can range from low gain to thick and heavy while producing varying tones,
certainly with the help of having three different and unique â€˜Voices.â€™ Obviously keeping the Drive low will produce
only modest results, whereas pushing it to 1-oâ€™clock (its sweet spot) or beyond
(which produces more saturation) exposes the 112+ character best on a clean
a dirty channel, and with the 112+â€™s Drive low, the pedal works great as a tone
shaper and Treble Booster. The Voice
switch is what gives the 112+ balls â€“ center position introduces light bass for
a more vintage sound, left position has mid bass with a more modern sound and
punch, and right has more bass for a fatter sound (less Drive tends to work
best with that voicing, unless you like that heavy proto-metal quality). In all instances you get a very organic and
grainy tone. All three EQ knobs (bass,
mid, treble) have a very usable range and sound good, whether turned all the
way up or all the way down (12-noon = flat).
With plenty of headroom (the Level knob remains at 9-oâ€™clock in the demo
video), the best was to describe the 112+ in general terms is â€œa solid rock
tone generating pedal.â€ There are plenty
of tone options, but through a clean channel it is not high-gain; rather,
anything from light rock, to classic rock, to psychedelic rock would find good
use for the 112+. And, as stated, you
could add the 112+ on low gain to a high-gain channel or amp and use it as an
effective tone sculptor/treble booster.
Other tone features include a built-in buffer along, an insanely loud
volume output due to the built-in amplification stage, and high-quality op amps
to keep noise reasonably low.
The 112+ is a standard-sized pedal, measuring about 112
mm (L) x 65mm (W) x 60mm (H) with knobs (4.4 x 2.5 x 2.36 inches). The heavy-duty metal chassis has the unique
Demedash graphics with white knobs (a mix of retro and modern in its vibe). The five knobs (Drive, Level, Bottom, Mid and
Top) feel of heavy plastic and will withstand normal use and abuse. The
toggle switch that controls the Voices has decent stiffness when clicked from
one position and to the next. All knobs
have exceptional quality pots (smooth
and very solid when turned without any static or noise). The footswitch (on/off) produces a solid
click when engaged or disengaged. The
cable input/output and power supply all are located in the back, saving on
pedalboard space and keeping any cable inserts away from a stomping foot. The
112+ does not run on batteries and requires a 9VDC power supply while requiring
40mA of power.
The designer of the 112+
came up with this pedalsâ€™ concept while rewiring a solid state combo amp, giving
it a modified circuit for a â€˜monstrousâ€™ sound.
Based on that circuit as a starting point, Demedash Effects created a
pedal with three Voices, each of which introduces progressively more bass with
unique clipping stages. The â€˜lightâ€™ and
â€˜moderateâ€™ voices range from classic to more modern Rock, whereas the third
voice adds enough bass that it truly can be monstrous and heavy (fantastic for
stoner rock). That third Voice has a
particularly huge amount of headroom (although all three positions do), partly due
to the added bass, but certainly as a result of the power inputâ€™s design, viz.,
â€œThe 112+ takes a standard Boss-style 9.6v,
center negative Power supply connector as used on most guitar pedals.
Internally, however, an LT1054 charge pump is used to boost that up to 32v for
an insane amount of headroom.â€ Whatâ€™s more, within the pedal the signal
enters a JFET preamp to create a clean boost; and so, even with the Drive
turned down completely you still get a boost effect along with an active EQ. Itâ€™s after the JFET preamp that the circuit
enters the Voicing circuit to allow for a wide array of tones and sounds, from
light gain to fat and dirty. Of course,
all this then is controlled by the Drive and then the EQ (to cut or boost) so
that you can sculpt your tone accordingly.
Overall, at $200 Canadian, the 112+ offers plenty of tonal
possibilities, but also the ability to use the pedal as a boost or tone shaper
when working with high-gain gear. Best
of all, the 112+ is unique and sounds less â€˜genericâ€™ than other drive pedals.
You can get some excellent
results with the 112+ and without much tweaking. This is particularly true of the EQ, since
boosting or keeping plat the Bottom, Mid or Top all sound pretty decent
(nothing muddy or shrill). There is a
lot of headroom with this pedal, and so begin with the Level completely down,
or perhaps at 9-oâ€™clock to start. Place
all EQ knobs at 12-noon (which is flat); from there you can increase or
decrease any of the frequencies up to 5dB.
If youâ€™re looking for nothing but a clean boost, then keep the Drive all
the way down. With the Drive at
9-oâ€™clock you get a modest effect in dirt, whereas the quality of dirt really
shines around 12-noon to 2-oâ€™clock (at least with the light and moderate Voices
and on a clean channel). If using the
heavy Voice I find the Drive should be around 9-oâ€™clock to 12-noon, depending
on your tastes and how defined (less saturated) you want it. Going beyond 12-noon is fine if you like that
heavy proto-metal psychedelic massive sound.
When using the 112+ with a higher-gain channel or amp, the Drive should
be relatively low, about 8-10 oâ€™clock (just enough to add some â€˜edgeâ€™ to the
high-gain tone). Tweaking the EQ then
further sculpts the sound effectively for some added bite.
Brian Johnston is a guitar gear
enthusiast who likes to develop reviews and demo videos on stuff he likes. His YouTube channel is CoolGuitarGear.