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Section 2 - The Basics

AUDIO CONNECTIONS
Guitar Inputs - The GSP-2101 Artist provides two jacks to choose from when connecting your guitar. One on the front, and one one the back (see diagrams 2-4 & 2-5 ). They are identical except that the front input jack takes priority over the rear input jack (i.e. when you use the front jack, the rear jack becomes inactive). The rear jack is provided for those who "hard-wire" their equipment into racks and prefer to run their cables behind the equipment instead of the across the front. 2101 Outputs - The GSP-2101 Artist includes both balanced 1/4" and XLR outputs (see diagram 2-5). The 1/4" outputs are commonly used to feed a guitar amp(s), and the XLRs are usally connected to a mixing console (in both live and recording studio situations). Be sure to keep levels low to avoid possible speaker damage when making these audio connections. 1/4" vs. XLR Outputs - These outputs are identical except, the Active Speaker Compensator circuit only effects the XLR outputs. This allows a player to run an amp set-up on stage, while simultaneously sending signal to a mixing console using the Active Speaker Compensator. FX Loop - The GSP-2101 Artist provides a programmable line level mono send/stereo return FX loop (see diagram 2-5). This allows you to insert additional processing into the 2101's signal path. The signal leaves the box after the Preamp and EQ circuits, and returns just before the A/D convertors for the digital processing (see Block Diagram ). Although the A/D converters usually only receive a mono signal from the analog section, the FX Loop Returns can be used for either mono (left jack only) or stereo applications (both jacks). How the FX Loop Returns signals combine with the original signal can be defined and stored into each Program, using the following settings: Bypass - The FX Loop Returns are off, and completely ignored. Summed - The FX Loop Returns are summed together with the original signal using a 50:50 ratio. No Sum - If plugs are connected to the FX Loop Return jack(s), they are the primary signal source. If there is no signal present at these jacks, you don't hear anything from the GSP-2101 Artist. When the jacks aren't used, No Sum behaves the same as the FX Loop Bypass setting. Every Program in the 2101 has the FX Loop set to bypass, so you will need to turn the loop on in each Program that requires the external processing. See Editing Effects on pg. 13 for information concerning parameter editing. Active Speaker Compensator- The GSP-2101 Artist includes special circuitry before the XLR and Headphone outputs that simulates the sound of microphoned guitar cabinets. The Active Speaker Compensator is engaged when the button next to the XLR out jacks is pressed in. This circuit is extremely useful for recording studio applications, or connecting the 2101 directly to the mixing console in live applications. Guitar speakers are not flat, full frequency transducers. The Active Speaker Compensator simulates the frequency response and behavior of a common 4 x 12 Cabinet, giving you true guitar speaker sound without extra baggage! Phantom Power - The GSP-2101 Artist has no need for Phantom Power supplied by mixing consoles. If your console doesn't allow you turn off Phantom Power to individual channels, don't worry, the 2101 will survive. However, with all equipment exposed to Phantom Power, you should always engage the Phantom Power AFTER all audio connections are completed.

While turning the distortion OFF gives you a clean sound, many guitarists prefer the sound of the tube when it is not overdriven. We call this the Clean Tube setting. It uses the first 12AX7 tube and has one gain control. This clean setting can still be used for very subtle distortion when Gain1 is set very high. Solid State Distortions: The GSP-2101 Artist has three solid-state distortions. These three distortions are: OVERDRIVE - A gentle overdrive with extra punch for bluesier tones. HEAVY SUSTAIN - Smooth, warm distortion sound with a lot of sustain. Great for really smooth lead tones. GRUNGE - This has tons of gain with loads of bottom end, while still remaining tight and highly focused. Distortion Parameters are as follows: Effect On / Off: Turns the Module on or off. When Modules are turned off, their Parameters are not displayed. To see the Parameters, you must turn the Module on. Distortion Type: Selects the type of distortion to be used in the Program. They are: SATURATED TUBE , DISTORTED TUBE , CLEAN TUBE , HEAVY SUSTAIN, and GRUNGE Distortion Gain(#): Controls the gain stage(s) of the distortion. Solid state distortions have one gain stage, and tube distortions (except CLEAN TUBE) have two. In tube distortions, GAIN1 and GAIN2 act independently to produce different tonal characteristics at different setting combinations. Analog 7-band GEQ: Included in every 2101 Program, is a seven-band analog graphic equalizer with 12 dB cut or boost in 2 dB steps. Frequency centers are: 80, 160, 320, 640, 1.28k, 2.56k, and 5.12k Hz. Use the [NEXT] and [PREV] keys to select the frequency you want to modify. Use the Data wheel to boost or cut the selected frequency.
DIGITAL NOISE GATE AND WET/DRY MIXER
There are two digital effect modules present in every GSP-2101 Artist Program: The digital noise gate and the wet/dry mixer. The digital noise gate uses DigiTechs Silencer technology, and is used for eliminating excess noise or creating special effects. This module appears in the FX Library when creating your own Algorithms. There may be some unique applications where you want to place a noise gate somewhere else in the effect chain. For more information on noise gate Parameters, see pg. 36. The wet/dry mixer control is used to quickly change the overall effects level of a Program. If a Program has too much effect for your taste, press the [MIX] button, and the 2101 will jump to the wet/dry Parameter screen. Use the Data Wheel to adjust this relationship. Remember to store the Program after you change it (see pg. 17).

DIGITAL EFFECTS

All digital Modules can be placed anywhere in a signal path, and routed any way you choose. This flexibility puts S-DISC processing in a class of its own.

LFO Waveform Type: Controls the LFO waveform pattern of the phasing effect. SINE produces a smooth sine wave-type phasing with even transitions in and out of the turnaround points. TRINGL is a linear phasing effect, and ramps the pitch of the wave up and down with no slowing at turnaround points. LOG and EXPN waveforms offer a more intense sound characteristic unique to the GSP-2101 Artist. Wahs Effect On / Off: Turns the Module on or off. When the Module is turned off, its Parameters are not displayed, but signal will continue to pass through the module. To see the Parameters, you must turn the Module on. Level: Controls the overall level of the wah effect. Varies from 0 to 100. Sensitivity: Adjusts the sensitivity of the detection for the automatic wah. High SENSITIVITY settings cause the wah filter to open wider. Low settings limit the wah filter range. Varies from 0 to 100. This Parameter appears only in the automatic wah Module. Pedal Position: The PEDAL POSITION Parameter reflects the current setting of the continuous control device used to control the wah effect. This Parameter can be modified manually using the Data wheel or by using a continuous control device (such as the optional DigiTech Control One) to perform the wah function. As the Parameter is modified, the tone of the original note will change, exactly like using a stand-alone wah pedal. Ranges from 0 to 100. Duckers Effect On / Off: Turns the Module on or off. When the Module is turned off, its Parameters are not displayed but, signal will continue to pass through the module. To see the Parameters, you must turn the Module on. Control Threshold: Sets the minimum input level required to trigger the ducker (this Parameter can be thought of as the ducker sensitivity). Higher settings of CONTROL THRESHOLD require higher input levels to trigger the ducker. Lower settings make the ducking effect easier to trigger. Ranges in 1 dB step from -100 to 0 dB. Hold Time: Controls the amount of time before the ducker disengages after the signal has stopped. Varies from 0.000 to 5.000 seconds. Attenuation: Adjusts the amount of level attenuation applied to the ducked effects when the ducker is engaged (ducker is engaged when the input level exceeds the setting of CONTROL THRESHOLD). Adjustable from -100 dB to 0 dB. Attack Rate: Sets the amount of time over which the ducker will reach full attenuation. Adjustable in milliseconds from 0.00 to 14.00 seconds. Release Rate: Sets the amount of time over which the ducker will disengage. Adjustable in milliseconds from 0.00 to 14.00 seconds.

Chorus Modules may require about 50 CPU and 10 RAM blocks, but since we only need one, there should be plenty of space for a small reverb. After adding the chorus to the Algorithm, you are left with 115 CPU and 152 RAM blocks.
Algorithm Construction Hints: Building an Algorithm is much like having a large rack full of individual effects and patching them all together with dozens of patch cables. We have found that if you don't prepare for this task, it can be a little overwhelming. Use the following hints to make this task much easier. Study the Factory Algorithms - We have mentioned this in other sections of this manual, but it can never be said too often. The Factory Algorithms are designed by professionals who know what they're doing. Examine their work and learn! Diagram your Algorithm Structure - This will help you avoid confusion, while pulling all the pieces of your Algorithm together. You don't have to possess a technical degree to do this. Simply draw boxes that represent your effects and how you want to connect them together (see fig. 4-2). Since Algorithms can be shared across several Programs, it can be advantageous to place extra FX modules in your Algorithm for optional use. For example, you may want to have the Algorithm as diagrammed below, but use a dual chorus sometimes in place of the dual detune. Use both and replace the 3x3 mixer with a 5x3 mixer. This way you can pick which one you prefer (or both!) and use only one Algorithm.

Algorithm Use Input PEQ

Dual Dtn

4tap Dly 3x3 Mix

6x2 Mix

Left Out Right Out

Fig 4-2 Entering/Exiting Edit Mode: Although the GSP-2101 Artist can be edited in many ways to your needs, only when you are modifying Algorithms are you actually in an area called Edit mode. Once in Edit mode, signals are no longer able to be processed. Everything gets put on hold while you modify User Algorithms. Once you exit Edit mode, everything returns to normal. To enter Edit mode, do the following: From the Program Title screen, press the [NEXT] button once to locate the Algorithm Select screen. It looks something like this:
F 2:PchCho4Dly Pa* Comp Dist EQ FxL NGt Pch 2x1 4PCch 5x2 Dly2 Pan 4x2 MMix
Pressing the [ENTER] button once. The Edit LED lights and the display reads:
Entering edit mode, Please wait /

followed by:

Edit Algorithm: Modify Current Alg Create New Alg Exit Edit Mode
You can now select whether you want to modify the current Algorithm, create a new Algorithm, or Exit directly out of Edit mode. Edit LED indicator - This LED is located in the Display Window (see pg. 12) and indicates (when lit) that you are in Algorithm Edit mode. This LED lights when performing operations like adding or deleting effects Modules from an Algorithm or when naming an Algorithm. Once you are in Edit mode, you can exit by pressing the [3] button. If you have made any changes to the Algorithm, the display reads:
Save Changes ? Yes Edit Exit
This prompt allows you to save the algorithm, return to the Edit mode, or exit the Edit mode without saving any of the changes you made. Adding FX Modules: Adding effects Modules to an Algorithm is like placing a group of objects on a table for later use. They are not arranged in any specific order (although you can use AutoLinkif Modules are added to the Algorithm in an order that reflects the way they will be routed), and there are no inputs or outputs connected. Once all the Modules that you want to use have been added, you can begin the Linking process. NOTE: There are a few conditions that will prevent you from making changes to existing Algorithms. For instance, if an existing Algorithm is used by more than one Program, you will only be allowed to temporarily add or delete effects Modules to and from the Algorithm. Permanent changes to the Algorithm can only be saved as a new Algorithm that contains all the elements of the Algorithm you modified originally. This safety fea ture prevents you from accidentally modifying Programs by making changes to their assigned Algorithms. The GSP-2101 Artist will allow changes to be saved to an existing User Algorithm if it is used by only one Program. Any modification attempts under any other circumstances will be deferred to a new Algorithm.
To add effects Modules to an Algorithm, you must first enter Edit mode. Edit mode is reached by scrolling to the Algorithm screen (one screen to the right of the Title Screen) and pressing the [ENTER] or [ADD] button. IMPORTANT: Do not confuse Edit mode with the mode in which Parameter values are modi fied. The term Edit mode is used only when referring to Algorithm editing. Changing Parameter values is called Program modification. To add effects Modules to an Algorithm, start from the title screen and do the following: Switch to Edit mode by scrolling to the Algorithm screen (one screen to the right of the title screen) and pressing the [ENTER] button once. The Edit LED lights and the display reads:

PPC-210 USERS ONLY: Because the PPC-210 adds a second S-DISC to your GSP-2101, it is possible to link effects not only in the normal ways (series, parallel or any combination of series/parallel), but across S-DISCs as well. This means that any of the outputs from Modules residing in S-DISC 1 can be routed to any of the inputs of Modules residing in S-DISC 2, and vice versa. There are limits on the number of these cross-linkages however (the average is about 10 in each direction, depending on memory constraints), so we recommend you keep them to a minimum. Its also easier and less confusing to build a signal path straight through S-DISC 1 before proceeding to S-DISC 2. Also, AutoLink will only perform one cross-link, and only at the end of the S-DISC 1 signal path (between S-DISC 1 and S-DISC 2). REMEMBER: Seamless Program changes will not occur when switching to or away from a Program that uses a dual S-DISC Algorithm.
Storing an Algorithm: Once the Modules of an Algorithm are Linked, you must save the Algorithm to retain your changes. This is done with the [STORE] button (in the Edit section of the front panel). Do not exit Link mode to store Algorithms. To store an Algorithm in memory, do the following: From Link mode, press the [STORE] button once. If the currently selected Algorithm name is already in use, the display will briefly read:
Algorithm name is already in use
after which you are automatically placed in Name mode. Give the Algorithm a new name (using the naming procedures covered on pg. 16) and press the [STORE] key again. The display briefly reads:

SAVING ALG /

after which you are automatically returned to the Algorithm select screen.
The Algorithm is now saved in memory for use with Programs. When you exit, the GSP-2101 Artist selects the newly saved Algorithm for use in the Program that you return to. Why cant I copy over an existing Algorithm? The GSP-2101 Artist keeps track of where Algorithms are used. Since Algorithms can be used in various Programs, things can become a little confusing if youre not careful. For example, suppose Algorithm A contains a reverb, a chorus, and a flanger, and that you want PROGRAM 1 PROGRAM 2 PROGRAM 3 to replace the reverb with a multi-tap delay. Since Algorithm A is used by more than one Program, modifying the Algorithm might cause both Programs 1 and 3 to change. On a larger scale, imagine what would happen if 25 or 30 Programs used the same Algorithm, and you were allowed to modify it. The results could be disastrous.

Number of S-DISCs: Dual Alg Dual -> Single Exit Edit Mode
The Algorithm has been successfully converted to dual S-DISC, giving you twice as much space for effects. Adding/Deleting Effects Modules in Dual S-DISC Algorithms (PPC-210 Users Only): The procedure for adding/deleting effects Modules to dual S-DISC Algorithms is identical in many respects to the conventional method. The main difference is that if the Algorithm uses two SDISCs, you must specify the S-DISC to which you want to add/delete the Module. Lets add a Gigaverb to S-DISC 2 as an example. After entering Edit mode, the display should read:
Press [REVERB] three times. The display reads:
ADD: (Won't fit) GigaVerb Press ENTER to ADD
The character in the upper left corner of the display indicates that when you press [ENTER] (and if theres room), a GigaVerb Module will be added to S-DISC 1. Press [ADD] once. Note that the character has changed to a character and the (WONT FIT) is replaced by the name of the Module. This indicates that when you press [ENTER], the GigaVerb Module will be added to S-DISC 2 (you can select either S-DISC by pressing the [ADD] key repeatedly). If a Module doesnt fit in , try. Press [ENTER] to add the GigaVerb to S-DISC 2. The display briefly reads:

Followed by:

You can continue to add/delete Modules as described above until both S-DISCs are out of memory and / or processing blocks. NOTE: If you find that youre still running out of room, try adding your Modules in a different order. Sometimes its possible to fit more Modules in an Algorithm just by changing the screen order. Remember that the order of the Modules on the screen doesnt really matter (except when using AutoLink) because you can manually Link any output to any input. Seamless Program Changes (PPC-210 Users Only): When you use a GSP-2101 Artist with a PPC-210 installed, you gain the capability of having your Programs change seamlessly from one program to another. This makes for very natural sounding Program changes. This feature only works when switching from a Program that uses a Single S-DISC Algorithm to a Program with a Single S-DISC Algorithm. Anytime a Dual Algorithm is involved, seamless Program changes are not executed. Ramp and Hold times can be set (see pg. 85) to create unique sound possibilities. Setting up a Sound on Sound type Program with a long Hold time allows you to select a new Program and hear both Programs at one time (the remaining audio from the Sound on Sound Program and the newly selected Program).
Section 5 - The GSP-2101 and MIDI
MAIN MIDI RECEIVE CHANNEL
The GSP-2101 Artist MIDI Channel Parameter allows you to select the MIDI channel on which the GSP-2101 Artist will receive MIDI data. This can be set to channels 1 - 16, ALL, or NONE. If this Parameter is set to ALL, MIDI data received on any MIDI channel will be recognized. If it is set to NONE, the GSP-2101 Artist will not recognize incoming MIDI data. To set the GSP-2101 Artists MIDI channel, do the following: Enter the MIDI setup menu by pressing the [MIDI] button once. The display reads:

LINKING PARAMETERS TO CONTINUOUS CONTROLLERS
Linking Parameters to external controllers has been specially designed to be extremely fast and simple. Up to 10 Parameters can be linked for each Program in the GSP-2101 Artist. This means that an external MIDI controller like the DigiTech MC2 MIDI Expression Pedal (which sends MIDI Continuous Controller data) or a MIDI sequencer can control the GSP 2101 Artist in real-time applications. For instance, these links could be used to control chorus level, sweeping from moderate to deep. Lets link MIDI Continuous Controller #7 (which set aside in MIDI world as a volume control) to a Parameter item. To link a Parameter to a MIDI CC, do the following: From Programs Title screen, use the [NEXT]/[PREV] keys to select the Parameter you want to link to a MIDI continuous controller (lets use Stereo Chorus Level from our example). When you have selected the Parameter you want to link, enter the LINK setup menu by pressing and holding the [MIDI] key. When you release the key, the display looks something like this:
Link:2 SCho Level is not linked
Using the Data wheel, select the CC number you want to control the Parameter with. The display looks something like this:
Link:2 Min/Max SCho Level Links to MIDI CC 7 Delete Link
After you have selected a CC number, set the min/max value by pressing function button [2]. The display looks something like this:
SCho Level Links to MIDI CC 7 Min Value 0 Max Value 100
Note the Min/Max settings that allow you to scale Parameter ranges to fit your personal taste. These values can be reversed so that the minimum MIDI CC value takes you to the maximum Parameter value. To change the MIN VALUE setting, press Function button [2]. A cursor appears under the value. Using the Data wheel, change the MINIMUM VALUE to the desired minimum Parameter value setting (the value of the Parameter when the CC pedal is in the full toe up position). To change the MAX VALUE setting, press Function key [3]. A cursor appears under the value. Using the Data wheel, change the MAX VALUE to the desired maximum Parameter value setting (the value of the Parameter when the CC pedal is in the full toe down position). Press the [MIDI] key to exit the Link setup menu. The display returns to the Parameter you left off with. Note that a small CC appears next to the Parameter name. This symbol tells you that the Parameter is linked to a continuous controller. At this point, you have successfully linked local CC #7 to control a Parameter. When you send MIDI CC #7 data (using the same MIDI channel the 2101 is set to receive), the GSP-2101 Artist sweeps smoothly between the two Parameter values you selected (MIN VALUE, MAX VALUE). Editing assigned Links is the same as for assigning a new Parameter, except that after you release the [MIDI] button, the Data wheel selects the Link you want to edit. Don't forget to store the Program to retain your changes.

NORMAL MIDI Program Load

To change the MIDI Program Load setting, press Function key [1]. When youre finished, press the [MIDI] button once to exit.
Section 6 - The GSP-2101 and the Control One
CONFIGURING THE PEDALBOARD
The optional Control One foot controller can help you get the most out of your GSP-2101 Artist. Since the Control One talks to the 2101 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.
Fig 5-1 The Control One uses a standard 5-pin DIN cable (like those used for MIDI) to communicate with the 2101. Simply connect the Control One output jack to the GSP-2101 Artist Foot Controller input jack and your ready to roll! NOTE: Never plug anything other than a Control One into the 2101s 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 pedals output to the Control Ones 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. Once you are are connected, you need to calibrate the pedal (see below). Pedal Calibration: Calibration procedures are the same for both the internal (built-in) Control One expression pedal and external pedals that can be connected to the Control One. They are as follows: Press the [UTILITY] key once. The display reads:

2101 & C1

Output Mode: Stereo Foot Controller
Press Function key [2] once. The display reads:
Patch Assignment LED Assignment Exp Pedals and CC Xmit Setup
Press Function key [3]. The display reads:

Exp Exp Exp and

Pedal Calibrate Pedal Min/Max Pedal CC Assign CC Xmit Setup
Calib Int Exp Pedal Calib Ext Exp Pedal
Select whether you want to calibrate the internal (built-in) CC pedal or an externally connected pedal by pressing the appropriate Function key. The display will look something like this:
Calib Int Exp Pedal Move Pedal Fully Down (Forward) and Press #1
This step sets the maximum value of the CC pedal when it is in the fully forward position.
Calib Int Exp Pedal Move Pedal Fully Up (Back) & Press #2
Move the pedal to its full back (toe up) position and press Function key [2]. When the display returns to the Utility setup menu, you have successfully calibrated the CC pedal. Press the [UTILITY] key to exit the Calibration mode.

Section 8- Advanced Applications

STUDIO HINTS

The GSP-2101 has two sets of outputs that do slightly different things. Both the XLR and 1/4 outputs provide great sounding audio signals, but the XLRs can also have the Cabinet Emulation enabled (see pg. 20). Having both sets of outputs at your disposal can make things a little easier for you in the studio. Most mixing consoles have input channels that accept both XLR inputs and 1/4 line inputs. By connecting the both the XLRs and 1/4 outputs to the mixing console, you can have the best of both worlds at the flip of a switch. Use the XLR outputs with the Cabinet Emulation engaged for your distortion tones. Then, switch to the 1/4 line inputs for crystal clean sounds when you dont need the Cabinet Emulation filters.
USING THE 2101 FOR STUDIO PROCESSING
The digital section of the GSP-2101 Artist is so powerful that it seems a waste to have it sitting around during mix-down after you have finished tracking your guitar parts. Well dont let it sit there! Put it to work! If youll remember, the 2101 has a stereo FX loop return. This means you have two inputs into the digital effects section. Simply connect a couple Aux Effect Sends from your mixing console to the stereo FX Loop return of the 2101. You can construct an Algorithm (or more!) that is better suited for you studio mix-down needs. Also remember to turn the Gate OFF (since it is looking at the guitar input for triggering information) and the Wet to Dry Mixer to ALL WET. The two inputs can be used for true stereo processing or for running two independent signal paths. A simple, yet very usable Algorithm is shown below:

Left Input Right Input

Big Verb Dual Chor

Fig 8-1

Advanced Apps
ALTERNATE SETUP CONFIGURATIONS
There are many basic ways to setup your GSP-2101 Artist. Using a single combo amp, perhaps two, or perhaps a stereo power amp with a couple guitar cabinets. But what if you already have a classic rig and you dont want to give up what it has to offer you. Well, the 2101 can interface into several situations. Here is an example: Suppose you own a 4x12 cabinet, with a classic sounding ( and plenty loud) Amp head. The Amp head has a great tone of its own, so you dont want to lose that. Plug your guitar into the input of the Amp head and then from the second input, daisy chain the 2101 input to the Amp head (if your Amp head doesnt have a second input, a -Y- cable will work just as well).
Now we are actually feeding the two pre-amps the same guitar signal. Most Amp heads have an FX loop, so lets put this to work for us. Use an instrument cable to connect the Amp heads FX loop out to the Left (mono) FX Loop return of the 2101. Take another cable and connect the 2101s Left Output (mono) to the Amp heads FX loop return. The whole wiring configuration should look something like this:
Fig 8-2 With this type of setup (it also, can be expanded to run is stereo ), you get both great pre-amps, and the Amp head now has digital effects it can work with. The programmable FX Loop in the 2101 becomes control central for this rig. Signal from the guitar always feeds both pre-amps, but the 2101s FX Loop decides what happens from there. If the Loop is set to BYPASS, the 2101s pre-amp becomes the principle preamp. When the FX Loop is set to NO SUM, the Amp head takes over.except that the Digital Effects section of the 2101 is still in the picture! Your old Amp head never sounded better! If you are real experimental, setting the FX Loop to SUMMED gives you usage both pre-amps.

Oct Oct 7th 6th #5th #4th 3rd 2nd Ref 2nd 3rd 3rd b5th b6th b7th Oct C B A G# F# E D C B A G# F# E D C Oct 6th 5th 3rd 2nd Ref 3rd 4th 6th 7th Oct C A G E D C A G E D C Oct b7th 5th 4th 3rd Ref 2nd 4th 5th 6th Oct C B G F E C B G F E C Oct 7th 5th 5th 4th 3rd Ref 2nd 4th b5th 5th 6th Oct C B G F# F E C B G F# F E C Oct 7th #5th #4th 3rd 2nd Ref 2nd 3rd 5th 6th 7th Oct C A# G# F# E D C A# G# F# E D C 7th 6th 5th #4th 3rd #2nd 2nd Ref 2nd 3rd 4th 5th 6th 6th 7th Oct
C B A G F# E E D C B A G F# E E D C
Oct 6th 5th 6th 5th 4th 3rd 2nd Ref 2nd 3rd 3rd 5th 5th 6th 7th Oct
C B A G# F# F E D C B A G# F# F E D C
Fig. 9-2 Memory Usage Chart On the following page is a list of all the Modules available in the GSP-2101 Artist and the RAM and CPU memory requirements for each. The values shown next to each Module are approximate, due to the fact that there are several other types of memory involved in the process of building an Algorithm. For the sake of simplicity, weve condensed these several different types into two basic groups: RAM and CPU blocks. There are instances where youll think you may just be able to squeeze another Module into an Algorithm (according to the memory usage chart), when the display of the GSP-2101 Artist will tell you that it wont fit. If any one of the other memory types are completely used, the GSP2101 Artist will tell you that the Module wont fit. When building your own Algorithms, try to leave a few blocks of extra space in each category. This will simplify the Algorithm-building process and eliminate memory questions at the same time.
RAM EQUALIZERS 6-Band Graphic 10-Band Graphic 15-Band Graphic Low-Pass Filter High-Pass Filter 1-Band Parametric 3-Band Parametric 5-Band Parametric Band-Pass Filter Notch Filter Cabinet Emulator REVERBS MFX Reverb BigVerb GigaVerb Gated Reverb Stereo BigVerb Stereo GigaVerb Stereo Gated Reverb DELAYS Mono Delay 0.5 Mono Delay 1.0 Mono Delay 2.0 Mono Delay 5.0 Stereo Delay 0.5 Stereo Delay 1.0 Stereo Delay 2.0 2-Tap Delay 0.5 2-Tap Delay 1.0 2-Tap Delay 2.0 2-Tap Delay 5.0 4-Tap Delay 0.5 4-Tap Delay 1.0 4-Tap Delay 2.0 4-Tap Delay 5.0 Modulated Delay Stereo Modulated Delay SAMPLERS Sampler 1.0 Sampler 2.5 Sampler 5.0 Stereo Sampler 1.0 Stereo Sampler 2.5 CHORUSES Mono Chorus Dual Chorus 4-Phase Chorus Stereo Chorus Stereo Dual Chorus FLANGERS Mono Flanger Dual Flanger 4-Phase Flanger Stereo Flanger PITCH SHIFTERS Pitch Shifter Dual Pitch Shifter Stereo Pitch Shifter Smooth Pitch Shifter Harmony Mono Detuner Dual Detuner Stereo Detuner 17 CPU 64 RAM Stereo Dual Detuner 17 4-Voice Detuner 9 Arpeggiator 78 Stereo Arpeggiator 156 Whammy 76 Programmable Wham. 76 Smooth Whammy 16 NOISE REDUCTION / GATES Silencer Noise Reduc. 1 Stereo Silencer NR 1 Noise Gate 1 Stereo Noise Gate 1 TREMOLOS / AUTO PANNERS Mono Tremolo 0 Stereo Tremolo 0 Auto Panner Way Auto Panner 0 PHASERS Mono Phaser 2 Dual Phaser 2 Stereo Phaser 2 4-Voice Phaser 8 OTHER Phase Inverter 0 Traditional Wah 0 Smooth Wah 0 Automatic Wah 0 Mono Ducker 0 Stereo Ducker 0 Tuning Reference 0 MIXERS 2x1 Mixer 0 3x1 Mixer 0 4x1 Mixer 0 5x1 Mixer 0 6x1 Mixer 0 7x1 Mixer 0 8x1 Mixer 0 10x1 Mixer 0 2x2 Mixer 0 3x2 Mixer 0 4x2 Mixer 0 5x2 Mixer 0 6x2 Mixer 0 7x2 Mixer 0 8x2 Mixer 0 10x2 Mixer 0 12x2 Mixer 0 14x2 Mixer 0 16x2 Mixer 0 2x3 Mixer 0 3x3 Mixer 0 4x3 Mixer 0 5x3 Mixer 0 6x3 Mixer 0 7x3 Mixer 0 CPU 16

PPC-210 users only:

The Following Programs appear only in PPC-210 equipped GSP-2101 Artists running version 2.00.00 or later software. 255 Gooey 2101 Treatment.F31 Quaalude Buzz Box.F32 Analog Kentucky.F33 Outer Limits.F33 Aint No Saint.F32 The Works.F31 Hide Behind My Bebop.F33 Sunrise in Okinawa.F31 Curiosity.F32 MuckVerb.F33 Analogged Blues.F33 Dirty Delay Heaven.F3 Eternities.F4 Chorus Cavern.F21 Canned AM Radio.F33
* If you are Upgrading your GSP 2101 to the 2101 Artist, the following presets have been deleted from 2.55.00 or later software. If you wish to keep these programs after the update, you may want to wite them down before the upgrade is performed. On Cloud 9. Edge of the Universe Studio Steel Clean Arena Solo In Arena Ultra Thick Chorus Small Brite Room Grunge Chorus Crunch Squealie Cat Scratch Nuggent All in the Family Comping Chor&Det
Master Volume VCA Compressor Distortion Analog Graphic EQ

Front Panel Input

Gain 1 Meter

Rear Panel Input

Output Level A/D Converter S_DISC Processor (DSP) D/A Converter 1/4" Output Left Headphone Output FX Loop Bypass, Summed, No Sum Cabinet Emulator 1/4" Output Right 3 Cabinet Emulator Cabinet Emulator Switch 3

FX Loop Send

FX Loop Return Right

FX Loop Return Left

Balanced XLR Output Left
Balanced XLR Output Right
Function. Basic Channel Mode Note Number Velocity After Touch Pitch Bender Default Channel Default Messages Altered True Voice Note ON Note OFF Key's Ch's
Transmitted 1-16 1-16 Mode 3 X X X X X X X
Recognized 1-16 1-16 Mode 3 X X X X X X X

Remarks Recorded

Control O Change O Transmitted via Control One pedal

Prog Change System

True # System Exclusive :Song Pos :Song Sel :Tune Common System :Clock Real Time :Commands :Local ON/OFF Aux :All Notes Off Mes:Active Sense sages :Reset Notes
1-128 O X X X X X X X X X

Internally mapped

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

O : Yes X : No

Specifications Digital Conversions: A/D Converter. 18 bit, 128 x oversampled delta-sigma stereo D/A Converter. 18 bit PCM Sampling Frequency. 48 kHz DSP Section: Architecture. Static/Dynamic Instruction Set Computer (S-DISC) Digital Signal Path Width. 24 bits (144.5 dB) Internal Data Path Width. 48 bits (289 dB) Dynamic Delay Memory. 256k x 24 bits (5.46 seconds) Static Delay Memory. 256 24-bit registers (5.33 milliseconds) Data ALU Processing. 12.3 MIPS Address ALU Processing. 18.4 MIPS Multiplier Size. 24 bits x 24 bits Input Section: Connector. 1/4 Unbalanced TRS Nominal Level. -8 dBu Maximum Level. +10 dBu Impedance. 470 kohms Output Section: Connector. 1/4 TRS or balanced XLR Nominal Level. +4 dBu Maximum Level. +18 dBu Impedance. 50 ohms General: Tubes: 12AX7A (2) Frequency Response. 20 Hz. - 20 kHz. 0.5 dB S/N ratio. Greater than 90 dB; ref = max signal, 22 kHz measurement bandwidth Total Harmonic Distortion. Less than 0.03% (1 kHz.) Memory Capacity: Factory. 140 Programs, 32 Algorithms User. 100 Programs, approx. 12 single S-DISC (7 Dual S-DISC) Algorithms PPC-210 Equipped. 100 user Programs, 36 factory Algorithms Power Requirements: US and Canada. 120 VAC, 60 Hz Japan. 100 VAC, 50/60 Hz Europe. 230 VAC, 50 Hz UK. 240 VAC, 50 Hz Power Consumption. 40 watts Dimensions. 19(482 mm) W x 3.5(88 mm) H x 10(254 mm) D Net Weight. 12 lbs. (5.44 kg.) Shipping Weight. 14 lbs. (6.35 kg.)

 

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