Red Panda CONTEXT 2 User manual

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CONTEXT 2
Owner’s Manual
Detroit, MI • www.redpandalab.com

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CONTEXT 2
Owner’s Manual
Version 2.2 (firmware 2.2.0+)
September 2020
Red Panda LLC
44712 Helm St
Plymouth, MI 48170
USA
©2020 Red Panda LLC
www.redpandalab.com

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Please register your product at redpandalab.com/register
Product manuals and firmware updates are available at redpandalab.com/downloads
For technical support, email [e-mail]

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Contents
Introduction 5
Signal Flow 6
Getting Started 7
Inputs and Outputs 8
Controls 10
Reverb Algorithms 12
Bypass 13
Trails 13
 
HI / LO Response 14
 
Dynamics 15
DELAY 17
Presets 17
Tap Tempo 18
Control Input 19
Using MIDI 22
 
Reset to Factory Defaults 34
Support, Repairs, and Warranty 35
Firmware Updates 36
 
Credits 37

5
Introduction
Thank you for purchasing the Context 2. The Context is an algorithmic reverb inspired by 1980's rack-
mount digital reverbs. Those reverbs used specialized processors with limited precision. The Context
2 uses a high-performance processor with 32/64-bit floating-point processing at 48 kHz. It combines
classic reverb algorithm design with modern digital signal processing techniques.
New in Version 2
The Context 2 uses a much more powerful processor than the original Context, allowing it to run two
reverb engines simultaneously so that you can change presets with spillover. Holding down either of the
footswitches will sustain the reverb indefinitely (reverb freeze).
Some of the improvements include:
• Spring reverb algorithm with tremolo
• Reverse reverb algorithm
• Granular reverb algorithm inspired by the Ursa Major SST-282 Space Station
• Delay plus reverb in all modes
• Plate algorithm has predelay
• Adjustable modulation in all algorithms
• Low and high frequency damping in all modes
• More control over low and high frequency damping response
• Dynamic reverb for ducking or expansion
• Adjustable input and output levels
• Tap tempo with independent note divisions for delay, predelay, and tremolo rate
(requires external switch)
• Independent note divisions for delay time, reverb predelay, and tremolo speed
• Reverb hold/freeze, with live signal dry or eected
• Smaller enclosure, with all jacks on top
• Stereo (TRS) input/output
• Assignable expression pedal
• Presets (1 on front panel, 4 via remote switch, 126 via MIDI)
• Soft touch switches
• Momentary/latching footswitch action
• Higher sampling rate
• Higher headroom
• Better signal-to-noise ratio
• Full MIDI control via USB or 1/4" TRS
• Multi-purpose control port for expression pedal, CV, remote switches, tap tempo, and MIDI
• USB firmware updates
• Web-based editor (requires Chrome)

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Signal Flow

7
Getting Started
Connect the input and output using 1/4" TS cables (for mono) or TRS cables (for stereo). When using TRS
cables, the left channel is on the tip and the right channel is on the ring.
Plug in a 9V DC regulated power supply rated at 250 mA or more. If the pedal's LED turns magenta and
it switches to bypass mode, that means it detected a problem with the power supply. The most common
problem is that the power supply is not providing enough current. See our knowledge base for informa-
tion about specific power supplies.
To begin, you can ignore the "shift" parameters and treat the Context as a two-knob reverb. Start with
these settings:
BLEND controls the wet/dry blend, Set it to 12:00 (50/50).
PRE (predelay) sets a delay before the initial reverb sound.
Set it to 7:00 so that the reverb starts immediately.
DECAY sets the reverb decay time. Set it to 3:00 to hear the
dierence between the algorithm tails.
MOD (modulation) sets the amount and character of modula-
tion. Set it to 7:00 (o) for now.
HI sets the high-frequency response. Set it to 3:00 for a
bright reverb.
LO sets the low-frequency response. Set it to 3:00 for a
full-spectrum reverb.
Start by selecting the ROOM algorithm.
These settings can be used as a starting point when designing a reverb sound. Cycle through each of the
reverb algorithms and note the dierences in how fast the reverb builds up and how the sound changes
as it decays.
Next adjust the MOD knob with dierent reverb algorithms. The MOD knob adjusts the amount and
character of the modulation. It behaves dierent in dierent modes. For ROOM, HALL, CATHEDRAL,
and PLATE, the modulation morphs from random chorus modulation at lower settings, to a pitch-stable
random modulation, then a deep chorus modulation. For REV (reverse) reverb, it adds a wash of regular
reverb. For SPRING reverb, it sets the tremolo depth.
The HI and LO controls adjust high- and low-frequency damping and response. Both knobs at 3:00 PM
gives a full-spectrum reverb, with low and high boost at higher settings. At low settings, the reverb
bandwidth is reduced.
Web Editor
We provide a web-based editor to configure your Context, access hidden parameters, and fine-tune pre-
sets. See "Web Editor (beta)" on page 32 for more information.. It requires the Google Chrome brows-
er, and can be accessed at
https://www.redpandalab.com/content/apps/context-editor/index.html
Note the "https" URL protocol. "http" will not allow Chrome to access MIDI devices.

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Inputs and Outputs
DC POWER Connect a 9V DC center negative power supply rated at 250 mA or higher.
USB USB mini B connector for MIDI, web editor, and firmware updates.
IN 1/4" TRS mono or stereo input.
CTRL 1/4" TRS jack for expression pedal, remote, or MIDI.
OUT 1/4" TRS mono or stereo output.
The Context supports multiple input and output configurations, bypass modes, and signal levels. These
can be configured using our web editor, or by sending MIDI System Exclusive strings.
The default configuration is mono in / stereo out with DSP bypass and trails, with a maximum signal
level of +5 dBu, which works well in most situations.
Power
Use a 9V center negative (Boss-style) regulated power supply that can provide 250 mA or more of cur-
rent. The plug should have 2.1mm inside diameter and 5.5mm outside diameter. This is the type of
power supply used by almost all guitar pedals, and we recommend using one designed specifically for
eects. If you have a few pedals, we recommend a multi-pedal power supply with independent regulat-
ed outputs (not daisy chained).
If our pedals detect a problem with the power supply, the bypass LED with change to magenta (or pink),
the pedal will switch to bypass and enter a low power mode. After a few seconds, the pedal will restart.
The most common reasons are that the power supply is not providing enough current, or it is an unregu-
lated voltage converter. Note that some multi-pedal supplies are rated at 100 mA except for a couple of
high-current outputs. Some multi-pedal power supplies also share current across multiple outputs. You
need to make sure the total current required for all connected pedals is within the power supply's limits.
For additional information, please see our knowledge base.

Mono in / mono out Input and output use 1/4" TS (mono) plugs.
Mono in / stereo out
(default)
Input uses 1/4" TS plug.
Output uses 1/4" TRS plug with left signal on tip, right on ring.
Stereo in / stereo out Input uses 1/4" TRS plug with left signal on tip, right on ring.
Output uses 1/4" TRS plug with left signal on tip, right on ring.

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Maximum Input Level
Mode Max. Signal Level
(Volts peak-to-peak)
Description
+12 dB with -3 dB pad 8.2 Vpp For extremely hot input signals. DSP output will
be reduced by -3 dB. Analog bypass signal is not
aected (so DSP bypass or kill dry work best).
+8 dB 5.7 Vpp Works well with synthesizers.
+5 dB
(default)
4 Vpp Works with most instrument and line-level sig-
nals.
0 dB 2.3 Vpp Acoustic guitar and quiet instruments.
The right LED blinks red if input clipping occurs. Lower the output volume of your instrument or select
a higher maximum input level. Clipping will not damage the pedal, so you can also overload the A/D con-
verter to intentionally add distortion.
The output signal level can be slightly higher than the maximum input level, which allows the combined
dry and eected signals to exceed the input level without distortion.
Bypass Mode
DSP
(default)
Dry signal and bypass passes through DSP. Our pedals use studio-quality A/D
and D/A converters with low latency. This is a good choice in most situations.
Analog Dry signal passes through DSP when eect is on, and buered analog signal
path in bypass. Depending on the input signal, there could be a small click
when the eect is engaged.
Analog + FX Level Dry signal passes through a unity-gain analog signal path.
Kill Dry Dry signal is always muted. Useful for wet/dry parallel eects chains and
mixer aux sends. The BLEND knob acts as an eect level control, but keeps
the same response as other modes.
Analog + FX Level bypass mode is not compatible with Mono In / Stereo Out, because the analog signal
path cannot send the left input to both output channels. A workaround is to use a female TS to male TRS
mono to stereo adapter to split the mono input signal to both channels, with Stereo In/Stereo Out config-
uration.
Trails
OFF Reverb tail fades out immediately when eect is turned o.
ON Reverb tail decays naturally after eect is turned o.

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Controls
Each knob on the Context has a primary and secondary function.
Editing Alternate Controls [SHIFT]
Press and hold the [SHIFT] button to adjust alternate parameters shown in light blue. Settings are
stored in presets and remembered when the pedal is turned o. Alternate functions are labeled [SHIFT]
in the following sections.
When shift mode is on, the right LED changes from blue to cyan and the left LED indicates whether the
input signal is above the dynamics threshold:
O - signal is below -48 dBFS.
Green - signal level is below threshold
Yellow - signal level is at threshold
Red - signal level is above threshold
To edit [SHIFT] settings:
1. Hold the[SHIFT] button until the LED changes to cyan
2. While holding the [SHIFT] button, adjust the knobs and mode switch as desired
3. Release the [SHIFT] button to store the setting
Double click the [SHIFT] button to enable shift lock. The knobs now adjust alternate parameters until the
[SHIFT] button is pressed again:
1. Double click the [SHIFT] button. The LED will change to cyan and blink blue to indicate that shift lock
mode is engaged.
2. Adjust the knobs and mode switch as desired
3. Press the [SHIFT] button to store the setting and exit shift lock mode
BLEND / [BAL]
Adjusts the wet/dry mix, from 100% dry to 100% wet.
[SHIFT]-BAL sets the balance between reverb and delay. Note that if DELAY and FDBK are both set to 0,
the delay is o and BAL will have no eect (100% reverb).
PRE / [DELAY]
Adjusts the predelay (0-150 ms).
[SHIFT]-DELAY adjusts the delay time (0-1200 ms). Setting both DELAY and FDBK to 0 will turn o the
delay.
DECAY / [FDBK]
Adjusts the reverb decay time.
[SHIFT]-FDBK adjusts the delay feedback. Setting both DELAY and FDBK to 0 will turn o the delay.

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MOD / [RATE]
Adjusts reverb modulation amount and character.
REV: adds forward reverb.
SPRING: tremolo depth.
[SHIFT] Adjusts modulation speed.
HI / [DYNAMICS RECOVERY TIME]
High-frequency response. Reverb damping is increased as knob is turned down. Flat at 3:00.
[SHIFT] Dynamics recovering time. Center position is o. Turning the knob farther from the center posi-
tion will lengthen the time it takes for the reverb level to recover.
Left: ducking
Center: o
Right: expander
LO / [DYNAMICS THRESHOLD]
Low-frequency response. Reverb damping is increased as knob is turned down. Flat at 3:00.
[SHIFT] adjusts dynamics threshold.

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Reverb Algorithms
ROOM
Fast build-up with multiple initial reflections.
HALL
Emulates a concert hall. Slow build-up with a longer initial delay.
CATHEDRAL
Emulates a large, reflective space.
GATED
Gated reverb with nonlinear decay. Known for big drum sounds, gated reverb also works well on guitar
because you can add more reverb while keeping transparency and space between notes.
REVERSE
Reverse reverb. Reflections get louder and brighter as time passes, giving the impression that the sig-
nal is played backwards. Typically used with 100% wet signal.
Modulation knob adds a wash of forward reverb.
PLATE
Emulates studio plate reverbs, which use plates of thin sheet metal to create reflections. Bright and
dense sound, good for drums, guitar, and vocals.
Modulation adds rich stereo chorusing. For more "bend", increase the modulation rate to approximately
1:30.
SPRING
Spring reverb. It is not a model of a specific spring reverb. The Context 2 simulates a spring reverb us-
ing the algorithms and techniques used in 1980's reverbs, but with more processing power available.
Low decay settings work well for vocals, bass, and addnig subtle ambience to your instrument without
an obvious reverb eect. Middle settings match spring reverb settings on guitar amplifiers. At higher
decay settings, the decay time is extended and it starts to sound a little unnatural.
GRAIN
A granular reverb with some similarities to the Ursa Major SST-282 Space Station. With mod knob at
zero, it sounds like a modulated multi-tap delay. With low modulation, long decays become ghostly voic-
es. As the mod knob increases, the character of the modulation changes and then the sound begins to
pull apart.
The Ursa Major SST-282 Space Station, released in 1978, was an eects processor that used a single
delay line with modulated taps to create reverb eects. The Context 2 can produce the same kind of
ghostly reverb eects, but is not a direct model.

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Bypass
The right footswitch turns the eect on and o. Tap to toggle between bypass and eect. Press and
hold the right footswitch to turn on the eect in momentary mode - it will return to bypass when the
footswitch is released.
The Context remembers its bypass state when power is removed.
Hold down the right footswitch while plugging an expression pedal, CV cable, or remote switch into the
CTRL port to configure the port. See "Control Input" on page 19 for details.
Trails
Reverb trails can be turned on/o globally, or per preset. The right LED blinks green on startup to indi-
cate whether trails are on or o:
2 long blinks: trails o
4 short blinks: trails on
Hold down the SHIFT button and press the ON footswitch ([SHIFT]-ON) to toggle the global trails setting
on or o.
Trails can be turned on or o at the preset level using our web-based editor. By default, presets use the
global trails setting.

Holding either footswitch will indefinitely hold (freeze) the reverb signal. Releasing the footswitch will
cause the reverb signal to decay naturally.
The left footswitch holds the current reverb sound and plays your live signal through the other reverb
engine - either the preset sound or live knob settings.
The right footswitch holds the current reverb sound with the live signal dry.
A future firmware update will add additional hold modes.

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HI / LO Response
The HI and LO controls adjust the high- and low-frequency response of the reverb, respectively. This is
also known as reverb damping. 3:00 is flat, as shown in the diagram below.
From approximately 5:00 to 9:00, the
LO control acts as a highpass filter and
the HI control acts as a lowpass filter.
As the knobs are turned clockwise,
the cuto frequency moves lower and
higher, respectively. So the reverb
starts out with a narrow frequency
band and then opens up.
Above 9:00, the controls act as shelving filters to adjust the high- and low-frequency decay of the reverb.
Above 3:00, there is a slight boost. From 9:00-3:00, the HI knob approximately matches the response of
the Context 1 damping control, except that the direction is reversed.
Turning the LO control down can help prevent the reverb from sounding muddy with low-frequency sig-
nals, or create a thin and "airy" reverb sound.
Turning the HI control down creates a darker reverb. Boosting the high frequencies will add presence.

Tremolo varies the volume of your signal in a rhythmic pattern. The Context 2 tremolo aects the vol-
ume of the wet and dry signal after the reverb. The MOD control adjusts the tremolo depth, from o to
subtle sine wave to choppy near-square-wave tremolo. The RATE control adjusts the tremolo speed,
which can also be synced to a note division.
The tremolo is implemented digitally, so it will not aect the dry signal volume when using Analog + FX
Level bypass mode.

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Dynamics
While holding down the [SHIFT] button (or SHIFT LOCK), the HI and LO knobs adjust reverb dynamics -
How the reverb level responds to your playing level. The LO knob adjusts how it responds to level, and
the HI knob adjusts the time response.
The threshold control ([SHIFT]-LO) sets the signal level at which the dynamics kick in. While in SHIFT
mode, the left LED changes color to indicate the signal level relative to the threshold:
O - signal is below -48 dBFS.
Green - signal level is below threshold
Yellow - signal level is at threshold
Red - signal level is above threshold
The threshold control should be adjusted based on your playing dynamics, signal level, and desired ef-
fect. It may need to be adjusted if you change your instrument, pickup, or signal path.
The release control ([SHIFT]-HI) turns o dynamics at 12:00.

When the signal level exceeds the threshold, the reverb signal is attenuated. The reverb "ducks" below
loud notes, and comes back as the note decays. Quiet notes have more reverb, and loud notes have less.
The release ([SHIFT]-HI) control sets the amount of time it takes for the reverb signal to recover, in-
creasing counter-clockwise from 12:00. The range is 30 - 3000 ms.

When the signal level drops below the threshold, the reverb input signal is attenuated. Loud notes have
full reverb, notes below the threshold have less reverb. Since the dynamic range expansion happens on
the input to the reverb engine, loud notes will trail o and will not aect the trails of quieter notes.

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The release (SHIFT-HI) control sets the amount of time it takes for the reverb input signal to recover,
increasing clockwise from 12:00. The range is 30 - 3000 ms.
Dynamic reverb techniques
To get a feel for how it works, set the release ([SHIFT]-HI) control to 11:00 (ducking) or 1:00 (expansion)
to give the most dramatic eect. Adjust the threshold so that the LED blinks red on moderately loud
notes. Then play a crescendo from very soft to very loud to see how the reverb level changes. Setting
the BLEND to 100% wet will make the volume dierence more apparent.
Use reverb ducking to increase clarity by reducing the reverb level during your instrument's attack or
while playing loud. Adjust the release time to the fastest setting that avoids audible "pumping" when the
reverb comes back up.
Use reverb expansion with a quick release to create unnatural reverb tails. Set the threshold right be-
low the point where the LED blinks red on note attacks. As notes decay, the reverb level will fall o more
rapidly.
Use expansion to emphasize loud chords, while applying more subtle reverb to melodies. Set the
threshold so that the LED is red during loud passages and green during quiet passages. The release
time controls how tightly it tracks your playing, and the reverb decay controls how long it lingers.
Use a volume pedal, volume knob, or pickup selector switch to move above and below the threshold,
putting a compressor after the Context to smooth out volume dierences.

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DELAY
Context 2 has delay available in all modes. Each reverb engine has its own stereo delay line. The input
signal is fed into both the delay and reverb. The delay feedback signal is also fed into the reverb.
The DELAY ([SHIFT]-PRE) control sets the delay time and the FDBK ([SHIFT]-DECAY) control sets the
feedback amount. This allows you to set a single repeat or to use feedback to create resonant or flanged
reverb sounds. There is a minimum delay time when feedback is used. Set both DELAY and FDBK to
zero to turn o the delay.
The BAL (balance) control adjusts the balance from 100% reverb to 100% delay. When set to 100% re-
verb (7:00), the delay is disabled. When set to 100% delay (5:00), the Context functions as a delay pedal.
The HI and LO controls do not aect the tone of the delay.
Presets
The Context stores 127 presets (MIDI program number 0-126). The left footswitch toggles between the
live settings and the active preset with spillover - the previous reverb setting will trail o naturally. This
allows you to have two separate reverb settings available, for example, one for the verse and one for the
chorus.
Adjusting controls while a preset is active will alter the sound. The preset is reset to its saved settings
each time the PRESET button is pressed, unless you save the new sound.
All presets are accessible via MIDI program change messages. MIDI program 127 resets the parame-
ters to the current knob settings. (Note that some controllers label MIDI programs 0-127 and some use
1-128.)
Changing the Active Preset
Send a MIDI program change message. The preset will immediately be selected, and the previous re-
verb setting will decay naturally (spillover).
Saving a Preset
To save preset 0, adjust the live settings for the desired sound, then hold down the [SHIFT] button and
press the left footswitch. The right LED will blink green to acknowledge that the preset was saved.
To save any preset (0-126) via MIDI, send a MIDI program change message while holding down the
[SHIFT] button. You can also save a preset using a MIDI System Exclusive message (See "System Exclu-
sive (SysEx)" on page 28).

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Tap Tempo
You can set independent note divisions for delay time, reverb pre-delay, and tremolo rate. The tap divi-
sions are stored in presets, and delay note division set via the mode knob is remembered when power is
removed.
The CTRL port supports external tap tempo switches that use a normally open contact, including
multi-output tap controllers. Some remote switch modes also provide a tap tempo switch. Tap the
switch at quarter note intervals to set the delay time using tap tempo. The LED will blink yellow to indi-
cate the current tempo. To cancel tap tempo, quickly double tap the left (TAP) footswitch.
Adjusting a knob will disable tap tempo for that parameter. To re-enable tap tempo, set the interval
again or reload the preset.
If you need to synchronize multiple tap-tempo pedals, you can use a multiple output tap controller, USB,
or 1/4" TRS MIDI.
To set delay tap divisions, hold the SHIFT button and rotate the mode knob. More note divisions are
available via MIDI or using our web editor.
By default, the delay time is set for quarter notes and tap divisions are o for other parameters.

Mode Note Division
ROOM 
HALL Half note
CATH Dotted quarter note
GATE Quarter note
REV Quarter note triplet
PLATE Dotted eight note
SPRING Eighth note
GRAIN Eighth note triplet

19
Control Input
The CTRL (control) input supports dierent methods of remotely controlling the pedal:
• Expression pedal
• Control voltage (CV) with 0-3.3V range
• Tap Tempo
• TRS MIDI in (tip active)
• Remote switch
To configure a expression pedal or remote switch, hold down the right footswitch while plugging it in.
The pedal will detect which device is connected using the steps below. You can also use our web editor
to configure the port.
The configuration is remembered when power is turned o. Expression pedal assignments and remote
switch settings are stored in presets and remembered when power is turned o.
Expression Pedal
An expression pedal can be assigned to any combination of knob settings at the heel and toe position (up
to 6 parameters). Moving the expression pedal will morph between the settings.
You can also calibrate the range of the expression pedal, to ensure that its full travel is used.
Calibrating Expression Pedal Range (no knob assignments):
1. Start with the pedal powered on and nothing plugged into the CTRL port.
2. Hold the right footswitch while plugging in the expression pedal. The right LED will blink yellow
three times to indicate it is in CTRL configuration mode. You can release the right footswitch and
begin configuration immediately.
3. Move the expression pedal to the heel down position.
4. Move the expression pedal to the toe down position.
5. Hold the right footswitch for 3 seconds to save the configuration. The right LED will blink green to
indicate that the configuration has been saved.
Configuring Expression Pedal Knob Assignments
1. Start with the pedal powered on and nothing plugged into the CTRL port.
2. Hold the right footswitch while plugging in the expression pedal. The right LED will blink yellow 3
times to indicate it is in CTRL configuration mode. You can release the right footswitch and begin
configuration immediately.
3. Move the expression pedal to the heel down position.
4. Adjust the knobs for the desired sound.
5. Move the expression pedal to the toe down position.
6. Adjust the knobs for the desired sound.
7. Hold the right footswitch for 3 seconds to save the configuration. The right LED will blink green to
indicate that the configuration has been saved.
Knobs that are not adjusted during configuration will not be aected by the expression pedal. Expres-
sion pedal assignments are stored in presets and when the expression pedal is unplugged or power is
turned o. Expression pedals with 5-25 kΩ linear potentiometers work best.

20
Control Voltage
Control voltage input is configured the same way as an expression pedal.
CV Range: 0-3.3V (with over/under-voltage protection)
Tip: 0-3.3V input
Ring: 3.3V output (with current limiting)
Sleeve: ground
The expression input has current limiting in case you use a TS cable, but it is preferable to use a 1/4”
TRS cable with the ring unconnected. We sell a suitable cable at our web site, and the Expert Sleep-
ers ‘floating ring’ cable is another option. Instructions for building your own cable are available on our
Knowledge Base.
Tap Tempo
Uses a normally open momentary switch. Configure it using the web editor.
TRS MIDI
Select MIDI (TRS) in the web editor to use the control port as a MIDI input. This is a non-standard MIDI
interface, because there is no optocoupler on the input to prevent current loops, but it is used by many
guitar pedals. You will need a converter or a MIDI controller with 1/4" TRS outputs, which are available
from Empress Eects, Disaster Area Designs, and others.
Remote Switch
A remote switch has up to 4 modes of 4 switches that can access presets and pedal functions. It works
with our remote switches, some third-party switches, and is DIY friendly for dierent control interfac-
es. See our Knowledge Base for infomation on building a compatible switch. Note that the switch uses
parallel resistors, and switches with shorting contacts will not work without an adapter (most tap-tempo
switches and the Roland FS-6, for example).
1, 2, 3, and 4-button switches are supported. The modes and functions accessible will depend on the
number of buttons. A single-button switch can load or save your favorite sound.
To save a preset, hold the corresponding button for two seconds. The right LED will blink green to indi-
cate that the preset has been stored. Presets are also accessible via the PRESET button and MIDI pro-
gram change messages.
Configuring a Remote Switch:
1. Start with the pedal powered on and nothing plugged into the CTRL port.
2. Hold the right footswitch while plugging in the remote switch. The right LED will blink yellow 3 times
to indicate it is in CTRL configuration mode. You can release the right footswitch and begin configu-
ration immediately.
3. Press one of the buttons on the remote switch to select a mode.
4. Hold the right footswitch for 2 seconds to save the configuration. The right LED will blink green to
indicate that the configuration has been saved.