or Post Delay. Selects the Frequency band that appears in the LPF. Ranges from 25 Hz to 20 kHz. Controls the output gain of the LPF. Ranges from -12 to 12. Controls the percentage of DELAYTIME allocated to delay voices A and B. For example, if DELAYTIME (above) is set to 1000 ms and DLYA is set to 75%, the voice A delay time is 750 ms. Remember, each voice in the Module can have any delay time up to 100% of DELAYTIME. Ranges from 0% to 100%. See Dly A - B. Adjusts the overall level of the Delay. Ranges from Off to 100%. Controls the stereo soundfield placement of the delay. Ranges from -99 (all left) to 99 (all Adjusts the left or right output level of the Delay. Ranges from Off to 100%. Adjusts the output level of delay voice A or B. Ranges from Off to 100%.
TapIt Smear LPF Frequency Gain Dly A - B
Dly C - D Out Pan right). Out L - R Out A - B
Pan A - B Out C - D Pan C - D Out LA - LB Out RA - RB Out LC - LD Out RC - RD
Controls the stereo soundfield placement of delay voice A or B. Ranges from -99 (all left) to 99 (all right). Adjusts the output level of delay voice C or D. Ranges from Off to 100%. Controls the stereo soundfield placement of delay voice C or D. Ranges from -99 (all left) to 99 (all right). Adjusts the left-side output level of delay voice A or B. Ranges from Off to 100%. Adjusts the right-side output level of delay voice A or B. Ranges from Off to 100%. Adjusts the left-side output level of delay voice C or D. Ranges from Off to 100%. Adjusts the right-side output level of delay voice C or D. Ranges from Off to 100%.

MIDIandFUNCTIONSthe Guitarist has taken on so many new responsibilities, his or her equipment has In this day age where the role of
to be fast, and has to be able to communicate with other devices at the drop of a hat. So, we at Digitech have given the 2112 all of the MIDI goodies that your heart may desire.

SETTING THE MIDI CHANNEL

This option sets the MIDI Channel that the 2112 will respond to MIDI program changes and CC messages. MIDI Channel settings include: Off, 1, 2,.15, 16, and All. To change the MIDI channel assignment, do the following: Go to Page 3 of the Utilities menu. The display reads:

Prg Rcv Map:MIDI= User

L/R OUTS L/R OUTS
Use the <3> knob to select the MIDI Program change number you want mapped. Note that the number under 2112 USER changes along with the MIDI number. Use the <4> knob to select the 2112 Program you want the selected MIDI Program change number to recall. As this number increases above Program 100, note that 2112 USER changes to 2112 FACT, indicating that the mapped number will recall the indicated Program number in the Factory bank.

MIDI: RcvChnl

TransChnl

1%kHz msdB

Use the <2> knob to select the MIDI channel number you want your 2112 to receive on. Use the <4> knob to select the MIDI channel number you want your 2112 to transmit on.

PROGRAM TRANSMIT MAP

With the Program Transmit Map function, you can use your 2112 to control patch changes of your other effects devices. So if you are using the FX loop of the 2112 to create your sound, when you call up a program in your 2112, the appropriate programs in your other FX units will also be recalled. To remap a MIDI Program change number to a Program number, do the following: Press <Utilities> ,and scroll to Page 3 of the Utility Menu using the <Page> knob.The display reads:

MIDI MERGING

MIDI merging allows incoming MIDI data to be merged with any MIDI data generated by your 2112 before being sent to the MIDI Out/Thru port. Selecting the MIDI Merge option can be accessed in Page 6 of the Utilities menu. Once there, the display will look like this:

6 OF13

SysEx Channel

MIDIMerge

WAH TUBE

PROGRAM RECEIVE MAP

The Program Mapping features of the 2112 allow you to access any of your 2112s 224 Programs using the standard 128 Program Change commands through MIDI. From the Factory, the 2112 is set to access User Programs 1 through 100 using MIDI Program change numbers 1 through 100. MIDI Program change numbers 1 through 28 access the Factory Program bank. To gain MIDI access to other programs not mentioned and Bypass you must use the program mapping feature. To remap a Program number to a MIDI Program change number, do the following: Press <Utilities> ,and Scroll to Page 4 of the Utility Menu using the <Page> knob.The display reads:

Using the <2> knob, you can turn set your 2112 to output either a stereo or mono signal.
CONFIGURING THE PEDALBOARD
The optional Control One foot controller can help you get the most out 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 convention MIDI pedalboard controllers. The Control One includes 12 footswitches for program and parameter control. It also features a built-in Expression Pedal. An external expression pedal jack allows you to add a second passive volume pedal for even more real-time control of your sound.The large 20 character display constantly feeds you important information like Program names or Tuner indicators.
CONNECTING THE CONTROL ONE
The Control One uses a standard 5-pin DIN cable (like those used for MIDI) to communicate with the 2112. Simply connect the Control One output jack to the 2112 Input jack (when the unit is powered down) and youre ready to roll! NOTE: Never plug anything other than a Control One into the 2112's Foot Controller input jack. (Voltage is present at this jack). If you choose to use a second expression pedal with the Control One foot controller, simply plug a cable from the pedal's output to the Control One's Ext pedal input. Voltage Control pedals (such as the DOD FX-17) can also be used with the Control One.You will need to connect the Control One to the CV Out of the expression pedal instead of the audio output.

EXPRESSION PEDAL NAMES

With the 2112 being able to accommodate up to 3 Expression pedals, the pedal names change if the Control One is used.The Names are as follows: Exp1 = Expression pedal input on the rear of 2112. When the Control One is not connected Exp1 = Internal Expression on Control One (When the Control One is connected) Exp2 = External Expression pedal insert on Control One (When the Control One is connected) Exp3 = Expression pedal insert on the rear of the 2112 (When the Control One is Connected).

REQUEST PARAMETER VALUE (17h) SYS_HEAD 17(h), aa1, aa2,bb1, bb2, F7(h)
Effect Modules Position Effect Parameters Position
When a Request Parameter Value procedure is received, the 2112 will respond with a Receive Parameter Value procedure. RECEIVE PARAMETER VALUE (18h) SYS_HEAD 18(h), aa1,aa2, bb1, bb2,cc1, cc2, F7(h) aa bb cc Effect Modules Position Effect Parameters Position Parameter Value
The Receive Parameter Value procedure is used to load Parameter Values into the 2112. Please refer to the Parameter Charts for more information. REQUEST ALL CURRENT PARAMETER VALUES (23h) SYS_HEAD, 23(h), ww1, ww2, F7(h) When ww= 7F(h) All modules parameters will be requested. When ww= 68(h) (position of the module minus 1), only that modules parameters will be requested. ww Requested Modules parameter Values When a Request All Current Parameter Values procedure is received, the 2112 will respond with a Respond All Current Parameter Values procedure. RECEIVE ALL CURRENT PARAMETER VALUES FOR CURRENT PROGRAM (24h) SYS_HEAD, 24(h), nn1, nn2, ww1, ww2, mm1(1st), mm2(1st), aa1(1st), aa2(1st), dd1(1st)(1st), dd2(1st)1st,. dd1(1st)(wth) ,dd2(1st)(wth),. mm1(xth),.mm2(xth), aa1(xth), aa2(xth), dd1(xth)(1st), dd2(xth)(1st),. dd1(xth)(wth),dd2(xth)(wth), F7(h) When ww= 7F(h) When ww= 68(h) nn ww mm aa dd All modules parameters will be received. (position of the modules minus 1), only that modules parameters will be received.
Number of Modules. Modules User requested. Indicates the beginning of the xth Module. Number of available parameters in the FX Module. Current value for the wth parameter.
The Receive All Current Parameter Values procedure is used to receive Parameter Values from the 2112 for the currently selected program. Warning: Sending data that was retrieved from a different program will delete the memory. Be sure to only send data that was received from the same program. REQUEST MODULE CONFIGURATION (25h) SYS HEAD , 25 (h) , F7 (h) When a Request Module Configuration procedure received, the 2112 will respond with a Respond Module Configuration procedure.
RESPOND MODULE CONFIGURATION (26h) SYS HEAD , 26(h) , nn1, nn2, cc(1st)1,cc(1st)2, ee(1st)1, ee(1st)2,. cc(nth)1, cc(nth)2 , ee(nth)1, ee(nth)2, F7(h) nn Number modules present in the algorithm cc Class I.D. of the nth module in the algorithm ee I.D. number of the effect currently loaded in the nth module (see pg. 12 for ID numbers) Class I.D. Numbers for 2112 00(h) Preamp 01(h) 1/4 Effect Module 02(h) 1/2 Effect Module 03(h) 3/4 Effect Module 04(h) Whole Effect Module
RECEIVE KEY SCAN CODE (54h) SYS_HEAD, 54(h), cc, F7(h) cc Code for the Key Scan (note: there is only one byte, not two)
The Receive Key Scan Code procedure is used to emulate a button press on the front panel of the. See the Key Scan Code Maps (page 11) for a list of Key Scan codes. RECEIVE HOLD KEY SCAN CODE (55h) SYS_HEAD, 55(h), cc, 68, F7(h) cc Code for the Key Scan (note: there is only one byte, not two) 68 Time key is pressed expressed in 0.1 seconds increments (note: there is only one byte, not two) The Receive Hold Key Scan Code procedure is used to emulate a button press and hold on the front panel of the 2112.The device will respond with a Receive Key Accepted procedure. RECEIVE KEY ACCEPTED (56h) SYS_HEAD, 56(h), cc1, cc2, F7(h) cc Code echoed for the Key Scan received. (00(h) if key is invalid)