Owners Manual

20bit Dual Multi Effect Processors
DE-1 Owners Manual CAUTION:
TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN

ATTENTION:

POUR EVITER LES CHOCS ELECTRIQUES, CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER - SERVICEABLE PARTS INSIDE. The lightning flash with arrowhead symbol, REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.

"WARNING"

"TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE."
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. 9. Heat - The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers) that produce heat. 10. Power Sources - The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance. 11. Grounding or Polarization - The precautions that should be taken so that the grounding or polarization means of an appliance is not defeated. 12. Power Cord Protection - Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance. 13. Cleaning - The appliance should be cleaned only as recommended by the manufacturer. 14. Nonuse Periods - The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time. 15. Object and Liquid Entry - Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. 16. Damage Requiring Service - The appliance should be serviced by qualified service personnel when: A. The power supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the appliance; or The appliance has been exposed to rain; or The appliance does not appear to operate normally or exhibits a marked change in performance; or The appliance has been dropped, or the enclosure damaged.

SAFETY INSTRUCTIONS

1. Read Instructions - All the safety and operating instructions should be read before the appliance is operated. 2. Retain Instructions - The safety and operating instructions should be retained for future reference. 3. Heed Warnings - All warnings on the appliance and in the operating instructions should be adhered to. 4. Follow Instructions - All operating and use instructions should be followed. 5. Water and Moisture - The appliance should not be used near water - for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, and the like. 6. Carts and Stands - The appliance should be used only with a cart or stand that is recommended by the manufacturer.

*H. F. A. (Harmonic Feedback Algorithm)
There is one of indispensable elements in the natural echo called Early Reflection sound, which is usually sacrificed in commercial reverb products in order to reduce costs. (In practice, the Early Reflection sound means the very first reverberated sound that bounces back from walls, floors and ceilings of concert halls). The entire reverb sound quality depends on this Early Reflection sound and how closely it can resemble the real echo. The H. F. A. is an algorithm that enables the effect unit to reproduce a clear and natural Early Reflection sound by applying an ideal harmonic feedback to each delay module.
*H. D. L. P. (Hi-Density Logarithmic Processing)
The reverb sounds consist of lots of small delay elements combined in a complex way, which are produced by many delay modules inside the effect unit. In order to obtain smooth and comfortable reverb sounds, it is very important to efficiently organize the relationship between each delay module and minimize negative mutual interference. The H. D. L. P. is a technology which applies efficient logarithmic processing to each delay module, so that they can work in the most efficient way in order to eliminate harmful reverb elements and roughness. This makes it possible to establish high density and transparent sounds.
Before the practical operation, we will briefly discuss the effect functions here such as Reverb, Delay, Chorus, Pitch and Flanger, which are integrated in the DE-1.

Reverb:

The so called Reverb effect consists of various reflection sounds mixed together. For example, when you clap your hands in a tunnel, you will hear the sound linger even after you stop clapping your hands. This is the Reverb. The sounds we normally hear in daily life have three types of sounds mixed together, i.e., Direct sound, Early Reflection sound and Late Reflection sound. The Direct sound means the sound directly reaches the ears from the sound source. The Early Reflection sound means the sound that comes after the Direct sound and has rebound off the wall of the tunnel up to a few times. The Late Reflection sound means that the sound rebounds many times long after the Direct sound has disappeared. Our ears normally hear the Direct sound - Early Reflection sound - Late Reflection sound in that order.

Chorus:

This makes the one original sound appear to have many sources. The Chorus is used to widen or thicken the original sound.

Pitch:

The Pitch basically means the frequency of the audio. But, in the case of an effect unit, it works this way; for instance, you can amend the vocal tone by changing the Pitch lifting or dropping as much as an octave. Also, you can obtain some unusual effects by mixing the shifted Pitch sound and the original sound together.

Flanger:

The Flanger is one of applications of the Delay. This is used to create a sound like a jet airplane ascending or descending.

Delay:

This is the effect to add a delayed sound to the original sound. You can obtain a richer sound or completely change the original source sound by using the Delay.
The Details of the Preset Effects
The DE-1 has 11 preset Effect Types available on both the Dual Mode and Single Mode. Each Effect Type further offers a maximum of 11 variations. See Operations on page 16 and 17 for how to set up the Preset Effects. In the following list, the numbers attached to the Preset Effects are categorized from (a) ~ (f), (A) ~ (J) and refer to the Algorithm Reference Numbers. They tell you how the DE1 operates internally in each Preset Effect. See page 12 and 13 for more details of the algorithm.

Effects in DUAL MODE

L.HALL (Large Hall)
L.HALL 1 (Normal Large Hall) L.HALL 2 (Lo-Freq Large Hall) L.HALL 3 (Presence Large Hall) L.HALL 4 (Hard-Wall Large Hall) L. HALL 5 (Wet Large Hall) L. HALL 6 (Extensive Large Hall) L. HALL 7 (Cave) L. HALL 8 (Stadium 1) L. HALL 9 (Stadium 2) L. HALL 10 (Large Auditorium) L. HALL 11 (Large Cave) (a) Conventional large hall, with sonic detail, clarity, and an appropriate amount of early reflections. (a) Large hall with lingering low-frequency reverb components. (a) Reverb with crispness and good presence. (a) Large hall surrounded by hard walls, many early reflections, and a strong high-frequency ratio. (a) Reverb with restrained high-frequency range and gentle character. (a) Reverb with an extremely long pre-delay time, simulating a fairly broad space. (a) Reverb simulating a cave. Perhaps the thick moss accounts for the excellent highfrequency absorption! (a) Stadium reverb with many long early reflections. (a) Stadium reverb with a dry character. (a) Reverb simulating a space with little reverberation, such as a large auditorium. (a) Simulates a more spacious volume than the cave of L. HALL 7. Reverb time is longer.
* ADJUST knob: Reverb Time (adjust the length of the reverberation)

S. HALL (Small Hall)

S. HALL 1 (Normal Small Hall) (a) Conventional small hall with sonic detail, clarity, and an appropriate amount of early reflections. S. HALL 2 (Lo-Freq Small Hall) (a) Small hall with lingering low-frequency reverb components. S. HALL 3 (Presence Small Hall) (a) General-purpose small hall with crisp sound and few early reflections. S. HALL 4 (Hard-Wall Small Hall) (a) Small hall surrounded by hard walls, many early reflections, and a strong high-frequency ratio. S. HALL 5 (Wet Small Hall) (a) Small hall with little high-frequency range. S. HALL 6 (Spacious Small Hall) (a) Small hall with a long pre-delay time, simulating a broad space. S. HALL 7 (Long and Narrow Hall) (a) Small hall simulating a long and narrow space where the reverberation is concentrated in the center. S. HALL 8 (Dead Small Hall) (a) Relatively dead small hall with a low high-frequency ratio. (a) Small hall simulating a space with low-density reverberation such as a gymnasium. S. HALL 9 (Gymnasium) S. HALL 10 (Live Stage) (a) Simulation of an outdoor stage. Extremely small amount of reverberation. S. HALL 11 (No-E/R Hall) Small hall with no early reflections, and the entire frequency range decays in the same way. * ADJUST knob: Reverb Time (adjust the length of the reverberation)

ROOM 1 (Normal Room) ROOM 2 (Garage) ROOM 3 (Dead Room) (a) Conventional room reverb simulating a nice space with just enough sparkle. (a) Room reverb with crisp presence simulating a small, live space such as a garage. (a) Room reverb simulating a small, dead room. Add just a bit of this to give warmth to a sound. Ideal for narrations. ROOM 4 (Live Room) (a) Room reverb simulating a live space with low-density reverberation. ROOM 5 (Presence Room) (a) All-purpose room reverb with few early reflections and good definition. ROOM 6 (Mono Room) (a) Room reverb with reverberation concentrated in the center. ROOM 7 (Hard-Wall Drum Booth) (a) Room reverb simulating a drum booth with hard walls. Crisp, and good for percussion as well. ROOM 8 (Lo-Freq Drum Booth) (a) Room reverb simulating a drum booth with a boost in the low to mid-ranges.
DE-1 Owners Manual ROOM 9 (Small Live House) ROOM 10 (Back-Stage) ROOM 11 (Mid-Freq Small Hall) (a) Room reverb simulating a small club. (a) Room reverb simulating the sound back-stage. (a) Room reverb with unique character in the mid-range.
PLATE 1 (Normal Plate) PLATE 2 (Old Plate) PLATE 3 (Presence Plate) PLATE 4 (Wet Plate) PLATE 5 (Hi-Freq Plate 1) PLATE 6 (Mono Plate) PLATE 7 (Lo-Freq Plate) PLATE 8 (Hi-Freq Plate 2) PLATE 9 (Mid-Freq Plate) PLATE 10 (Digital Plate) PLATE 11 (Coarse Plate) (a) (a) (a) (a) (a) (a) (a) (a) (a) (a) (a) Contemporary-feeling plate reverb with a wide bandwidth. Conventional plate reverb with the character of classic plate devices. Crisp plate reverb with extended highs. Plate reverb with a gentle character. Plate reverb with only the high-frequency component. Plate reverb panned to the center. Plate reverb with rapidly decaying highs and lingering lows. Plate reverb with unique character in the high range. Plate reverb with unique character in the mid range. Plate reverb emphasizing a digital feel, with metallic-sounding early reflection. Plate reverb with low-density reverberation.
VOCAL 1 (Presence Vocal Booth) (a) The early reflections of an ideal vocal booth plus short reverberation with extended high range. This adds sparkle to the sound, and is effective when you want to make the vocal stand out in the ensemble. VOCAL 2 (Vocal Reverb 1) (a) All-around reverb that makes any vocal sound great (!?) VOCAL 3 (Natural Vocal Booth) (a) The early reflections of an ideal vocal booth plus short reverberation. This adds a natural feeling of air, and is effective with simple arrangements with an unhurried vocal. VOCAL 4 (Fat Vocal) (a) Reverb with a short delay and a plate character. Adds depth to the sound. VOCAL 5 (Arena Vocal) (a) Spacious stadium-type early reflections plus short reverberation with extended high range. Good for chorus parts. VOCAL 6 (Vocal Reverb 2) (a) Easy to use vocal reverb with moderate delay and reverberation. VOCAL 7 (Back Chorus) (a) Reverb that adds depth and spaciousness to the sound. A good high range makes this ideal for chorus parts as well. VOCAL 8 (Ballad Vocal) (a) A short delay plus a gentle reverb. Recommended for slow songs. VOCAL 9 (Solo Vocal) (a) Spacious short delay plus a reverb with a real plate character. Blends naturally into any background. (a) Spacious short delay plus short reverberation. VOCAL 10 (Vocal Reverb 2) VOCAL 11 (Stadium Vocal) (a) Stadium-type early reflection plus majestic reverb. Adds depth and spaciousness to a vocal. * ADJUST knob: Reverb Time (adjust the length of the reverberation)

CHORUS

CHORUS 1 (Normal Chorus) (a) Conventional chorus with fairly shallow depth, suitable for any sound. Adds a natural spaciousness and depth without changing the character of the original sound. (a) Chorus with greater depth. Suitable when you want to aggressively modify the sound of an electric piano, etc. (a) Conventional chorus, plus a doubling effect created by a short delay. (a) Light chorus panned to center. Adds natural depth and warmth to vocals or sax, etc. (d) The effect of CHORUS 4 plus a doubling effect created by a short delay (d) Deep chorus panned to center. Effective for adding body to a center-panned instrument such as bass. (d) The effect of CHORUS 6 plus a doubling effect created by a short delay. (a) Chorus applied only to the high-frequency range. (a) Chorus applied only to the low-frequency range. (a) Pitch chorus that adds depth to the sound by slightly shifting the pitch. (d) Pitch chorus panned to the center.
CHORUS 2 (Deep Chorus) CHORUS 3 (Dub Chorus) CHORUS 4 (Mono Chorus) CHORUS 5 (Mono Dub Chorus) CHORUS 6 (Mono Deep Chorus) CHORUS 7 (Mono Deep Dub Chorus) CHORUS 8 (Hi-Freq Chorus) CHORUS 9 (Lo-Freq Chorus) CHORUS 10 (Pitch Chorus) CHORUS 11 (Mono Pitch Chorus)
* ADJUST knob: Depth (adjust the depth of the chorus)
PITCH 13 (+/- Octave Shift) (d) Pitch shift with a variable range of +/-1 octave. (No pitch shift when ADJUST = 0.) Select one of three variations: PITCH 1 is normal, PITCH 2 has faster response, and PITCH 3 is clearest. (d) Pitch shift with a variable range of 0 +2 octaves. (+1 octave when ADJUST = 0.) Select one of three variations: PITCH 4 is normal, PITCH 5 has faster response, and PITCH 6 is clearest. (d) Pitch shift with a variable range of -20 octaves. (-1 octave when ADJUST = 0.) Select one of three variations: PITCH 7 is normal, PITCH 8 has faster response, and PITCH 9 is clearest. (f) Pitch shift with delayed feedback. Offsetting the pitch will produce interesting results. (f) Pitch shift that produces a strange effect like a simulation of a space alien. We recommend that you set ADJUST to 0.
PITCH 46 (0 ~ +2 Octave Shift)
PITCH 79 (-2 ~ 0 Octave Shift)
PITCH 10 (Feedback Pitch Shift 1) PITCH 11 (Feedback Pitch Shift 2)
* ADJUST knob: Pitch (adjust the amount of pitch change. +/-1 octave)

FLANGE

FLANGE 1 (Duo Flange) FLANGE 2 (Lo-Feedback Duo Flange) FLANGE 3 (No-Feedback Duo Flange) FLANGE 4 (Lo-Freq Roll Flange 1) FLANGE 5 (Lo-Freq Roll Flange 2) FLANGE 6 (Hi-Freq Flange) FLANGE 7 (Lo-Freq Flange) FLANGE 8 (Bi-Frange 1) FLANGE 9 (Bi-Flange 2) FLANGE 10 (Solo Flange 1) FLANGE 11 (Solo Flange 2) (b) Dual flanging in which two effect sounds with different modulation phase are heard from left and right. Deep feedback. (b) Dual flanging. Light feedback. (b) Dual flanging. Almost no feedback. (b) Flanging with modulation in the low-frequency component. Deep feedback. (b) Flanging with modulation in the low-frequency component. light feedback. (b) Flanging applied only to the high-frequency range. (b) Flanging applied only to the low-frequency range. (c) Two types of flanging heard from the center. Deep feedback. (c) Two types of flanging heard from the center. Light feedback. (d) One effect heard from the center. Deep feedback. (d) One effect heard from the center. Light feedback.

S. HALL 3 (Presence Small Hall) S. HALL 4 (Hard-Wall Small Hall) S. HALL 5 (Wet Small Hall) S. HALL 6 (Specious Small Hall) S. HALL 7 (Long and Narrow Hall) S. HALL 8 (Dead Small Hall) S. HALL 9 (Gymnasium) S. HALL 10 (Flange Small Hall 1) S. HALL 11 (Flange Small Hall 2)
* ADJUST konb 1 (PARAM.1): Reverb Time (adjust the length of reverberation) * ADJUST knob 2 (PARAM.2): E/R Level (adjust the volume of the early reflections) * ADJUST knob 3 (PARAM.3): Character (adjust the overtone structure of the reverberation) (cannot be adjusted on S. HALL 2)
ROOM 1 (Normal Room) ROOM 2 (Garage) (A) Same as DUAL mode ROOM 1, but higher density reverberation. (A) Same as DUAL mode ROOM 2, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 Character.) (A) Same as DUAL mode ROOM 3, but higher density reverberation. (A) Same as DUAL mode ROOM 4, but higher density reverberation. (A) Same as DUAL mode ROOM 5, but higher density reverberation. (A) Same as DUAL mode ROOM 6, but higher density reverberation. (A) Same as DUAL mode ROOM 7, but higher density reverberation. (A) Same as DUAL mode ROOM 8, but higher density reverberation. (A) Same as DUAL mode ROOM 9, but higher density reverberation. (B) Amazing room reverb with a light flanging effect (B) Special reverb with flanging applied to the early reflections of the room.
ROOM 3 (Dead Room) ROOM 4 (Live Room) ROOM 5 (Presence Room) ROOM 6 (Mono Room) ROOM 7 (Hard-Wall Drum Booth) ROOM 8 (Lo-Freq Drum Booth) ROOM 9 (Small Live House) ROOM 10 (Flange Room 1) ROOM 11 (Flange Room 2)
* ADJUST knob 1 (PARAM.1): Reverb Time (adjust the length of reverberation) * ADJUST knob 2 (PARAM.2): E/R Level (adjust the volume of the early reflections) * ADJUST knob 3 (PARAM.3): Character (adjust the overtone structure of the reverberation) (cannot be adjusted on ROOM 2)
PLATE 1 (Normal Plate) PLATE 2 (Old Plate) PLATE 3 (Presence Plate) PLATE 4 (Wet Plate) PLATE 5 (Hi-Freq Plate 1) (A) (A) (A) (A) (A) Same as DUAL mode PLATE 1, but higher density reverberation. Same as DUAL mode PLATE 2, but higher density reverberation. Same as DUAL mode PLATE 3, but higher density reverberation. Same as DUAL mode PLATE 4, but higher density reverberation. Same as DUAL mode PLATE 5, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 Character.) Same as DUAL mode PLATE 6, but higher density reverberation. Same as DUAL mode PLATE 7, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 Character.) Same as DUAL mode PLATE 8, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 Character.) Same as DUAL mode PLATE 9, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 Character.) Unusual plate reverb with a light flanging effect applied. Special reverb with an aggressive flanging effect applied.

* ADJUST knob 1 (PARAM.1): Delay Time (adjust the delay time) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the number of delay repeats) * ADJUST knob 3 (PARAM.3): Reverb Time (adjust the length of reverberation)
DELAY 1 (Normal Stereo Delay) DELAY 2 (Long Stereo Delay) DELAY 3 (Single Stereo Delay) (E) Stereo delay that applies a delay while preserving the L-R input balance. (E) Stereo delay that applies a delay while preserving the L-R input balance. Longer delay time. (E) Stereo delay that applies a delay while preserving the L-R input balance. The delay time is fairly short with no feedback, so this is also convenient for compensating for audio delay in digital devices. (E) Simulation of an analog BBD delay. Stereo delay that preserves the L-R input balance. (E) Stereo delay that applies delay only to the high-frequency components while maintaining the L-R input balance. (F) Panning delay in which the sound alternates between left and right. (F) Panning delay with longer delay time. (F) Panning delay that delays only the high-frequency components. (F) L-R delay that spreads the delayed sound to left and right. (F) L-R delay with longer delay time. (F) L-R delay that delays only the high-frequency components.
DELAY 4 (Stereo BBD Delay) DELAY 5 (Hi-Freq Stereo Delay) DELAY 6 (Rich Panning Delay) DELAY 7 (Long Time Panning Delay) DELAY 8 (Hi-Freq Panning Delay) DELAY 9 (Rich L-R Delay) DELAY 10 (Long Time L-R Delay) DELAY 11 (Hi-Freq L-R Delay)
* ADJUST knob 1 (PARAM.1): Delay Time (adjust the delay time) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the number of delay repeats) * ADJUST knob 3 (PARAM.3): Hi Ratio (adjust the proportion by which the high-frequency components decay as the delay repeats)
MISC 1 (Normal Gate Reverb) MISC 2 (Hi-Freq Mono Snare Gate) MISC 3 (Hi-Freq Stereo Snare Gate) MISC 4 (Lo-Freq Mono Kick Gate) MISC 5 (Spring Reverb 1) MISC 6 (Spring Reverb 2) MISC 7 (Large Hall E/R) MISC 8 (Presence Large Hall E/R) MISC 9 (Small Hall E/R) MISC 10 (Presence Small Hall E/R) MISC 11 (Normal Reverse Reverb) (A) (G) (A) (G) (A) (A) (A) (A) (A) (A) (A) Conventional gate reverb suitable for a wide range of applications. Center-panned gate reverb with extended highs. Ideal for snare drum. Spacious gate reverb with extended highs. Ideal for snare drum. Center-panned gate reverb with extended lows. Ideal for bass drum. Simulation of a good old spring reverb. Simulation of a good old spring reverb. Flashier sound than MISC 5. Simulation of the early reflections of a large hall. Early reflections of a large hall. Tighter sound than MISC 7. Simulation of the early reflections of a small hall. Early reflections of a small hall. Tighter sound than MISC 9. Reverse reverb. Effective as a subtle addition to vocals or brass section, or as a sound effect.

* ADJUST knob 1 (PARAM.1): Room Size (adjust the size of the space) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the number of delay repeats. The change is subtle, and may be difficult to notice.) * ADJUST knob 3 (PARAM.3): Density (adjust the density of the reflections)
CHORUS 1 (3D Chorus) CHORUS 2 (3D Dub Chorus) CHORUS 3 (Mono Rich Chorus) CHORUS 4 (Chorus + Hall) CHORUS 5 (Chorus + Room) CHORUS 6 (Chorus + Hi-Freq Plate) CHORUS 7 (Chorus + Wet Plate) CHORUS 8 (Chorus + Delay + Hall) CHORUS 9 (Chorus + Delay + Room) CHORUS 10 (Chorus + Delay + Hi-Freq Plate) CHORUS 11 (Chorus + Delay + Wet Plate) (A) (H) (G) (H) (H) (H) (H) (D) (D) (D) (D) Simulation of an analog three-phase chorus with great spaciousness and depth. CHORUS 1 plus a doubling effect produced by a short delay. Center-panned chorus. Ideal for vocals or sax. Chorus + hall reverb. Chorus + room reverb. Chorus + plate reverb with extended highs Chorus + mellow plate reverb Chorus + short delay + hall reverb Chorus + short delay + room reverb Chorus + short delay + plate reverb with extended highs Chorus + short delay + mellow plate reverb
* ADJUST knob 1 (PARAM.1): Depth (adjust the chorus depth) * ADJUST knob 2 (PARAM.2): Character (adjust the overtone structure of the chorus) * ADJUST knob 3 (PARAM.3): Reverb Time (adjust the length of the reverberation) (CHORUS 411 only)
PITCH 13 (+/1 Octave Shift) (E) Totally independent stereo pitch shifter that separately applies a pitch shift to the L and R inputs, and outputs the result separately from the L and R outputs. Adjustable in a range of +/-1 octave. PITCH 1 is standard, PITCH 2 provides fast response, and PITCH 3 provides maximum clarity. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and outputs all of the sound from the center. PITCH 4 is standard, PITCH 5 provides faster response, and PITCH 6 provides maximum clarity. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and divides the pitch shifted sound between L and R. PITCH 7 is standard, PITCH 8 provides faster response, and PITCH 9 provides maximum clarity. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and applies a long delay feedback loop. The pitch shifted sound is divided between L and R for output. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and applies a short delay feedback loop. The pitch shifted sound is divided between L and R for output.
PITCH 46 (Mono Duo Pitch Shift)
PITCH 79 (Stereo Duo Pitch Shift)
PITCH 10 (Feedback Duo Pitch Shift)
PITCH 11 (Feedback Duo Pitch Shift)

* ADJUST knob 1 (PARAM.1): Pitch 1 (adjust the pitch of the first pitch shifted sound. +/-1 octave) * ADJUST knob 2 (PARAM.2): Pitch 2 (adjust the pitch of the second pitch shifted sound. +/-1 octave) * ADJUST knob 3 (PARAM.3): Pitch 3 (fine adjustment to the pitch of the overall pitch shifted sound. +/-1 semitone)
FLANGE 1 (Stereo Duo Flange) (E) Dual stereo flanger that preserves the L-R input balance. Two flangers with different modulation phase are applied. Since the rate is quite slow, this is effective when applied to a beat track. Dual stereo flanger that preserves the L-R input balance. Two flangers with different modulation phase are applied. The rate is fairly fast. FLANGE 2 with lighter feedback. Dual stereo flanging. Single stereo flanging that preserves the L-R input balance. Deep feedback. FLANGE 4 with lighter feedback. Single stereo flanging. Dual flanging + hall reverb Dual flanging + crisp plate reverb Dual flanging + gentle plate reverb Single flanging + hall reverb Single flanging + crisp plate reverb Single flanging + gentle plate reverb
FLANGE 2 (St Hi-Rate Duo Flange 1) FLANGE 3 (St Hi-Rate Duo Flange 2) FLANGE 4 (Stereo Solo Flange 1) FLANGE 5 (Stereo Solo Flange 2) FLANGE 6 (Stereo Duo Flange + Hall) FLANGE 7 (Stereo Duo Flange + Plate) FLANGE 8 (Stereo Duo Flange + Wet Plate) FLANGE 9 (Stereo Solo Flange + Hall) FLANGE 10 (Stereo Solo Flange + Plate) FLANGE 11 (Stereo Solo Flange + Wet Plate)
(E) (E) (E) (E) (C) (C) (C) (C) (C) (C)
* ADJUST knob 1 (PARAM.1): Rate (adjust the modulation speed of the flanger) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the resonance of the flanger) * ADJUST knob 3 (PARAM.3): Reverb Time (adjust the length of the reverberation)
The Details of the Algorithm
The algorithms inside the DE-1 work in the following ways depending on the Effect Type variation you choose in either the Dual Mode or Single Mode.

Dual Mode

EFFECT 2

EFFECT 1

EFFECT 1 EFFECT 2

EFF EFF

Single Mode

L IN R

EFF 1+2

EFF 1 EFF 2

(D) (J)

L IN R L R

EFF 1'

EFF 1 EFF 2 EFF 2'

Functions
Here, we will discuss the switches and control knobs on the front panel and Input/Output jack sockets on the rear panel. Note that some functions operate in a different ways depending on either the Dual Mode or Single Mode you set up.
Functions of the Dual Mode

EFFECT 1 VARIATION SW

Use this to choose the Variation of the Effect Type for Effect 1. There are 11 variations available on each Effect Type.

EFFECT 2 TYPE SW

Use this to choose the Effect Type for Effect 2. There are 11 types available.

EFFECT 2 ADJUST knob

This control knob adjusts the effect parameters of Effect 2. The center position is the default setting. If you turn it to the left, the parameter will decrease. Similarly, if you turn it to the right, the parameter will increase.
EFFECT 1 ADJUST knob EFFECT 1 TYPE SW
Use this to choose the Effect Type for Effect 1. There are 11 types available. This control knob adjusts the effect parameters of Effect 1. The center position is the default setting. If you turn it to the left, the parameter will decrease. Similarly, if you turn it to the right, the parameter will increase.
EFFECT 1 TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO 3

EFFECT 2 VARIATION SW

Use this to choose the Variation of the Effect Type for Effect 2. There are 11 variations available on each Effect Type.

POWER LED

VARIATION PEAK MODE SINGLE DUAL DRY EFF ADJUST PARAM.1 MIX DRY+EFF VOCAL PLATE ROOM S.HALL L.HALL TYPE DLY+REV DELAY MISC CHO 3 VARIATION PEAK ADJUST PARAM.2 EFFECT 2 MIX PARAM.3 DRY+EFF

PITCH 2 FLANGE 1

EFF + POWER
This illuminates when the Power is ON. Also, this will blink when the Effect Mute is set to ON via the Foot SW.

PEAK LED

This will illuminate when the Effect 1 Input signal reaches 6dB below the distortion level.

MODE SW

Use this to choose the operation mode either Dual Mode or Single Mode.
This will illuminate when the Effect 2 Input signal reaches 6dB below the distortion level.

EFFECT 2 MIX knob

Use this to adjust the mixing balance of the Dry sound and Effect sound for the signal at the OUTPUT 2 jack sockets; on the Left Max. : DRY 100%, EFF 0% in the Center : DRY 50%, EFF 50% on the Right Max. : DRY 0%, EFF 100%

EFFECT 1 MIX knob

Use this to adjust the mixing balance of the Dry sound and Effect sound for the signal at the OUTPUT 1 jack sockets; on the Left Max. : DRY 100%, EFF 0% in the Center : DRY 50%, EFF 50% on the Right Max. : DRY 0%, EFF 100%
INPUT 1 (1 & 2) jack socket OUTPUT 1 jack sockets Foot SW socket
Connect a Foot SW, such as the Fostex Model 8051, to control the Effect Mute ON/ OFF. These are the output terminals used to send a processed audio signal via Effect 1 in stereo (L, R). If you want to obtain a mono audio signal, use only the OUTPUT L (MONO) jack socket. This is the input terminal used to connect the audio source for Effect 1. If you want to feed the same audio signal to both Effect 1 and Effect 2 at once, only use this socket without connecting anything into the INPUT 2 jack socket.

Use this to choose the operation mode either the Dual Mode or Single Mode.
INPUT L (MONO), R jack sockets Foot SW socket
Connect a Foot SW, such as the Fostex Model 8051, to control the Effect Mute ON/ OFF. These are the input terminals used to connect the two channel audio source for the Effect. If you want to feed the same audio signal to both L channel and R channel at once, only use the INPUT L (MONO) socket without connecting anything into the INPUT R jack socket.
These jack sockets have no functions in the Single Mode operation.
OUTPUT L (MONO), R jack sockets
These are the output terminals used to send a processed audio signal via the Effect in stereo (L, R). If you want to obtain a mono audio signal (L+R), use only the OUTPUT L (MONO) jack socket.

How to use the Dual Mode

Here, we discuss the practical operation of the Dual Mode. The Dual Mode has the features listed below. <Outstanding features of the Dual Mode>
1. You can use it as a two channel Effect Processor. 2. It provides one mono Input and stereo Outputs on each channel. 3. It has an independent PARAMETER ADJUST knob on each channel. With these, you can alter the parameter setting in more detail on top of the typical preset designed for each Effect. As an example of using the "DUAL MODE", connect the DE-1 between the AUX SEND and RETURN terminals of an external mixing console. (In order to indicate the DE-1 connections plainly, other cable connections are leftout in the connection example below.)
EFFECT 1 TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO 3 VARIATION PEAK MODE SINGLE DUAL DRY EFF ADJUST PARAM.1 MIX DRY+EFF VOCAL PLATE ROOM S.HALL L.HALL TYPE DLY+REV DELAY MISC CHO 3 VARIATION PEAK ADJUST PARAM.2 EFFECT 2 MIX PARAM.3 DRY+EFF

AUX SEND 1

AUX SEND 2

AUX RTN 1

AUX RTN 2
<Point>: Adjust the incoming signal level from
For the audio mixer AUX Return terminals the mixer. See the Caution on the next page for how to adjust the Input Level.
<Point>: Connect the Foot SW into the jack to remotely control the
Effect Mute ON/OFF. The POWER LED on the front panel will flash when the Effect Mute in ON. The DE-1 will only mute the Effect sound. The original source sound (Dry sound) will stay active even though the Effect Mute is set to ON. For the audio mixer AUX Send terminals
EFFECT 1 TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO 3 VARIATION PEAK ADJUST PARAM.1
MIX DRY+EFF VOCAL PLATE MODE SINGLE DUAL DRY EFF ROOM S.HALL L.HALL TYPE DLY+REV DELAY MISC CHO 3 VARIATION PEAK
DE-1 Owners Manual the 1 Select SW. DUAL on the MODE

MODE SINGLE DUAL

Choose the Effect Type you want to set for the Effect 1 and Effect 2. See page 5 for the variety of Effect Types.

TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO PITCH FLANGE

VARIATION

Set the variation on the Effect Type that you have chosen.
<Caution on Effect Processing> The PEAK LED indicator on the front panel is designed so that it will illuminate when the Input signal reaches 6dB below the distortion level. First, adjust the Input level using the control knob and watch the LED indicator. The best level setting makes the PEAK LED illuminate occasionally. In the case of the sound being distorted in the internal DSP, in spite of no indications on the PEAK LED, this is due to the rise of the entire signal level due to a variety of Effect sounds being used. If this happens, reduce the Input level with the control knob so that the Output sound is not distorted. <Caution on changing SW position> The Output signal will disappear momentarily when you change the position of the MODE SW, EFFECT TYPE SW and VARIATION SW. This is not a fault. It is due to the DE1 resetting its internal DSP. <Caution when using the ADJUST knob and MIX knob> Some clicking noises may be heard when you control the ADJUST knob and MIX knob, with certain types and sounds of the Effect. The ADJUST knob may not give you functions even if you try to increase the parameter when the default setting is already at the maximum. Similarly, you cannot decrease it further if the default parameter setting is already at the minimum position.
Adjust the parameters for Effect 1 and Effect 2.
Adjust the mixing balance of the Dry sound and Effect sound to get the ratio you require from the OUTPUT 1 and OUTPUT 2 jack sockets.

MIX DRY+EFF

MIX PARAM.3 DRY+EFF
How to use the Single Mode
Here, we discuss the practical operation of the Single Mode. The Single Mode has the features listed below. [Outstanding features of the Single Mode]
1. You can use it as a high quality single channel Effect Processor. 2. It provides stereo Inputs and Outputs. 3. It has three ADJUST knobs as PARAM. 1~3. With these, you can alter three individual parameter settings in more detail, on top of the typical presets designed for each Effect. 4. It offers a higher density reverb than the Dual Mode. 5. The independent channel algorithm offers completely separate Output signals for each channel (L,R).

Main features.

s Fully independent dual multi effect processors s Internal 24-bit data processing s Ultra-realistic Mic Simulations: 11 patches of popular microphone types s Awesome Amp Simulations: Simulation of popular guitar and bass amps s Effect patches suitable for recording drums and vocals s Dual (1 in 2 out x 2) or Single (2 in 2 out x 1) mode operation s Guitar / Mic input with trim s Each effect easily edited via front panel rotary controls s Bypass On/Off via footswitch or front panel control s 20-bit A/D, 24-bit D/A
rust Fostex. In the new DE-10 24-bit Dual Digital Multi Effects Processor, project And studios, musicians, vocalists and guitarists have easy access to the highest quality effects at an incredibly affordable price. modes:
24-bit Dual Multi Effects Processor
when we say each output in stereo.
INCREDIBLE EASE OF USE Musicians and project studio engineers will appreciate that the DE-10 is one of the most usable digital effects processors ever. All parameters can be changed using rotary controls from the front panel. No complicated menu system and multiple button pushes. BYPASS SWITCH Effects can by bypassed by the handy front panel bypass switch which can also be controlled via an external footswitch.
The front panel controls (separate for each processor) make for instant manipulation of each effects critical parameters, theres a mic/guitar input with trim control and a handy bypass switch which can also be controlled via a footswitch.
independent, we mean it, as the DE-10 can be used in one of two Dual mode - two mono source inputs can be processed and S i n g l e m o d e - a stereo source

A.S.P. EVOLUTION

Featuring an evolution of Fostexs acclaimed A.S.P (Advanced Signal.+ Processing) technology, the DE-10 is a true stereo dual-channel processor with 24-bit internal processing, 20-bit A/D, 24-bit D/A and packed full of classic reverb, ambiance, amp simulation, mic simulation, plate, chorus, panning, delay, flanging and pitch shifting effects.
input can be processed and output in stereo.

BETTER VALUE

Choice of operation modes, masses of choice, stunning quality, rack mounting with a built-in power supply and a snap to use. The new Fostex DE-10 simply provides superior effects, easier control and better value than similar-priced processors in the class.

AMP / MIC SIMULATION

At this price level, you would expect reverb, chorus, delay etc. but, predictably, Fostex give you more. More in the shape of awesome guitar and bass amp simulators with popular patches for everything from a small twin to a huge stack. Plus more in the form of ultra-realistic mic simulators. No need to have different mics for different musical and recording styles, just select the type of simulation you want and start your performance.
THE BEST DSP EFFECTS ENGINE IS NOW EVEN BETTER A.S.P + (Advanced Signal. Processing) is a unique digital effects processing technology developed by, and newly enhanced Fostex. Recent additions to the technology include incredible microphone / amplifier simulation algorithms which use a Double Accuracy Operation technique for each frequency. Popular mic sounds are emulated to perfection whilst the awesome amp simulations have to be heard to be believed.
FX send Footswitch For effect mute/bypass
Guitar / Mic Input With rotary trim control

DE-10 Specs

INPUT x 3 Connector Input 1: Phone jack x 3 (unbalanced) Line and Mic/Guitar switchable Line > 500k ohm (Mic/Guitar Input) > 20k ohm (Line Input x 2) Input level -55dBV - -15dBV (Mic/Guitar Input) -50dBV - -10dBV (Line Input x 2) OUTPUT x 4 Connector Load impedance Rated output level EFFECTS Sampling frequency A/D converter D/A converter Frequency response Dynamic range T.H.D. Footswitch 44.1kHz 20bit Delta-Sigma 64 x over sampling 24bit Delta-Sigma 128 x over sampling 20Hz 20kHz 92dB 0.01% (typical) Phone jack x 1 (for optional model 8051) PHYSICAL Dimensions Weight Power Consumption 482 (w) x 44 (h) x 230 (d) mm 2.5 kgs. 8W Phone jack x 4 (Output 1-2, L+R) > 10k Ohm -10dBV Input 2: Input impedance

SINGLE

T wo Single modes are available: Single Mode 1 offers all the effects of Dual Mode. Single Mode 2 effect types are listed below. Effect Type Name s L. HALL (Large Hall) s S. HALL (Small Hall) s ROOM s PLATE s MIC SIM (Microphone Simulation) 1 (Trad Condenser 3k, Low Cut: Off) 2 (Trad Condenser 3k, Low Cut: On) 3 (Trad Condenser 414, Low Cut: Off) 4 (Trad Condenser 414, Low Cut: 150Hz) 5 (Trad Dynamic 112) 6 (German Dynamic 421) 7 (German Dynamic 421, Low Cut: 2) 8 (German Dynamic 421, Low Cut: SPE) 9 (Modern Condenser 2) 10 (Vintage Condenser 47) 11 (Vintage Condenser 87) s AMP Sim (Amplifier Simulation) 1 (British 800 Amplifier) 2 (Tremo Recti Amplifier) 3 (Metal Panel Recti Amplifier) 4 (British Class A30 Amplifier) 5 (Fat Bass Amplifier) 6 (Kick) 7 (Snare 1) 8 (Snare 2) 9 (Voice 1) 10 (Voice 2) 11 (Radio Voice) s DISTORTION 1 (Distortion) 2 (Rhythm) 3 (Over Drive) 4 (Acoustic) 5 (Blues) 6 (Fuzz) 7 (Lead) 8 (Metal) 9 (Bass 1) 10 (Bass 2) 11 (Bass 3) s GUITAR MUL 1 TI 1-1 (Natural Clean Guitar) 1-2 (Vivid Chorus Guitar) 1-3 (Warm Chorus Guitar) 1-4 (Rhythm Guitar) 1-5 (Warm Rhythm Guitar) 1-6 (Flange Rhythm Guitar) 1-7 (Acoustic Guitar) 1-8 (Crunch Guitar) 1-9 (Vivid Crunch) 1-10 (Delay Crunch Solo) 1-11 (Flange Crunch Solo) s GUITAR MUL 2 TI 2-1 (Warm Distortion) 2-2 (Heavy Distortion) 2-3 (Thin Flange Distortion) 2-4 (Deep Flange Distortion) 2-5 (Thin Metal Flange) 2-6 (Deep Metal Flange) 2-7 (Blues Lead) 2-8 (Distortion Lead) 2-9 (Mono Delay Lead) 2-10 (L-R Delay Lead) 2-11 (Delay Chorus Lead) s BASS MUL TI 1 (Normal Bass) 2 (Slap Bass) 3 (Fretless Bass) 4 (Distortion Bass 1) 5 (Distortion Bass 2) 6 (Distortion Bass 3) 7 (Ambience Bass Solo 1) 8 (Ambience Bass Solo 2) 9 (Flange Bass 1) 10 (Flange Bass 2) 11 (Chorus Bass) s VOCAL MUL TI 1 (Normal Vocal) 2 (Doubling Vocal) 3 (Diffusion Vocal) 4 (Distortion Vocal) 5 (Flange Distortion Vocal) 6 (Radio Voice) 7 (Small Radio Voice) 8 (Flange Voice)

ASP+ DEVELOPMENT In combining the excellent ambience effect technology first seen in the original A.S.P with acoustic theories and experience. accumulated while developing speaker transducers, Fostex have developed a unique simulation algorithm engine which delivers ultra-realistic microphone/amplifier simulation. MIC SIMULATION - HOW IT WORKS T simulate a microphone, the frequency response of the o microphone, (the most essential factor that decides the sound character), must be reproduced correctly. T do this, A.S.P carries o.+ out a double accuracy operation for each frequency range using the unique "D.A.O" (Double Accuracy Operation). AMP SIMULATION - HOW IT WORKS With a guitar amp, its the peak and dip of specific frequencies, as well as feedback of the peak frequencys harmonics, which are the most essential factors which define an amps sound characteristics. T simulate these characteristics, A.S.P carries out a double o.+ accuracy operation for each frequency range using the D.A.O."(Double Accuracy Operation) to simulate the frequency curve and introduces harmonics feedback processing using a H.F.A. (Harmonic Feedback Algorithm).
In Dual Mode, 11 effect types are available: Effect Type Name s L. HALL (Large Hall) s S. HALL (Small Hall) s ROOM s PLATE s VOCAL s DLY+REV (Delay+Reverb) s DELAY s MISC (Miscellaneous) s CHORUS s PITCH s FLANGE
Distributor / Authorised Dealer

www.fostex.co.jp

Fostex Corporation, 3-2-35 Musashino, Akishima, T okyo, Japan 196-0021 T +81 (0)42-546-4974 Fax: +81 (0)42-546-9222 el:
In accordance with our policy of continuous development, we reserve the right to change specifications without notice. E&OE.