![]() ![]() The speaker emulation in the 2101 is very impressive, even today, and it only functional when using the XLR outputs. My two biggest complaints about the 2112/2120 are the removal of the hardware speaker emulated outputs, (which was substituted by software speaker emulation which was terrible in comparison), and the removal of the XLR balanced outputs. I personally think the preamp section is better sounding on the 2101 versus the 2112/2120, though all are awesome if programmed well. It's really impressive to think that back in 1994 DigiTech created a preamp/processor that allowed the user to arrange the effects chain in any order, only really limited to available DSP. The 2112/2120 has that real cool ability to run two parallel preamps, which is a huge feature, however the 2101 is otherwise a more flexible unit overall. I think one of the primary goals of the 2112/2120 line was to make them easier to program than the 2101. I've put a lot of time with my PCMs these past few days and the GSP2101 isn't doing much in my signal chains.just controlling midi PC and CC with some front of pre fx. I have an ipad remote work in progress capable of such resolution.but not yet do I have an expression pedal capable of such a thing. I hope to find a way to feed SysEx resolution expression control through the PCMs. Nor do the Pitch FX compare the tracking on the PCM81 (or likely a PCM80 with a Pitch FX card (I have an 81 and an 80 but not PitchFX card)) just blows the 2101 away. Again, the end resulting sound really does not compare. I suppose that is how the reverb in the 2101 is "limited". Chamber? Hall? Plate? Concert Hall? These are beyond the "shape" parameter. Further, you are "stuck" with whichever Lexicon algo Harmon allowed to go in the 2101. The parameter resolution on the PCMs is incredibly high, whereas the GSP2101 parameter resolutions are "specifically designed for guitar" with huge jumps in unit values. The reason I ask is because the algo routing and programming of a Digitech 2101 GigaVerb does not at all resemble a Lexicon PCM8x shell and core. This would include the wrap around sub menu digitech used. The depth of the menu systems on the GPS units. We never could have programmed the lush sounds with out S-disk cpu's had the very first wrap around menu.Īnd the depth of the menus had been golden back then. The S-Disk CPUs had been released to the public Made the units more complex do to the Audio CPU's.ĭNA cpus I think they are called? Willing to guess The RP units mostly are trimmed back 2101 / 2120 unitsĪnd as things got near the last run of production they I am guessing that Digitech / Lexicon had been doing some If you look on the RP and or the GNX units says they use Lexicon algorithms. Not Full scale Lexicon good?īut pretty darn good for a $750 two rack space guitar preamp. Samsung owns both Lexicon andĭigitech now, so this made me think it all out before hand how the algorithms The Digitech units used the Lexicon reverbĪlgorithm across the board I am pretty sure. I had to use two Uptown technologies Flash units Then added two Studio Quads for more effects. I used the 2101 all maxed out with one algorithm for reverb and mixing mostly. When I'm feeling really nostalgic I can still plug into it from the front and experience it in all its glory.The S-Disk units and the S-disk II units have a limited Lexicon reverb algorithm. I can use it for some ambient reverb or delay in parallel with an incoming signal from something else. I still have it in my home studio gear rack running into one of the mixer's FX busses. The Multi-Tap delays were truly great and really fun to use and the Verbs were damn good for a box of its ilk. Modulations were weak but, again, serviceable for 80's era. BUT, it was just wild how much less the EQ made that distortion suck, it should have been MUCH worse than it actually was, I mean it sounded fake and solid state but it was serviceable tone-wise for processors at that time. Don't get me wrong, it definitely was NOT a good preamp. The amazing thing was the patches covered a wide variety of styles and genres by combining this goofy buzz generator with the simple two band parametric EQ. It should have just been called "buzz" because because that's what it was. it basically had one single "distortion" available on all FX chains called "balls". The thing that amazed me about it was that it was a dramatic example of how powerful even a simple two band parametric EQ really can be. ![]()
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