(359872)

Owners Manual
24bit Dual Multi Effect Processor
EFFECT 1 TYPE MODE SINGLE1/DUAL A B C D E L.HALL S.HALL ROOM PLATE VOCAL DELAY+REV SINGLE 2 MODE SINGLE1/DUAL L.HALL S.HALL ROOM PLATE MIC SIM AMP SIM PEAK PEAK G H I J K DELAY MISC CHORUS PITCH FLANGER SINGLE 2 DISTORTION G.MULTI 1 G.MULTI 2 B.MULTI VO.MULTI E D C B A F G H I J K 1 VARIATION DRY EFF ADJUST PARAM.1 MIX DRY+EFF MODE SINGLE2 SINGLE1 DUAL VOCAL PLATE ROOM S.HALL L.HALL TYPE DLY+REV DELAY 5 MISC 4 CHO 3 PITCH 2 FLANGE 1 VARIATION DRY EFF EFF MUTE ADJUST PARAM.2 EFFECT 2 MIX PARAM.3 DRY+EFF
DUAL MULTI EFFECT PROCESSORS

Introductions

Thank you very much for having purchased the Fostex DE-10. This unit is a completely independent two channel Multi Effect Processor that employs the A. S. P.+ (Fostex Advanced Signal Processing Technology), which is newly developed by Fostex. It provides high quality ambient effects almost equivalent to a professional effect processor. In addition to the typical Reverbs, it offers not only various practical algorithms such as Delay, Chorus, Flanger and Pitch Bend, but some combinations of these are also available, e.g., Delay+Reverb. Also, the DE-10 offers three operation modes as Dual Mode, Single 1 Mode and Single 2 Mode. The Dual Mode works twice as much as an independent single channel Multi Effect Processor, which configures as 1 Input - 2 Output times two. The Single (1 and 2) Mode works as a 2 Input 2 Output Multi Effect Processor. You can use the unit by connecting it to the AUX Send and AUX Return of an Audio Mixer for a recording. Also you can directly connect the output from your musical instruments (Line Level only) to the unit so that it will be a useful aid in your live performance. To fully exploit all of its many useful features and functions, we recommend you read this manual first before you start using the DE-10.

DE-10 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:

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER - SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
POUR EVITER LES CHOCS ELECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.
The lightning flash with arrowhead symbol, 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. 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.

"WARNING"

"TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE."

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.
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

An appliance and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the appliance and cart combination to overturn. 7. Wall or Ceiling Mounting - The appliance should be mounted to a wall or ceiling only as recommended by the manufacturer. 8. Ventilation - The appliance should be situated so that its location or position dose not interfere with its proper ventilation. For example, the appliance should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings. 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.
by qualified service personnel when:
A. B. C. D. The power supply cord or the plug has been damaged; or 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 E. The appliance has been dropped, or the enclosure damaged.
17. Servicing - The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel. 18. The appliance should be situated away from drops of water or spray of water. 19. Objects containing liquid such as vase must not be put on the appliance. 20. The appliance is not completely isolated from the power supply even if the power switch is at off position.

Table of Contents

Precautions (please read before use)..3 Digital Effect Functions..4 The details of the preset Effects..5 Effects in DUAL mode..5
L. HALL (Large Hall)..5 S. HALL (Small Hall)..5 ROOM..5 PLATE..6 VOCAL...6 DLY+REV (Delay + Reverb)..6 DELAY...6 MISC (Miscellaneous)..7 CHORUS...7 PITCH..7 FLANGE...7
Precautions (please read before use)

Power supply

When unplugging the power cable from the AC outlet, be sure to grasp the power plug. Attempting to unplug it by pulling on the power cable may damage the wiring. It is dangerous to use any power cable that is cut or frayed. If the power cable is damaged, immediately stop using it, and have it repaired. Do not plug in or unplug the power plug with wet hands. Doing so may result in dangerous electric shock. Do not open the unit or touch any parts in side. Doing so may result in a dangerous electric shock, and could damage the unit. Do not let water or other liquids, flammable materials, or metal objects such as pins get in side the unit. These things may cause electrical shock or short circuit the DE-10, and damage it. If the DE-10 should become wet, unplug the power cable from the AC outlet, and contact your authorized service station.

*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.
About "A.S.P.+"
Combining the ambience effect technology established through the development of "A.P.S." with acoustic theories accumulated through the development of transducers such as monitor speakers for many years, Fostex developed a unique simulation algorithm engine called "A.S.P.+", which performs overwhelmingly realistic microphone/amplifier simulation. To simulate a microphone, the frequency response of the microphone, which is the most essential factor that decides the sound character of each famous/popular microphone, must be reproduced correctly. To get this, "A.P.S.+" carries out a double accuracy operation for each frequency range using the unique "D.A.O." (Double Accuracy Operation). Regarding a guitar amplifier, the peak and dip of the specific frequencies, as well as feedback of the peak frequency's harmonics, are the most essential factors that decide the sound character of each famous/popular amplifier. To simulate such a unique character, "A.P.S.+" carries out a double accuracy operation for each frequency range using the "D.A.O." (Double Accuracy Operation) to simulate the frequency curve, as well as carries out harmonics feedback processing using the "H.F.A." (Harmonics Feedback Algorithm). 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. 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. 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. Chorus: This makes the one original sound appear to have many sources. The Chorus is used to widen or thicken the original sound. Flanger: The Flanger is one of applications of the Delay. This is used to create a sound like a jet airplane ascending or descending. Distortion: The distortion effect distorts the sound and adds harmonics. Four types of the distortion effect are provided: the guitar distortion, bass distortion, drum distortion and voice distortion. The distortion is used for the insert effect. Simulation: Simulators for famous guitar amplifiers and microphones are provided. You can get a familiar distortion sound of a famous guitar amplifier or a popular microphone sound. A simulator can be used for the insert effect.

The Details of the Preset Effects
The DE-10 has 11 preset Effect Types available on both the Dual Mode and Single 1/2 Mode. Each Effect Type further offers a maximum of 11 variations. See Operations on page 18 and 19 for how to set up the Preset Effects.

Effects in DUAL MODE

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

S. HALL (Small Hall)

S. HALL 1 (Natural Small Hall) : S. HALL 2 (Lo-Freq Small Hall) : S. HALL 3 (Vivid Small Hall) : S. HALL 4 (Hard-Wall Small Hall) : S. HALL 5 (Soft-Wall Small Hall) : S. HALL 6 (Long Pre-Delay Small Hall): S. HALL 7 (Narrow Small Hall) : S. HALL 8 (Dead Hall) : S. HALL 9 (Small Stadium) : S. HALL 10 (Out Door Stage) : S. HALL 11 (Flat Reverb) : Conventional small hall with sonic detail, clarity, and an appropriate amount of early reflections. Small hall with lingering low-frequency reverb components. General-purpose small hall with crisp sound and few early reflections. Small hall surrounded by hard walls, many early reflections, and a strong high-frequency ratio. Small hall with little high-frequency range. Small hall with a long pre-delay time, simulating a broad space. Small hall simulating a long and narrow space where the reverberation is concentrated in the center. Relatively dead small hall with a low high-frequency ratio. Small hall simulating a space with low-density reverberation such as a gymnasium. Simulation of an outdoor stage. Extremely small amount of reverberation. Small hall with no early reflections, and the entire frequency range decays in the same way. OUTPUT (L) INPUT S. HALL OUTPUT (R)
ROOM 1 (Natural Room) ROOM 2 (Garage) ROOM 3 (Dead Room) ROOM 4 (Live Room) ROOM 5 (Vivid Room) ROOM 6 (Off Mic) ROOM 7 (Hard Wall Drum Booth) ROOM 8 (Wood Wall Drum Booth) ROOM 9 (Live House) ROOM 10 (Back-Stage) ROOM 11 (Hi-Freq Room) : Conventional room reverb simulating a nice space with just enough sparkle. : Room reverb with crisp presence simulating a small, live space such as a garage. : Room reverb simulating a small, dead room. Add just a bit of this to give warmth to a sound. Ideal for narrations. : Room reverb simulating a live space with low-density reverberation. : All-purpose room reverb with few early reflections and good definition. : Room reverb with reverberation concentrated in the center. : Room reverb simulating a drum booth with hard walls. Crisp, and good for percussion as well. : Room reverb simulating a drum booth with a boost in the low to mid-ranges. : Room reverb simulating a small club. : Room reverb simulating the sound back-stage. : Room reverb with unique character in the mid-range. OUTPUT (L) INPUT ROOM OUTPUT (R)

INPUT 1 CHORUS INPUT 2

PITCH 13 (Stereo Pitch) : Stereo pitch shift with maintaining the stereo image. Can be shifted within the range of +/- one octave. The internal processing of each type differs, resulting in the sound character difference. Pitch 1: Recommended for general use. Pitch 2: Recommended for use when the pitch variation is small, to get a smooth sound. Pitch 3: Recommended for use when you do not want to alter the tone character. Note that, however, a delay is generated. : Dual pitch shift. You can hear the two different pitch shifted sound from the center. The internal processing of each type differs, resulting in the sound character difference. Pitch 4: Recommended for general use. Pitch 5: Recommended for use when the pitch variation is small, to get a smooth sound. Pitch 6: Recommended for use when you do not want to alter the tone character. Note that, however, a delay is generated. : Dual pitch shift. You can hear the two different pitch shifted sound from the center. One octave higher than PITCH(es) 4 through 6. The internal processing of each type differs, resulting in the sound character difference. Pitch 7: Recommended for general use. Pitch 8: Recommended for use when the pitch variation is small, to get a smooth sound. Pitch 9: Recommended for use when you do not want to alter the tone character. Note that, however, a delay is generated. : Dual pitch shift with long delay feedback. You can adjust two pitches and pitch adjustment. : Dual pitch shift with short delay feedback. You can adjust two pitches and pitch adjustment. Adjust the Pitch. Not used. Adjust the Pitch 1/2. Adjust the Pitch 1. Adjust the Pitch 2. Adjust the Pitch 1/2.
PITCH 46 (Dual L-R Pitch)
PITCH 79 (Dual Mono Pitch)
PITCH 10 (Pitch Delay) PITCH 11 (Pitch Sweeper)

<PITCH-1, 2, 3>

* [EFFECT 1_ADJUST] knob (PARAM.1): * [EFFECT 2_ADJUST] knob (PARAM.2): * [EFFECT 2_MIX] knob (PARAM.3): INPUT 1 PITCH INPUT 2 OUTPUT 1 (R) OUTPUT 1 (L)
<PITCH-14, 5, 6, 7, 8, 9, 10, 11>
: Stereo flanger which applies flanging effect while maintaining the stereo image. Slow rate. : Stereo flanger which applies flanging effect while maintaining the stereo image. Fast rate. : Stereo flanger which applies two (normal and reverse) flanging effects while maintaining the stereo image. Slow rate. FLANGE 4 (Stereo Dual Flange <Faster>) : Stereo flanger which applies two (normal and reverse) flanging effects while maintaining the stereo image. Fast rate. FLANGE 5 (Single Flange) : Single flanger. Slow rate. FLANGE 6 (Single Flange <Faster>) : Single flanger. Fast rate. FLANGE 7 (Dual Flange) : Special dual flanger in which two types of flanging effects fly around complicatedly. Slow rate. FLANGE 8 (Dual Flange <Faster>) : Special dual flanger in which two types of flanging effects fly around complicatedly. Fast rate. FLANGE 9 (Mono Dual Flange) : Special mono dual flanger in which two types of flanging effects fly around complicatedly. Fast rate. FLANGE 10 (Hi-Freq Flange) : Special flanger which applies a flanging effect only to the high frequency range. FLANGE 11 (Lo-Freq Flange) : Flanger with double depth. FLANGE 1 (Stereo Flange) FLANGE 2 (Stereo Flange <Faster>) FLANGE 3 (Stereo Dual Flange)

PLATE-1 (High-Density Plate) PLATE-2 (High-Density Old Plate) PLATE-3 (High-Density Vivid Plate) PLATE-4 (Phase Shift Plate) PLATE-5 (No E/R Plate) PLATE-6 (Warm Plate) PLATE-7 (Chorus Plate) PLATE-8 (Sizzle Plate) PLATE-9 (Flange Plate) PLATE-10 (Lo-F Flange Plate) PLATE-11 (Hi-F Flange Plate) : : : : : : : : : : : High density plate reverb. High density plate reverb with deep and fat sound. High density plate reverb with the vivid high frequency range. Plate reverb with phase-shifted sound. Neutral plate reverb sound, with no early reflection. Rich plate reverb sound with chorus effect. Plate reverb with thin chorus effect. Plate reverb with the characteristic high frequency range. Plate reverb with flanging effect. Plate reverb with flanging effect applied only to the low frequency range. Plate reverb with flanging effect applied only to the high frequency range. INPUT 1 PLATE INPUT 2 OUTPUT 1 (R) OUTPUT 1 (L)
MIC SIM (Microphone Simulation)
: Simulates the sound of a multipurpose professional condenser microphone with a large diaphragm. Its warm and transparent sound is suitable for a vocal, as well as a drum overhead or guitar amplifier. MIC SIM-2 (Trad Condenser 3k, Low Cut: On) : Simulates the sound of MIC SIM-1 above with the Low Cut switch to On. You can suppress boosted low frequencies as a result from placing a microphone in close proximity to the signal source. MIC SIM-3 (Trad Condenser 414, Low Cut: Off) : Simulates the sound of one of the most popular condenser microphones in professional studios together with the Classic condenser 87. You can get a high-fidelity clean sound of an acoustic piano. MIC SIM-4 (Trad Condenser 414, Low Cut: 150Hz) : Simulates the sound of MIC SIM-3 above with the Low Cut switch to On. You can suppress boosted low frequencies. MIC SIM-5 (Trad Dynamic 112) : Simulates the sound of a dynamic microphone suitable for a kick. You can get a clean and powerful sound by applying it to a kick or bass. It has a slightly boosted low frequencies. MIC SIM-6 (German Dynamic 421) : Simulates the sound of a dynamic microphone which is frequently used for recording a tom-tom. Suitable for recording a skin percussion because of its powerful attack feeling with a high frequency peak. : Simulates the sound of MIC SIM-6 above with the Low Cut switch to On. You can MIC SIM-7 (German Dynamic 421, Low Cut: 2) suppress boosted low frequencies more than MIC SIM-6. MIC SIM-8 (German Dynamic 421, Low Cut: SPE) : Simulates the sound of MIC SIM-6 above with the Low Cut switch to On (SPE). You can considerably suppress boosted low frequencies. Suitable for a speech. MIC SIM-9 (Modern Condenser 2) : Simulates the sound of a modern condenser microphone which has a wider dynamic range and bright sound. It offers a warm tube sound, making a vocal or acoustic guitar as if it were recorded by a condenser microphone. MIC SIM-10 (Vintage Condenser 47) : Simulates a professional tube microphone with a large diaphragm that offers clean and dry sound. Suitable for an acoustic guitar and brass. MIC SIM-11 (Vintage Condenser 87, Low Cut: Off) : Simulates the sound of a classic and historic model used for vocals and strings frequently in professional studios. Provides outstanding warm sound among condenser microphones. * [EFFECT 1_ADJUST] knob (PARAM.1): Not used. * [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the Distortion Output Level. * [EFFECT 2_MIX] knob (PARAM.3): Adjust the Gate Threshold. OUTPUT 1 (L) INPUT 1 Mic Simulate Gate OUTPUT 1 (R) MIC SIM-1 (Trad Condenser 3k, Low Cut: Off)

AMP SIM (Amplifier Simulation)
AMP SIM-1 (British 800 Amplifier) AMP SIM-2 (Tremo Recti Amplifier) AMP SIM-3 (Metal Panel Recti Amplifier) AMP SIM-4 (British Class A30 Amplifier) : Simulates the 800-series British tube amplifier, a synonym for rock. The king of the rock sound of the 80s hard rock and heavy metal. Distorted raging sound. : Simulates the American combo model amplifier, designed to get high gain sound for the 90s hard rock and heavy metal. Fat bass and raging distorted sound. : Simulates the amp head of the high gain amp series, same as the Tremo Recti Amplifiers. Deep and well-separated distortion and heavy sound. Suitable for the metal sound. : Simulates a most popular British sound tube amplifier. The preamp section is designed using the class A circuit for creating the fat and warm sound. Usually used in the range between clear and crunch sound, but sometimes used with the higher gain to get a harder distortion. : Simulates the American combo amplifier designed as a bass amplifier but used by many guitarists because of its fat presence sound. Suitable for jazz and blues with its clear and crunch sound, however, because you can get a raging distortion that you cannot expect from an ordinary bass amplifier when raising the gain. It can be used for a wide range of genres. : You can distort a kick sound appropriately. : You can distort a snare sound appropriately. : You can distort a snare sound excessively. : You can get a smooth distortion. : You can get a boomy and bright distortion. : You can get a bullhorn sound.
AMP SIM-5 (Fat Bass Amplifier)
AMP SIM-6 (Kick) AMP SIM-7 (Snare 1) AMP SIM-8 (Snare 2) AMP SIM-9 (Voice 1) AMP SIM-10 (Voice 2) AMP SIM-11 (Radio Voice)
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Distortion Gain. * [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the Distortion Output Level. * [EFFECT 2_MIX] knob (PARAM.3): Adjust the Gate Threshold. OUTPUT 1 (L) INPUT 1 Amp Simulate Gate OUTPUT 1 (R)

DISTORTION

DIST-1 (Distortion) DIST-2 (Rhythm) DIST-3 (Over Drive) DIST-4 (Acoustic) DIST-5 (Blues) DIST-6 (Fuzz) DIST-7 (Lead) : : : : : : : You can get a hard distortion like driving a three-stacked amplifier. You can get a slight distortion when picking the guitar strongly. You can get a smooth distortion like driving a tube amplifier. You can get an electric-acoustic guitar sound. You can get a fat overdrive sound. You can get a rough sound with a fat low frequency range. You can get a bright and smooth distortion.
DIST-8 (Metal) DIST-9 (Bass 1) DIST-10 (Bass 2) DIST-11 (Bass 3) : : : : You can get a shred sound. Simulates a bass amplifier. You can get a sound like recording a distorted bass sound through a line. You can get a fat bass sound. Adjust the Distortion Gain. Adjust the Distortion Output Level. Adjust the Gate Threshold. OUTPUT 1 (L) INPUT 1 Distortion Gate OUTPUT 1 (R)

GUITAR MULTI 1

G. MULTI 1-1 (Natural Clean Guitar) G. MULTI 1-2 (Vivid Chorus Guitar) G. MULTI 1-3 (Warm Chorus Guitar) G. MULTI 1-4 (Rhythm Guitar) G. MULTI 1-5 (Warm Rhythm Guitar) G. MULTI 1-6 (Flange Rhythm Guitar) G. MULTI 1-7 (Acoustic Guitar) G. MULTI 1-8 (Crunch Guitar) G. MULTI 1-9 (Vivid Crunch) G. MULTI 1-10 (Delay Crunch Solo) G. MULTI 1-11 (Flange Crunch Solo) : : : : : : : : : : : Clean guitar sound featuring natural compression and moderate reverberation. Contemporary guitar sound featuring a vivid and clear tone. Warm and clean guitar sound with a deep chorus effect. Designed for a rhythm guitar, with compression and drive circuits. Designed for a rhythm guitar with warm sound, by adding a chorus effect. Designed for a rhythm guitar with a flanging effect. Simulates an acoustic guitar sound, with applying compression and reverberation. Crunch guitar sound. Crunch guitar sound with a moderate chorus effect. Crunch guitar sound with L-R delay. Suitable for a mellow song. Crunch guitar sound with a light and coarse flanging effect, featuring a brilliant high frequency range.

<G. MULTI-1, 2, 3>

* [EFFECT 1_ADJUST] knob (PARAM.1): * [EFFECT 2_ADJUST] knob (PARAM.2): * [EFFECT 2_MIX] knob (PARAM.3): Adjust the Modulation Level. Adjust the Reverb/Delay Level. Adjust the Gate Threshold.
<G. MULTI-4, 5, 6, 7, 8, 9, 10, 11>
* [EFFECT 1_ADJUST] knob (PARAM.1): * [EFFECT 2_ADJUST] knob (PARAM.2): * [EFFECT 2_MIX] knob (PARAM.3): Adjust the Distortion Gain. Adjust the Distortion Output. Adjust the Gate Threshold. Chorus or Flanger OUTPUT 1 (L) OUTPUT 1 (R)

INPUT 1

Compressor

Distortion

Delay/Reverb

<NOTE>

When using any one of G_MULTI 1 settings above and no input signal is fed, you may hear an input noise. This is due to the character of the effects. In such a case, you can reduce the noise by setting the gate to "on" (by PARAM 3).

GUITAR MULTI 2

G. MULTI 2-1 (Warm Distortion) G. MULTI 2-2 (Heavy Distortion) G. MULTI 2-3 (Thin Flange Distortion) G. MULTI 2-4 (Deep Flange Distortion) G. MULTI 2-5 (Thin Metal Flange) G. MULTI 2-6 (Deep Metal Flange) G. MULTI 2-7 (Blues Lead) G. MULTI 2-8 (Distortion Lead) G. MULTI 2-9 (Mono Delay Lead) G. MULTI 2-10 (L-R Delay Lead) G. MULTI 2-11 (Delay Chorus Lead) : : : : : : : : : : : Distortion guitar sound like the JCM800. Distortion guitar sound like Recti Head. Distortion guitar sound with a moderate flanging effect. Distortion guitar sound with a deep flanging effect. Metal distortion with thin flanging effect. Metal distortion with deep flanging effect. Natural and mild lead guitar sound. Bright lead guitar sound by applying a short delay. Lead guitar sound with a mono delay. Lead guitar sound with an L-R delay. Lead guitar sound with an L-R delay and a chorus. Adjust the Distortion Gain. Adjust the Distortion Output. Adjust the Gate Threshold. Chorus or Flanger OUTPUT 1 (L) OUTPUT 1 (R)
When using any one of G_MULTI 2 settings above and no input signal is fed, you may hear an input noise. This is due to the character of the effects. In such a case, you can reduce the noise by setting the gate to "on" (by PARAM 3).

BASS MULTI

B. MULTI-1 (Normal Bass) B. MULTI-2 (Slap Bass) B. MULTI-3 (Fretless Bass) B. MULTI-4 (Distortion Bass 1) B. MULTI-5 (Distortion Bass 2) B. MULTI-6 (Distortion Bass 3) B. MULTI-7 (Ambience Bass Solo 1) B. MULTI-8 (Ambience Bass Solo 2) B. MULTI-9 (Flange Bass 1) B. MULTI-10 (Flange Bass 2) B. MULTI-11 (Chorus Bass) : : : : : : : : : : : Normal bass sound with compression tuned for a bass. Slap bass sound with compression and natural modulation. Deeply moderated bass sound. Slightly distorted bass sound which stands out in the orchestra sound. More distorted sound than B. MULTI-4, resulting in more distinct sound. Distorted sound with moderate flanging effect. Natural bass sound. Suitable for a bass solo. Distorted sound with natural feeling. Moderate flanged bass sound. Deep flanged bass sound. Rich and spacious bass sound by adding a chorus effect. Recommended to be used with a reverb.

<B. MULTI-1, 2, 3, 7, 9, 10, 11>
<B. MULTI-4, 5, 6, 8>
When using any one of BASS MULTI settings above and no input signal is fed, you may hear an input noise. This is due to the character of the effects. In such a case, you can reduce the noise by setting the gate to "on" (by PARAM 3).

VOCAL MULTI

V. MULTI-1 (Normal Vocal) V. MULTI-2 (Doubling Vocal) V. MULTI-3 (Diffusion Vocal) V. MULTI-4 (Distortion Vocal) V. MULTI-5 (Flange Distortion Vocal) V. MULTI-6 (Radio Voice) V. MULTI-7 (Small Radio Voice) V. MULTI-8 (Flange Voice) : : : : : : : : Light compression and reverberation applied only to the high frequency range. Light compression and moderate short delay. Suitable for adding the brightness to a dull vocal. Designed for adding a chorus effect to a center positioned vocal. Distorted vocal sound for standing out the vocal. Distorted vocal sound with adding a moderate flanging effect. A unique sound can be generated. Typical "radio voice". Simulates a radio sound with its characteristic compression. Simulate a smaller radio than V. MULTI-6. A special voice that can be used as an effect voice.
<V. MULTI-1, 2, 3, 6>
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Modulation Level. * [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the Reverb/Delay Level. * [EFFECT 2_MIX] knob (PARAM.3): Adjust the Gate Threshold.
<V. MULTI-4, 5, 7, 8>
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Distortion Gain. * [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the Distortion Output. * [EFFECT 2_MIX] knob (PARAM.3): Adjust the Gate Threshold. Chorus or Flanger OUTPUT 1 (L) OUTPUT 1 (R)
V. MULTI-9 (Line Select 1) V. MULTI-10 (Line Select 2) V. MULTI-11 (Mute) * Parameter Settings: Non.
: Input 1 routes to Output 1/L, while Input 2 routes to Output 1/R. : Input 1 routes to Output 2/L, while Input 2 routes to Output 2/R. : No signal is output from Output 1/2.
When using any one of VOCAL MULTI settings above and no input signal is fed, you may hear an input noise. This is due to the character of the effects. In such a case, you can reduce the noise by setting the gate to "on" (by PARAM 3).

Names and Functions (Front panel section)
EFFECT 1 TYPE MODE SINGLE1/DUAL A B C D E F L.HALL S.HALL ROOM PLATE VOCAL DELAY+REV SINGLE 2 MODE SINGLE1/DUAL L.HALL S.HALL ROOM PLATE MIC SIM AMP SIM PEAK PEAK G H I J K DELAY MISC CHORUS PITCH FLANGER SINGLE 2 DISTORTION G.MULTI 1 G.MULTI 2 B.MULTI VO.MULTI E D C B A F G H I J K 1 VARIATION DRY EFF ADJUST PARAM.1 MIX DRY+EFF MODE SINGLE2 SINGLE1 DUAL VOCAL PLATE ROOM S.HALL L.HALL TYPE DLY+REV DELAY 5 MISC 4 CHO 3 PITCH 2 FLANGE 1 VARIATION DRY EFF EFF MUTE ADJUST PARAM.2 EFFECT 2 MIX PARAM.3 DRY+EFF

1. EFFECT 1 TYPE switch

9. EFFECT 2 VARIATION switch
Selects the variation for the effect type selected for EFFECT 2 in the dual mode. This switch does not function in the single (1 or 2) mode. You can select from among 11 variations, as same as EFFECT 1.
Selects the type for EFFECT 1 in the dual mode or for the effect in the single (1 or 2) mode. You can select from among 11 effect types for each mode as shown in the table below.

MODE SW

SINGLE 1/DUAL L. HALL S. HALL ROOM PLATE VOCAL DELAY + REV
SINGLE 2 L. HALL S. HALL ROOM PLATE MIC SIM AMP SIM
SINGLE 1/DUAL DELAY MISC CHORUS PITCH FLANGER
SINGLE 2 DISTORTION G. MULTI 1 G. MULTI 2 B. MULTI VO. MULTI

A B C D E F

G H I J K
10. EFFECT 2 ADJUST/PARAM. 2 control and indicator
Adjusts the parameter value for EFFECT 2 in the dual mode or the parameter 2 value for the effect in the single (1 or 2) mode. The center position is the default. Turning left decreases the value while turning right increases the value.
2. EFFECT 1 PEAK indicator
Lights up when the input level of EFFECT 1 in the dual mode or of the effect in the single (1 or 2) mode exceeds "+6 dB" which is just below the clipping level.
11. EFFECT 2 MIX/PARAM. 3 control and indicator
Adjusts the balance of the output sound from the OUTPUT 2 jacks on the rear panel in the dual mode. Hard left Center Hard right :DRY 100%, EFFECT 0% :DRY 50%, EFFECT 0% :DRY 0%, EFFECT 200%
3. EFFECT 1 VARIATION switch
Selects the variation for EFFECT 1 in the dual mode or for the effect in the single (1 or 2) mode. You can select from among 11 variations.
4. EFFECT 1 ADJUST/PARAM. 1 control and indicator
Adjusts the parameter value for EFFECT 1 in the dual mode or the parameter 1 value for the effect in the single (1 or 2) mode. The center position is the default. Turning left decreases the value while turning right increases the value.

When the input select switch is set to "LINE", this jack is not active.

How to use the Dual Mode

We describe how to use the Dual Mode below. <About features of the Dual Mode>
1. You can use the DE-10 as a two-channel effect processing unit. 2. Each effect processor (EFFECT 1 and EFFECT 2) provides a mono input and stereo output jacks. 3. A main parameter for each effect can be edited from the preset value.
The following shows the example of using the dual mode, in which the DE-10 is connected between the AUX SEND and AUX RTN jacks for applying the desired effect to a sound.
Adjust the incoming signal level from the mixer. See <Caution on Effect Processing> below for details about how to adjust the level.
Set the input selector to "LINE".

<Point>

Connect the Foot SW into the jack to remotely control the Effect Mute ON/OFF.

AUX RTN

AUX SEND
EFFECT 2 TYPE MODE SINGLE1/DUAL G H I J K DELAY MISC CHORUS PITCH FLANGER SINGLE 2 DISTORTION G.MULTI 1 G.MULTI 2 B.MULTI VO.MULTI E D C B A F G H I J K PEAK 1 VARIATION DRY EFF ADJUST PARAM.1 MIX DRY+EFF MODE SINGLE2 SINGLE1 DUAL VOCAL PLATE ROOM S.HALL L.HALL TYPE DLY+REV DELAY 5 MISC 4 CHO 3 PITCH 2 FLANGE 1 PEAK VARIATION DRY EFF EFF MUTE ADJUST PARAM.2 MIX PARAM.3 DRY+EFF
<Front panel settings>
1. Set the MODE switch to "DUAL".
<About PEAK indicator>
The PEAK indicator on the front panel illuminates when the input signal to be monitored reaches 6 dB below the clipping level. Adjust the input level appropriately so that the PEAK indicator occasionally flickers. If you hear the output sound distorted though the PEAK indicator does not steadily light or illuminate so often, it may be due to the signal level increase in the effect processing. In such a case, reduce the input level so that the output sound is not distorted.
2. Set the TYPE switch for each of EFFECT 1 and 2 to the desired position.
You can select from among the following eleven types. See page 5~7 for details about each type.
<Note on changing the switch position>
When you change the position of the MODE, EFFECT TYPE, or VARIATION switch, the DE-10 resets the internal DSP and the output signal disappears momentarily. This is due to not a malfunction.
3. Set the VARIATION switch for each of EFFECT 1 and 2 to the desired position. 4. Using the appropriate ADJUST control, adjust the parameter for each of EFFECT 1 and 2. 5. Using the appropriate MIX control, adjust the mixing balance of dry and effect signals fed from the OUTPUT jacks for each of EFFECT 1 and 2.

MUTE DATA
Declaration of EC Directive
This equipment is compatible with the EMC Directive (89/336/EEC) - Directive on approximation of member nation's ordinance concerning the electromagnetic compatibility and with the Low Voltage Directive (73/23/EEC) - Directive on approximation of member nation's ordinance concerning electric equipment designed to be used within the specified voltage range.
The Affect of Immunity on This Equipment
The affect of the European Specification EN61000-6-1 (coexistence of electromagnetic waves - common immunity specification) on this equipment are as shown below. In the electrical fast transient/burst requirements, surge, conducted disturbances by radio-frequency fields, power frequency magnetic field, radiate electromagnetic field requirements and static electricity discharging environment, this could be affected by generation of noise in some cases.
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