Fostex Musical Instrument DE 10 User Manual
8588 013 000  
(359872)  
Owner’s Manual  
24bit Dual Multi Effect Processor  
Model  
EFFECT  
1
EFFECT  
2
TYPE  
F
VARIATION  
6
ADJUST  
PARAM.1  
MIX  
TYPE  
VARIATION  
6
ADJUST  
PARAM.2  
MIX  
PARAM.3  
DRY+EFF  
DRY+EFF  
DLY+REV  
MODE SINGLE1/DUAL SINGLE  
2
MODE SINGLE1/DUAL  
SINGLE  
2
MODE  
E
D
G
H
5
4
7
8
VOCAL  
PLATE  
DELAY  
MISC  
5
4
7
8
A
B
C
D
E
F
L.HALL  
S.HALL  
L.HALL  
S.HALL  
ROOM  
PLATE  
G
H
I
DELAY  
MISC  
DISTORTION  
SINGLE2  
G.MULTI  
1
SINGLE1  
DUAL  
EFF MUTE  
I
C
3
9
ROOM  
CHO  
3
9
ROOM  
CHORUS  
G.MULTI  
2
PLATE  
J
PITCH  
B.MULTI  
B
A
J
2
1
10  
11  
S.HALL  
L.HALL  
PITCH  
2
1
10  
11  
DRY  
EFF  
DRY  
EFF  
VOCAL  
MIC SIM  
K
FLANGER  
VO.MULTI  
K
FLANGE  
DELAY+REV  
AMP SIM  
DUAL MULTI EFFECT PROCESSORS  
PEAK  
PEAK  
POWER  
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.  
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DE-10 Owner’s Manual  
Precautions (please read before use)  
Power supply  
Table of Contents  
Precautions (please read before use) ............................3  
Digital Effect Functions ....................................................4  
The details of the preset Effects ......................................5  
• 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.  
• 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  
•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.  
• Effects in SINGLE 1 mode ...........................................8  
L. HALL (Large Hall) ....................................................8  
S. HALL (Small Hall) ....................................................8  
ROOM ........................................................................8  
PLATE ........................................................................8  
VOCAL .......................................................................9  
DLY+REV (Delay + Reverb) ........................................9  
DELAY ...........................................................................9  
MISC (Miscellaneous) ...............................................10  
CHORUS ......................................................................10  
PITCH ..........................................................................10  
FLANGE .......................................................................11  
•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.  
Location  
•Avoid using the DE-10 in the following  
locations:  
• Effects in SINGLE 2 mode ........................................12  
L. HALL (Large Hall) ..................................................12  
S. HALL (Small Hall) ..................................................12  
ROOM .........................................................................12  
PLATE ..........................................................................12  
MIC SIM (Microphone Simulation) ........................13  
AMP SIM (Amplifier Simulation) ............................13  
DISTORTION ..............................................................13  
GUITAR MULTI 1 .......................................................14  
GUITAR MULTI 2 .......................................................14  
BASS MULTI ...............................................................15  
VOCAL MULTI ............................................................15  
• Locations of extreme low or high temperatures,  
or extreme changes in temperature.  
•Locations with excessive moisture or dust.  
•Locations where direct sunlight falls for an  
extended time, or near a stove or other source  
of heat.  
•Locations where electrical voltage varies.  
•Unstable locations or where there is heavy  
vibration.  
Names and Functions (Front panel section) ...............16  
Names and Functions (Rear panel section) ................17  
How to use the DUAL mode ...........................................18  
How to use the SINGLE (1 and 2) mode ........................19  
Specifications ..................................................................21  
Block Diagram .................................................................21  
Declaration of EC Directive ............................................22  
•Near strong magnetic fields (on top of a  
television or speaker).  
3
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DE-10 Owner’s Manual  
Digital Effect Functions  
The DE-10 achieves superb ambience effects by employing the Fostex A.S.P. (Fostex Advanced Signal Processing  
Technology*), as well as simulations of microphones/amplifiers with overwhelming reality by employing the  
newly developed "A.S.P. +".  
*A. S. P. (Fostex Advanced Signal Processing Technology)  
The A. S. P. is an exclusive new digital effect processing technology designed by Fostex. This method  
extracts maximum efficiency from the limited DSP power. It achieves an overwhelmingly high density  
Early Reflection sound and wonderfully smooth High Dump response through the H. F. A. (Harmonic  
Feedback Algorithm). Also, it carries out an elaborate reverb simulation with clear sounds through the  
H. D. L. P. (Hi-Density Logarithmic Processing), which eliminates the mutual interference between the  
numerous integrated delay modules and reduce the impurity and grit of the sound.  
*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 rever-  
berated 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.  
About "A.S.P.+"  
Combining the ambience effect technology established through the development of "A.P.S." with acoustic theories accumu-  
lated through the development of transducers such as monitor speakers for many years, Fostex developed a unique simula-  
tion 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 harmon-  
ics, 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." (Harmon-  
ics Feedback Algorithm).  
Reverb:  
Chorus:  
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.  
This makes the one original sound appear to have many  
sources. The Chorus is used to widen or thicken the origi-  
nal sound.  
Flanger:  
The Flanger is one of applications of the Delay. This is used  
to create a sound like a jet airplane ascending or descend-  
ing.  
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 distor-  
tion. The distortion is used for the insert effect.  
Simulation:  
Delay:  
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.  
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.  
4
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DE-10 Owner’s Manual  
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)  
:
:
:
:
:
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.  
L. HALL 6 (Long Pre-Delay Large Hall): Reverb with an extremely long pre-delay time, simulating a fairly broad space.  
L. HALL 7 (Cave)  
:
Reverb simulating a cave. Perhaps the thick moss accounts for the excellent high-frequency  
absorption!  
L. HALL 8 (Stadium)  
:
:
:
:
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.  
L. HALL 9 (Vivid Stadium)  
L. HALL 10 (Auditorium)  
L. HALL 11 (Big Cave)  
* [ADJUST] knob: Adjust the Reverb Time.  
OUTPUT (L)  
OUTPUT (R)  
L. HALL  
INPUT  
• 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)  
:
:
:
:
:
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.  
S. HALL 6 (Long Pre-Delay Small Hall): Small hall with a long pre-delay time, simulating a broad space.  
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)  
:
:
:
:
:
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.  
* [ADJUST] knob: Adjust the Reverb Time.  
OUTPUT (L)  
OUTPUT (R)  
S. HALL  
INPUT  
• ROOM  
ROOM 1 (Natural Room)  
ROOM 2 (Garage)  
ROOM 3 (Dead 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 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)  
:
:
:
:
:
:
:
:
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.  
* [ADJUST] knob: Adjust the Reverb Time.  
OUTPUT (L)  
OUTPUT (R)  
ROOM  
INPUT  
5
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• PLATE  
PLATE 1 (Normal Plate)  
PLATE 2 (Old Plate)  
: 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.  
PLATE 3 (Vivid Plate)  
PLATE 4 (Lo-Freq Plate)  
PLATE 5 (Sharp Plate)  
PLATE 6 (Mono Plate)  
PLATE 7 (Dark Plate)  
PLATE 8 (Hi-Freq Plate)  
PLATE 9 (Mid-Freq Plate)  
PLATE 10 (Large E/R Plate)  
PLATE 11 (Flat Plate)  
* [ADJUST] knob: Adjust the Reverb Time.  
OUTPUT (L)  
OUTPUT (R)  
PLATE  
INPUT  
• VOCAL  
VOCAL 1 (Standard Vocal)  
: 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.  
: All-around reverb that makes any vocal sound great (!?)  
VOCAL 2 (Karaoke)  
VOCAL 3 (Vocal Booth)  
: 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 (Warm Vocal)  
VOCAL 5 (Diffusion Vocal)  
: Reverb with a short delay and a plate character. Adds depth to the sound.  
: Spacious stadium-type early reflections plus short reverberation with extended high range. Good for  
chorus parts.  
VOCAL 6 (Natural Vocal)  
VOCAL 7 (Vivid Vocal)  
: Easy to use vocal reverb with moderate delay and reverberation.  
: Reverb that adds depth and spaciousness to the sound. A good high range makes this ideal for chorus  
parts as well.  
VOCAL 8 (Wet Vocal)  
: A short delay plus a gentle reverb. Recommended for slow songs.  
: Spacious short delay plus a reverb with a real plate character. Blends naturally into any background.  
: Spacious short delay plus short reverberation.  
VOCAL 9 (Doubling Vocal)  
VOCAL 10 (Dry Vocal)  
VOCAL 11 (Stadium Vocal)  
: Stadium-type early reflection plus majestic reverb. Adds depth and spaciousness to a vocal.  
* [ADJUST] knob: Adjust the Reverb Time.  
OUTPUT (L)  
OUTPUT (R)  
VOCAL  
INPUT  
• DLY+REV (Delay+Reverb)  
DLY+REV 1 (Mono Delay+Hall Reverb)  
DLY+REV 2 (L-R Delay+Hall Reverb)  
DLY+REV 3 (Diffusion Delay+Hall Reverb)  
DLY+REV 4 (Mono Delay+Room Reverb)  
DLY+REV 5 (L-R Delay+Room Reverb)  
DLY+REV 6 (Diffusion Delay+Room Reverb)  
DLY+REV 7 (Mono Delay+Plate Reverb)  
DLY+REV 8 (L-R Delay+Plate Reverb)  
DLY+REV 9 (Diffusion Delay+Plate Reverb)  
: Mono delay + hall reverb.  
: Panning delay + hall reverb.  
: Spacious delay + hall reverb.  
: Mono delay + room reverb.  
: Panning delay + room reverb.  
: Spacious delay + room reverb.  
: Mono delay + plate reverb.  
: Panning delay + plate reverb.  
: Spacious delay + plate reverb.  
DLY+REV 10 (Mono Single Delay+Plate Reverb) : Mono delay (without feedback) + plate reverb.  
DLY+REV 11 (L-R Single Delay+Plate Reverb)  
: Panning delay (without feedback) + plate reverb.  
* [ADJUST] knob: Adjust the Delay Time.  
OUTPUT (L)  
OUTPUT (R)  
REVERB  
DELAY  
INPUT  
• DELAY  
DELAY 1 (Mono Delay)  
DELAY 2 (L-R Delay)  
:
:
:
:
:
:
:
:
:
:
:
Typical mono delay with moderate feedback.  
Typical panning delay with moderate feedback.  
Spacious mono delay with moderate feedback.  
Typical mono delay without feedback.  
Typical panning delay without feedback.  
Spacious mono delay without feedback.  
Mono doubling delay.  
DELAY 3 (Diffusion Delay)  
DELAY 4 (Mono Single Delay)  
DELAY 5 (L-R Single Delay)  
DELAY 6 (Diffusion Single Delay)  
DELAY 7 (Mono Doubling)  
DELAY 8 (Diffusion Doubling)  
DELAY 9 (Lo-Freq Delay)  
DELAY 10 (Hi-Freq Delay 1)  
DELAY 11 (Hi-Freq Delay 2)  
Stereo doubling delay.  
Delay Type 1 with only the low-frequency components.  
Delay Type 2 with only the high-frequency components.  
Delay Type 1 with only the high-frequency components.  
* [ADJUST] knob: Adjust the Delay Time.  
OUTPUT (L)  
OUTPUT (R)  
DELAY  
INPUT  
6
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• MISC (Miscellaneous)  
MISC 1 (Random E/R)  
:
Random early reflections. When applied to instruments with a slow attack, this produces a  
natural feeling of air and space.  
MISC 2 (Soft Random E/R)  
MISC 3 (Tight Random E/R)  
MISC 4 (Long E/R)  
:
:
:
Random early reflections. Less high range than MISC 1, so suitable for backing tracks.  
Random early reflections with only high-frequency components.  
Miraculous ambience that could not exist in the real world, with early reflections that continue  
without being covered by reverberant components.  
MISC 5 (Short E/R)  
:
Random early reflections at close spacing appear all at once. Effective for giving natural  
spaciousness to pad-type sounds.  
MISC 6 (Large Hall E/R)  
MISC 7 (Soft Large Hall E/R)  
MISC 8 (Small Hall E/R)  
MISC 9 (Soft Small Hall E/R)  
MISC 10 (Reverse E/R)  
MISC 11 (Gate Reverb)  
:
:
:
:
:
:
Early reflections of a large hall.  
Early reflections of a large hall. Gentler sound than MISC 4.  
Early reflections of a small hall.  
Early reflections of a small hall. Gentler sound than MISC 6.  
Early reflections of reverse reverb. Effective on vocal or brass section.  
Gated early reflection with a crisp cutoff.  
OUTPUT (L)  
* [ADJUST] knob: Adjust the size of the room.  
MISC  
INPUT  
OUTPUT (R)  
• CHORUS  
CHORUS 1 (Natural Chorus)  
:
:
Conventional chorus with fairly shallow depth, suitable for any sound. Adds a natural  
spaciousness and depth without changing the character of the original sound.  
Chorus with greater depth. Suitable when you want to aggressively modify the sound of an  
electric piano, etc.  
CHORUS 2 (Deep Chorus)  
CHORUS 3 (Doubling Chorus)  
CHORUS 4 (Mono Chorus)  
CHORUS 5 (Mono Doubling Chorus)  
CHORUS 6 (Mono Deep Chorus)  
:
:
:
:
Conventional chorus, plus a doubling effect created by a short delay.  
Light chorus panned to center. Adds natural depth and warmth to vocals or sax, etc.  
The effect of CHORUS 4 plus a doubling effect created by a short delay.  
Deep chorus panned to center. Effective for adding body to a center-panned instrument such as  
bass.  
CHORUS 7 (Mono Deep Doubling Chorus) : The effect of CHORUS 6 plus a doubling effect created by a short delay.  
CHORUS 8 (Hi-Freq Chorus)  
CHORUS 9 (Lo-Freq Chorus)  
CHORUS 10 (Mono Delay Chorus)  
CHORUS 11 (L-R Delay Chorus)  
:
:
:
:
Chorus applied only to the high-frequency range.  
Chorus applied only to the low-frequency range.  
Pitch chorus that adds depth to the sound by slightly shifting the pitch.  
Pitch chorus panned to the center.  
OUTPUT (L)  
OUTPUT (R)  
* [ADJUST] knob: Adjust the depth of the chorus.  
CHORUS  
INPUT  
• PITCH  
PITCH 1—3 (Pitch +/- 1oct.)  
PITCH 4—6 (Pitch Shift Up)  
PITCH 7—9 (Pitch Shift Down)  
:
:
:
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.  
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.  
Pitch shift with a variable range of -2—0 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.  
PITCH 10 (Pitch Delay)  
PITCH 11 (SFX Pitch)  
:
:
Pitch shift with delayed feedback. Offsetting the pitch will produce interesting results.  
Pitch shift that produces a strange effect like a simulation of a space alien. We recommend that  
you set ADJUST to 0.  
OUTPUT (L)  
* [ADJUST] knob: Adjust the amount of pitch change. +/-1 octave.  
PITCH  
INPUT  
OUTPUT (R)  
• FLANGE  
FLANGE 1 (Dual Flange)  
: Dual flanging in which two effect sounds with different modulation phase are heard from left  
and right. Deep feedback.  
FLANGE 2 (Dual Flange Lo-Feedback)  
FLANGE 3 (Dual Flange No-Feedback)  
FLANGE 4 (Lo-Freq Flange)  
: Dual flanging. Light feedback.  
: Dual flanging. Almost no feedback.  
: Flanging with modulation in the low-frequency component. Deep feedback.  
FLANGE 5 (Double Width Flange Lo-Feedback) : Flanging with modulation in the low-frequency component. light feedback.  
FLANGE 6 (Hi-Freq Flange)  
FLANGE 7 (Lo-Freq Flange)  
FLANGE 8 (Mono Dual Flange)  
FLANGE 9 (Mono Dual Flange Lo-Feedback)  
FLANGE 10 (Mono Single Flange)  
: Flanging applied only to the high-frequency range.  
: Flanging applied only to the low-frequency range.  
: Two types of flanging heard from the center. Deep feedback.  
: Two types of flanging heard from the center. Light feedback.  
: One effect heard from the center. Deep feedback.  
FLANGE 11 (Mono Single Flange Lo-Feedback) : One effect heard from the center. Light feedback.  
OUTPUT (L)  
OUTPUT (R)  
* [ADJUST] knob: Adjust the modulation speed of the flanging.  
FLANGE  
INPUT  
7
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DE-10 Owner’s Manual  
Effects in SINGLE 1 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)  
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Same as DUAL mode L. HALL 1, but higher density reverberation.  
Same as DUAL mode L. HALL 2, but higher density reverberation.  
Same as DUAL mode L. HALL 3, but higher density reverberation.  
Same as DUAL mode L. HALL 4, but higher density reverberation.  
Same as DUAL mode L. HALL 5, but higher density reverberation.  
Same as DUAL mode L. HALL 6, but higher density reverberation.  
Same as DUAL mode L. HALL 7, but higher density reverberation.  
Same as DUAL mode L. HALL 8, but higher density reverberation.  
Same as DUAL mode L. HALL 9, but higher density reverberation.  
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.  
L. HALL 11 (Big Cave)  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
L. HALL  
• 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)  
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Same as DUAL mode S. HALL 1, but higher density reverberation.  
Same as DUAL mode S. HALL 2, but higher density reverberation.  
Same as DUAL mode S. HALL 3, but higher density reverberation.  
Same as DUAL mode S. HALL 4, but higher density reverberation.  
Same as DUAL mode S. HALL 5, but higher density reverberation.  
Same as DUAL mode S. HALL 6, but higher density reverberation.  
Same as DUAL mode S. HALL 7, but higher density reverberation.  
Same as DUAL mode S. HALL 8, but higher density reverberation.  
Same as DUAL mode S. HALL 9, but higher density reverberation.  
Simulation of an outdoor stage. Extremely small amount of reverberation.  
S. HALL 9 (Small Stadium)  
S. HALL 10 (Out Door Stage)  
S. HALL 11 (Flat Reverb)  
Small hall with no early reflections, and the entire frequency range decays in the same way.  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
S. HALL  
• ROOM  
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)  
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Same as DUAL mode ROOM 1, but higher density reverberation.  
Same as DUAL mode ROOM 2, but higher density reverberation.  
Same as DUAL mode ROOM 3, but higher density reverberation.  
Same as DUAL mode ROOM 4, but higher density reverberation.  
Same as DUAL mode ROOM 5, but higher density reverberation.  
Same as DUAL mode ROOM 6, but higher density reverberation.  
Same as DUAL mode ROOM 7, but higher density reverberation.  
Same as DUAL mode ROOM 8, but higher density reverberation.  
Same as DUAL mode ROOM 9, but higher density reverberation.  
Amazing room reverb with a light flanging effect  
ROOM 10 (Back Stage)  
ROOM 11 (Hi-Freq Room)  
Special reverb with flanging applied to the early reflections of the room.  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
* [EFFECT 1_MIX] knob (PARAM.3):  
Adjust the Character.  
ROOM  
• PLATE  
PLATE 1 (Normal Plate)  
PLATE 2 (Old Plate)  
PLATE 3 (Vivid Plate)  
PLATE 4 (Lo-Freq Plate)  
PLATE 5 (Sharp Plate)  
PLATE 6 (Mono Plate)  
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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.  
Same as DUAL mode PLATE 6, but higher density reverberation.  
8
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DE-10 Owner’s Manual  
PLATE 7 (Dark Plate)  
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Same as DUAL mode PLATE 7, but higher density reverberation.  
PLATE 8 (Hi-Freq Plate)  
PLATE 9 (Mid-Freq Plate)  
PLATE 10 (Large E/R Plate)  
PLATE 11 (Flat Plate)  
Same as DUAL mode PLATE 8, but higher density reverberation.  
Same as DUAL mode PLATE 9, but higher density reverberation.  
Unusual plate reverb with a light flanging effect applied.  
Special reverb with an aggressive flanging effect applied.  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
PLATE  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
• VOCAL  
VOCAL 1 (Standard Vocal)  
VOCAL 2 (Karaoke)  
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Same as DUAL mode VOCAL 1, but higher density reverberation.  
Same as DUAL mode VOCAL 2, but higher density reverberation.  
Same as DUAL mode VOCAL 3, but higher density reverberation.  
Same as DUAL mode VOCAL 4, but higher density reverberation.  
Same as DUAL mode VOCAL 5, but higher density reverberation.  
Same as DUAL mode VOCAL 6, but higher density reverberation.  
Same as DUAL mode VOCAL 7, but higher density reverberation.  
Same as DUAL mode VOCAL 8, but higher density reverberation.  
Same as DUAL mode VOCAL 9, but higher density reverberation.  
Mysterious reverb with a light flanging effect applied to VOCAL 1.  
Mysterious reverb with a light flanging effect applied to VOCAL 4.  
VOCAL 3 (Vocal Booth)  
VOCAL 4 (Warm Vocal)  
VOCAL 5 (Diffusion Vocal)  
VOCAL 6 (Natural Vocal)  
VOCAL 7 (Vivid Vocal)  
VOCAL 8 (Wet Vocal)  
VOCAL 9 (Doubling Vocal)  
VOCAL 10 (Dry Vocal)  
VOCAL 11 (Stadium Vocal)  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
VOCAL  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
• DLY + REV (Delay + Reverb)  
DLY+REV 1 (Mono Delay + Reverb)  
DLY+REV 2 (Long Mono Delay + Reverb)  
DLY+REV 3 (L-R Delay + Reverb)  
DLY+REV 4 (Long L-R Delay + Reverb)  
DLY+REV 5 (Short Delay + Reverb)  
DLY+REV 6 (Lo-Freq Mono Delay)  
DLY+REV 7 (Hi-Freq Mono Delay)  
DLY+REV 8 (Lo-Freq L-R Delay)  
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Mono delay with reverberation.  
Long mono delay with reverberation.  
Panning delay with reverberation.  
Long panning delay with reverberation.  
Short delay with reverberation.  
Mono delay only for the low frequency range.  
Mono delay only for the high frequency range.  
Panning delay only for the low frequency range.  
Panning delay only for the high frequency range.  
DLY+REV 9 (Hi-Freq L-R Delay)  
DLY+REV 10 (Lo-Freq L-R Delay + Reverb)  
DLY+REV 11 (Hi-Freq L-R Delay + Reverb)  
Panning delay only for the low frequency range, with reverberation.  
Panning delay only for the high frequency range, with reverberation.  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Delay Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the Delay Feedback.  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Reverb Time.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
REVERB  
DELAY  
• DELAY  
DELAY 1 (Stereo Long Delay)  
DELAY 2 (Stereo Delay)  
DELAY 3 (Stereo Short Delay)  
DELAY 4 (Mono Long Delay)  
DELAY 5 (Mono Delay)  
DELAY 6 (L-R Long Delay)  
DELAY 7 (L-R Delay)  
DELAY 8 (Diffusion Long Delay)  
DELAY 9 (Diffusion Delay)  
DELAY 10 (Doubling)  
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Long stereo delay with maintaining the stereo image.  
Mid stereo delay with maintaining the stereo image.  
Short stereo delay with maintaining the stereo image.  
Mono long delay.  
Mono short delay.  
Long panning delay.  
Short panning delay.  
Long diffusion delay.  
Short diffusion delay.  
Center-panned doubling  
DELAY 11 (Diffusion Doubling)  
Diffusion doubling.  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Delay Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the Delay Feedback.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
DELAY  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
9
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DE-10 Owner’s Manual  
• MISC (Miscellaneous)  
MISC 1 (Random E/R)  
:
Random early reflections. When applied to instruments with a slow attack, this produces a  
natural feeling of air and space.  
MISC 2 (Soft Random E/R)  
MISC 3 (Tight Random E/R)  
MISC 4 (Long E/R)  
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Random early reflections. Less high range than MISC 1, so suitable for backing tracks.  
Random early reflections with only high-frequency components.  
Miraculous ambience that could not exist in the real world, with early reflections that  
continue without being covered by reverberant components.  
Random early reflections at close spacing appear all at once. Effective for giving natural  
spaciousness to pad-type sounds.  
MISC 5 (Short E/R)  
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MISC 6 (Large Hall E/R)  
MISC 7 (Soft Large Hall E/R)  
MISC 8 (Small Hall E/R)  
MISC 9 (Soft Small Hall E/R)  
MISC 10 (Reverse E/R)  
MISC 11 (Gate Reverb)  
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Early reflections of a large hall.  
Early reflections of a large hall. Gentler sound than MISC 4.  
Early reflections of a small hall.  
Early reflections of a small hall. Gentler sound than MISC 6.  
Early reflections of reverse reverb. Effective on vocal or brass section.  
Gated early reflection with a crisp cutoff.  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Room Size.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Feedback.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
MISC  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
• CHORUS  
CHORUS 1 (3D Chorus)  
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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.  
Clean thin chorus  
CHORUS 4 plus a doubling effect produced by a short delay.  
Deep chorus  
CHORUS 4 plus a doubling effect produced by a short delay.  
Complex chorus using the feedback algorithm.  
Center-panned chorus of CHORUS 8.  
SFX chorus 1. Suitable for strings, Pad, etc.  
SFX chorus 2. Suitable for strings, Pad, etc.  
CHORUS 2 (Doubling Chorus)  
CHORUS 3 (Mono Chorus)  
CHORUS 4 (Thin Chorus)  
CHORUS 5 (Thin Doubling Chorus)  
CHORUS 6 (Deep Chorus)  
CHORUS 7 (Deep Doubling Chorus)  
CHORUS 8 (Warm Chorus)  
CHORUS 9 (Mono Warm Chorus)  
CHORUS 10 (SFX Chorus 1)  
CHORUS 11 (SFX Chorus 2)  
* [EFFECT 1_ADJUST] knob (PARAM.1):  
* [EFFECT 2_ADJUST] knob (PARAM.2):  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Chorus Depth.  
Not used.  
Not used.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
CHORUS  
• PITCH  
PITCH 1—3 (Stereo Pitch)  
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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.  
PITCH 4—6 (Dual L-R Pitch)  
PITCH 7—9 (Dual Mono Pitch)  
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.  
PITCH 10 (Pitch Delay)  
PITCH 11 (Pitch Sweeper)  
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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.  
<PITCH-1, 2, 3>  
* [EFFECT 1_ADJUST] knob (PARAM.1):  
* [EFFECT 2_ADJUST] knob (PARAM.2):  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Pitch.  
Not used.  
Adjust the Pitch 1/2.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
PITCH  
<PITCH-14, 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 Pitch 1.  
Adjust the Pitch 2.  
Adjust the Pitch 1/2.  
10  
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DE-10 Owner’s Manual  
• FLANGE  
FLANGE 1 (Stereo Flange)  
FLANGE 2 (Stereo Flange <Faster>)  
FLANGE 3 (Stereo Dual Flange)  
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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)  
FLANGE 6 (Single Flange <Faster>)  
FLANGE 7 (Dual Flange)  
FLANGE 8 (Dual Flange <Faster>)  
FLANGE 9 (Mono Dual Flange)  
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Single flanger. Slow rate.  
Single flanger. Fast rate.  
Special dual flanger in which two types of flanging effects fly around complicatedly. Slow rate.  
Special dual flanger in which two types of flanging effects fly around complicatedly. Fast rate.  
Special mono dual flanger in which two types of flanging effects fly around complicatedly. Fast  
rate.  
FLANGE 10 (Hi-Freq Flange)  
FLANGE 11 (Lo-Freq Flange)  
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Special flanger which applies a flanging effect only to the high frequency range.  
Flanger with double depth.  
<FLANGE-1, 2, 3, 4, 5, 6>  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Flange Rate.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Not used.  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Flange Feedback.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
FLANGE  
<FLANGE-7, 8, 9, 10, 11>  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Flange Rate 1.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the Flange Rate 2.  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Flange Feedback.  
11  
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DE-10 Owner’s Manual  
Effects in SINGLE 2 MODE  
• L. HALL (Large Hall)  
L. HALL-1 (Special Large Hall 1)  
:
Hall reverb simulating a large hall with ideal acoustic characteristics which applies soft early  
reflection sound.  
L. HALL-2 (Special Large Hall 2)  
L. HALL-3 (Large Stage Reverb)  
L. HALL-4 (Large Stadium)  
L. HALL-5 (Large Theater)  
L. HALL-6 (Warm Large Hall)  
L. HALL-7 (Chorus Large Hall)  
L. HALL-8 (Sizzle Large Hall)  
L. HALL-9 (Flanging Large Hall)  
L. HALL-10 (Large Cave)  
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Hall reverb simulating a large hall which applies different early reflection sound from L. HALL-1.  
Hall reverb sounding on the stage in a large hall.  
Large stadium reverb.  
Large theater reverb.  
Large hall reverb with thickness by applying chorus effect.  
Clean large hall reverb with chorus effect.  
Large hall reverb with sizzle sound.  
Clean large hall reverb with deep flanging effect.  
Like a sound of wind blowing in a large cave.  
Reverb in a large tunnel with flanging effect.  
L. HALL-11 (Large Tunnel)  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
L. HALL  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
• S. HALL (Small Hall)  
S. HALL-1 (Special Small Hall 1)  
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Hall reverb simulating a small hall with ideal acoustic characteristics which applies soft early  
reflection sound.  
S. HALL-2 (Special Small Hall 2)  
S. HALL-3 (Small Stage Reverb)  
S. HALL-4 (Small Stadium)  
S. HALL-5 (Small Theater)  
S. HALL-6 (Warm Small Hall)  
S. HALL-7 (Chorus Small Hall)  
S. HALL-8 (Sizzle Small Hall)  
S. HALL-9 (Flanging Small Hall)  
S. HALL-10 (Small Cave)  
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Hall reverb simulating a small hall which applies different early reflection sound from L. HALL-1.  
Hall reverb sounding on the stage in a small hall.  
Small stadium reverb.  
Small theater reverb.  
Small hall reverb with thickness by applying chorus effect.  
Clean small hall reverb with chorus effect.  
Small hall reverb with sizzle sound.  
Clean small hall reverb with deep flanging effect.  
Like a sound of wind blowing in a small cave.  
Reverb in a small tunnel with flanging effect.  
S. HALL-11 (Small Tunnel)  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
S. HALL  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
• ROOM  
ROOM-1 (Long E/R Room)  
ROOM-2 (Short E/R Room)  
ROOM-3 (Room E/R)  
ROOM-4 (Announce Booth)  
ROOM-5 (Pf Booth)  
ROOM-6 (Warm Room)  
ROOM-7 (Chorus Room)  
ROOM-8 (Sizzle Room)  
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Room reverb with long early reflection.  
Room reverb with short early reflection.  
Room reverb with common early reflection. The amount of reverberation is small.  
Room reverb with short early reflection and the small amount of reverb sound.  
Reverb for adding the brightness to a piano sound.  
Room reverb which emphasizes the thickness of sound by applying chorus effect.  
Room reverb with thin chorus effect.  
Room reverb with the characteristic high frequency range.  
Room reverb with flanging effect.  
ROOM-9 (Flanging Room)  
ROOM-10 (Lo-F Flanging Room)  
ROOM-11 (Hi-F Flanging Room)  
Room reverb with flanging effect applied only to the low frequency range.  
Room reverb with flanging effect applied only to the high frequency range.  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
ROOM  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
• PLATE  
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)  
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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.  
PLATE-10 (Lo-F Flange Plate)  
PLATE-11 (Hi-F Flange Plate)  
* [EFFECT 1_ADJUST] knob (PARAM.1): Adjust the Reverb Time.  
* [EFFECT 2_ADJUST] knob (PARAM.2): Adjust the E/R Level.  
INPUT 1  
INPUT 2  
OUTPUT 1 (L)  
OUTPUT 1 (R)  
PLATE  
* [EFFECT 2_MIX] knob (PARAM.3):  
Adjust the Character.  
12  
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DE-10 Owner’s Manual  
• MIC SIM (Microphone Simulation)  
MIC SIM-1 (Trad Condenser 3k, Low Cut: Off)  
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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.  
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.  
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-2 (Trad Condenser 3k, Low Cut: On)  
MIC SIM-3 (Trad Condenser 414, Low Cut: Off)  
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.  
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.  
MIC SIM-6 (German Dynamic 421)  
:
MIC SIM-7 (German Dynamic 421, Low Cut: 2)  
:
Simulates the sound of “MIC SIM-6” above with the Low Cut switch to On. You can  
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)  
MIC SIM-10 (Vintage Condenser 47)  
:
:
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.  
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)  
OUTPUT 1 (R)  
Mic Simulate  
INPUT 1  
Gate  
• AMP SIM (Amplifier Simulation)  
AMP SIM-1 (British 800 Amplifier)  
:
Simulates the 800-series British tube amplifier, a synonym for “rock.” The king of the rock  
sound of the 80’s hard rock and heavy metal. Distorted raging sound.  
AMP SIM-2 (Tremo Recti Amplifier)  
AMP SIM-3 (Metal Panel Recti Amplifier)  
AMP SIM-4 (British Class A30 Amplifier)  
:
Simulates the American combo model amplifier, designed to get high gain sound for the  
90’s 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.  
:
:
AMP SIM-5 (Fat Bass Amplifier)  
:
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.  
AMP SIM-6 (Kick)  
:
You can distort a kick sound appropriately.  
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)  
:
:
:
:
:
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.  
* [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)  
OUTPUT 1 (R)  
Amp Simulate  
INPUT 1  
Gate  
• DISTORTION  
DIST-1 (Distortion)  
DIST-2 (Rhythm)  
DIST-3 (Over Drive)  
DIST-4 (Acoustic)  
DIST-5 (Blues)  
:
:
:
:
:
:
:
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-6 (Fuzz)  
DIST-7 (Lead)  
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DIST-8 (Metal)  
:
:
:
:
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.  
DIST-9 (Bass 1)  
DIST-10 (Bass 2)  
DIST-11 (Bass 3)  
* [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)  
OUTPUT 1 (R)  
Distortion  
INPUT 1  
Gate  
• 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)  
:
:
:
:
:
:
:
:
:
:
:
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 1-9 (Vivid Crunch)  
G. MULTI 1-10 (Delay Crunch Solo)  
G. MULTI 1-11 (Flange Crunch Solo)  
<G. MULTI-1, 2, 3>  
* [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.  
<G. MULTI-4, 5, 6, 7, 8, 9, 10, 11>  
* [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)  
Delay/Reverb  
Compressor  
INPUT 1  
Distortion  
Gate  
<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.  
* [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)  
Delay/Reverb  
Compressor  
INPUT 1  
Distortion  
Gate  
<NOTE>  
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).  
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• BASS MULTI  
B. MULTI-1 (Normal Bass)  
B. MULTI-2 (Slap 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-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)  
<B. MULTI-1, 2, 3, 7, 9, 10, 11>  
* [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.  
<B. MULTI-4, 5, 6, 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)  
Delay/Reverb  
Compressor  
INPUT 1  
Distortion  
Gate  
<NOTE>  
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)  
:
:
:
:
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.  
:
:
:
:
V. MULTI-7 (Small Radio Voice)  
V. MULTI-8 (Flange Voice)  
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)  
Delay/Reverb  
Compressor  
INPUT 1  
Distortion  
Gate  
V. MULTI-9 (Line Select 1)  
V. MULTI-10 (Line Select 2)  
V. MULTI-11 (Mute)  
:
:
:
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.  
* Parameter Settings: Non.  
<NOTE>  
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).  
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Names and Functions(Front panel section)  
EFFECT  
1
EFFECT  
2
TYPE  
F
VARIATION  
6
ADJUST  
PARAM.1  
TYPE  
ADJUST  
PARAM.2  
MIX  
VARIATION  
6
MIX  
PARAM.3  
DRY+EFF  
DRY+EFF  
DLY+REV  
MODE  
SINGLE1/DUAL  
DELAY  
SINGLE  
2
SINGLE1/DUAL SINGLE  
2
MODE  
G
MODE  
7
8
E
D
G
H
5
4
7
8
VOCAL  
PLATE  
DELAY  
MISC  
5
4
A
B
C
D
E
F
L.HALL  
S.HALL  
L.HALL  
S.HALL  
ROOM  
PLATE  
DISTORTION  
SINGLE2  
H
I
MISC  
G.MULTI  
G.MULTI  
1
2
SINGLE1  
DUAL  
EFF MUTE  
I
9
C
3
9
ROOM  
CHO  
3
ROOM  
CHORUS  
PITCH  
PLATE  
B.MULTI  
J
10  
11  
B
A
J
2
1
10  
11  
S.HALL  
L.HALL  
PITCH  
2
1
DRY  
EFF  
DRY  
EFF  
VOCAL  
MIC SIM  
K
FLANGER  
VO.MULTI  
K
FLANGE  
DELAY+REV  
AMP SIM  
PEAK  
PEAK  
POWER  
11  
12 13  
4
6
7 8 9  
10  
1 2  
5
3
1. EFFECT 1 TYPE switch  
9. EFFECT 2 VARIATION switch  
Selects the type for EFFECT 1 in the dual mode or for the  
effect in the single (1 or 2) mode.  
Selects the variation for the effect type selected for  
EFFECT 2 in the dual mode.  
You can select from among 11 effect types for each mode  
as shown in the table below.  
This switch does not function in the single (1 or 2) mode.  
You can select from among 11 variations, as same as  
EFFECT 1.  
MODE  
MODE  
SINGLE 1/DUAL  
SINGLE 2  
L. HALL  
S. HALL  
ROOM  
SINGLE 1/DUAL  
SINGLE 2  
DISTORTION  
G. MULTI 1  
G. MULTI 2  
B. MULTI  
SW  
SW  
DELAY  
L. HALL  
G
A
B
C
D
E
F
H
I
MISC  
S. HALL  
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.  
CHORUS  
PITCH  
ROOM  
J
K
PLATE  
PLATE  
MIC SIM  
AMP SIM  
FLANGER  
VO. MULTI  
VOCAL  
DELAY + REV  
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.  
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.  
• Hard left  
• Center  
• Hard right :DRY 0%, EFFECT 200%  
:DRY 100%, EFFECT 0%  
:DRY 50%, EFFECT 0%  
You can select from among 11 variations.  
In the single mode, this control adjusts the parameter 3  
value for the selected effect type. The center position is  
the default. Turning left decreases the value while  
turning right increases the value.  
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.  
12. EFFECT MUTE switch and indicator  
Each press of the switch alternates on and off of EFFECT  
MUTE. The indicator lights up when the mute is on, while  
it turns off when the mute is off.  
Note that the dry sound is not muted regardless of the  
switch setting.  
5. EFFECT 1 MIX control  
Adjusts the balance of the output sound from the  
OUTPUT 1 jacks on the rear panel in the dual or single  
mode.  
• Hard left  
• Center  
• Hard right :DRY 0%, EFFECT 100%  
:DRY 100%, EFFECT 0%  
:DRY 50%, EFFECT 0%  
<NOTE>  
When connecting an external foot switch and step-  
ping it down, pressing this switch does not alternate  
on and off of EFFECT MUTE.  
6. MODE select switch  
Selects the mode between DUAL, SINGLE 1 and SINGLE 2.  
13. POWER switch and indicator  
Turns the power on or off. The indicator lights up when  
the power is on.  
7. EFFECT 2 TYPE switch  
Selects the type 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 effect types, as same as  
EFFECT 1.  
<Hints: About the ADJUST indicators for parameters>  
Each ADJUST indicator lights when moving the appro-  
priate control after changing the effect type or varia-  
tion. This shows that the current position of the con-  
trol matches the parameter value.  
On the contrary, if you change the effect type or varia-  
tion while the indicator is lit, it turns off. This the pa-  
rameter is set to the default value.  
8. EFFECT 2 PEAK indicator  
Lights up when the input level of EFFECT 2 in the dual  
mode exceeds "+6 dB" which is just below the clipping  
level. This indicator does not function in the single (1 or  
2) mode. We recommend to adjust the INPUT LEVEL  
control on the rear panel appropriately so that this  
indicator sometimes lights up.  
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DE-10 Owner’s Manual  
Names and Functions (Rear panel section)  
2
1
(1&2)  
R
L
R
L
FOOT SW  
DUAL MODE  
model 8051  
(MONO)  
(MONO)  
R
L(MONO)  
SINGLE MODE  
TRIM  
LINE MIC/G  
MIC  
MIN  
MAX  
MIN  
MAX  
GUITAR  
MIC/GUITAR INPUT  
EFF MUTE  
OUTPUT  
2
OUTPUT  
1
LINE INPUT (-10dBV)  
3
4
5
6
7
8
1
2
6. LINE INPUT 1 jack and Input level control  
1. Power cord  
This jack connects to a line level (-10 dBV) source.  
It is active when the input select switch is set to "LINE".  
2. FOOT SW jack  
By connecting the optional Model 8051 foot switch to this  
jack, you can alternate on or off of the EFFECT MUTE  
function via the foot switch.  
In the dual mode, the source signal is routed to EFFECT 1.  
When the INPUT 2 (R) jack is not plugged, the same signal  
is fed to both EFFECT 1 and EFFECT 2. You can adjust the  
input level by the control beside the jack while  
Contact our dealer or local Fostex sales office if you  
want to know details about the Model 8051.  
monitoring the appropriate peak indicator.  
In the single mode, the source signal is routed to the L  
channel of the effect. When the INPUT 2 (R) jack is not  
plugged, the same signal is fed to both the L and R  
channels of the effect.  
You can adjust the input level by the input level control  
beside the jack while monitoring the appropriate peak  
indicator.  
<NOTE>  
When the input select switch is set to "MIC/G", this  
jack is not active.  
7. Input select switch  
Selects the input jack to be active for INPUT 1.  
The LINE INPUT jack is active. You can con-  
nect a line level source.  
LINE  
3. OUTPUT 2 jacks (L (MONO), R)  
In the dual mode, these jacks feed the EFFECT 2 sound in  
stereo (L and R). In the single mode (1 or 2), they do not  
feed any signal. When only the "L (MONO)" jack is plugged,  
it feeds the summed signal of L and R.  
The MIC/GUITAR INPUT jack is active. You can  
connect a microphone or guitar directly.  
MIC/G  
8. MIC/GUITAR INPUT jack andTRIM control  
This jack is used to connect to a microphone or guitar.  
It is active when the input select switch is set to "MIC/G".  
4. OUTPUT 1 jacks (L (MONO), R)  
In the dual mode, these jacks feed the EFFECT 1 sound in  
stereo (L and R). In the single mode, they feed the  
selected effect sound in stereo (L and R). When only the  
"L (MONO)" jack is plugged, it feeds the summed signal of  
L and R.  
In the dual mode, the source signal is routed to EFFECT 1.  
When the INPUT 2 (R) jack is not plugged, the same signal  
is fed to both EFFECT 1 and EFFECT 2. You can adjust the  
input level by the control beside the jack while  
5. LINE INPUT 2 jack/Input level control  
monitoring the appropriate peak indicator.  
This jack is used to connect to a line level (-10 dBV) source.  
In the dual mode, the source signal is routed to EFFECT 2.  
You can adjust the input level by the control beside the  
jack while monitoring the appropriate peak indicator.  
In the single mode, the source signal is routed to the L  
channel of the effect. When the INPUT 2 (R) jack is not  
plugged, the same signal is fed to both the L and R  
channels of the effect.  
You can adjust the input level by the TRIM control beside  
the jack while monitoring the appropriate peak indicator.  
In the single mode, the source signal is routed to the R  
channel of the effect.  
You can adjust the input level by the input level control  
beside the jack while monitoring the appropriate peak  
indicator.  
<NOTE>  
When the input select switch is set to "LINE", this jack  
is not active.  
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DE-10 Owner’s Manual  
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.  
LINE MIC/G  
Set the input se-  
lector to "LINE".  
Adjust the incoming signal level  
from the mixer. See <Caution on  
Effect Processing> below for details  
about how to adjust the level.  
<Point>  
Connect the Foot SW  
into the jack to re-  
motely control the  
Effect Mute ON/OFF.  
1
(1&
R
L
R
L
DUAL MODE  
m
(MONO)  
(MONO)  
R
L(MONO)  
SINGLE MODE  
TRIM  
LINE MIC/G  
MIC  
MIN  
MAX  
MIN  
MAX  
GUITAR  
EFF MUTE  
OUTPUT  
2
OUTPUT  
1
LINE INPUT (-10dBV)  
MIC/GUITAR INPUT  
AUX SEND  
AUX RTN  
MIXER  
EFFECT  
2
TYPE  
F
VARIATION  
6
ADJUST  
PARAM.1  
TYPE  
ADJUST  
PARAM.2  
MIX  
VARIATION  
MIX  
PARAM.3  
DRY+EFF  
DRY+EFF  
DLY+REV  
6
SINGLE1/DUAL  
DELAY  
SINGLE  
2
MODE  
G
MODE  
7
8
E
D
G
H
5
4
7
8
VOCAL  
PLATE  
DELAY  
MISC  
5
4
DISTORTION  
SINGLE2  
H
I
MISC  
G.MULTI  
G.MULTI  
1
2
SINGLE1  
DUAL  
EFF MUTE  
I
9
C
3
9
ROOM  
CHO  
3
CHORUS  
PITCH  
B.MULTI  
J
10  
11  
B
A
J
2
1
10  
11  
S.HALL  
L.HALL  
PITCH  
2
1
DRY  
EFF  
DRY  
EFF  
K
FLANGER  
VO.MULTI  
K
FLANGE  
PEAK  
PEAK  
POWER  
4
5
2
3
5
2
3
4
1
<Front panel settings>  
<About PEAK indicator>  
1. Set the MODE switch to "DUAL".  
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.  
MODE  
MODE  
SINGLE 1/DUAL  
L. HALL  
SINGLE 2  
L. HALL  
S. HALL  
ROOM  
SINGLE 1/DUAL  
DELAY  
SINGLE 2  
DISTORTION  
G. MULTI 1  
G. MULTI 2  
B. MULTI  
SW  
SW  
G
A
B
C
D
E
F
H
I
MISC  
S. HALL  
CHORUS  
PITCH  
ROOM  
J
K
PLATE  
PLATE  
<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.  
MIC SIM  
AMP SIM  
FLANGER  
VO. MULTI  
VOCAL  
DELAY + REV  
3. Set the VARIATION switch for each of EFFECT 1 and 2 to  
the desired position.  
<Notes on using the ADJUST and MIX controls>  
• When you turn the ADJUST or MIX control, a click may  
be generated with some effect type.  
4. Using the appropriate ADJUST control, adjust the  
parameter for each of EFFECT 1 and 2.  
• If the default of a parameter is the maximum or  
minimum value, you cannot increase or decrease the  
value using the ADJUST control, respectively.  
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.  
18  
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DE-10 Owner’s Manual  
How to use the Single (1/2) Mode  
We describe how to use the single (1 or 2) mode below.  
<About features of the Single Mode>  
1. You can use the DE-10 as a high quality single-channel effect processing unit.  
2. Stereo inputs and outputs are provided.  
3. Three main parameters for each effect can be edited from the preset values.  
4. You can apply a higher density reverberation than the dual mode.  
5. For the delay, flange and pitch effects, the independent channel algorithm is employed, offering  
completely separated processing for L and R channels.  
The following shows the examples of using the single mode for a live performance, in which a guitar, keyboard  
and microphone are directly connected to the DE-10, while the effect outputs of the DE-10 are connected to a  
keyboard amplifier or guitar amplifier.  
You can also use the Model 8051 optional foot switch for controlling on/off of EFFECT MUTE.  
EFFECT  
1
EFFECT  
MIX  
2
EFFECT  
1
EFFECT  
MIX  
2
TYPE  
F
V
ARIATION  
ADJUST  
ARAM.1  
MIX  
TYPE  
V
ARIATION  
ADJUST  
ARAM.2  
P
P
PARAM.3  
TYPE  
F
V
ARIATION  
ADJUST  
ARAM.1  
MIX  
TYPE  
V
ARIATION  
ADJUST  
ARAM.2  
DRY+EFF  
6
DLY+REV  
6
DRY+EFF  
MODE SINGLE1/DUAL SINGLE  
2
MODE SINGLE1/DUAL  
SINGLE  
2
P
P
PARAM.3  
MODE  
DRY+EFF  
E
D
G
H
5
4
7
8
VOCAL  
PLATE  
DELA  
Y
5
4
7
8
6
DLY+REV  
6
DRY+EFF  
A
B
C
D
E
F
L.HALL  
S.HALL  
L.HALL  
S.HALL  
ROOM  
PLATE  
G
H
I
DELA  
Y
DISTORTION  
MODE SINGLE1/DUAL SINGLE  
2
MODE SINGLE1/DUAL  
SINGLE  
2
SINGLE2  
MISC  
MODE  
E
D
G
H
5
4
7
8
VOCAL  
PLATE  
DELA  
Y
5
4
7
8
MISC  
CHORUS  
PITCH  
G.MULTI  
G.MULTI  
1
2
A
B
C
D
E
F
L.HALL  
S.HALL  
L.HALL  
S.HALL  
ROOM  
PLATE  
G
H
I
DELA  
Y
DISTORTION  
SINGLE1  
DUAL  
EFF MUTE  
SINGLE2  
MISC  
C
I
3
9
ROOM  
CHO  
3
9
ROOM  
MISC  
CHORUS  
PITCH  
G.MULTI  
G.MULTI  
1
2
SINGLE1  
DUAL  
EFF MUTE  
I
9
PLATE  
J
B.MULTI  
ROOM  
C
3
9
ROOM  
CHO  
3
B
A
J
2
1
10  
11  
S.HALL  
L.HALL  
PITCH  
2
1
10  
DRY  
EFF  
DRY  
EFF  
VOCAL  
MIC SIM  
K
FLANGER  
VO.MULTI  
K
FLANGE  
1
1
PLATE  
J
B.MULTI  
10  
11  
10  
B
A
J
2
1
S.HALL  
L.HALL  
PITCH  
2
1
DRY  
EFF  
DRY  
EFF  
DELAY+REV  
AMP SIM  
VOCAL  
MIC SIM  
AMP SIM  
K
FLANGER  
VO.MULTI  
K
FLANGE  
1
1
DUAL MULTI EFFECT PROCESSORS  
PEAK  
PEAK  
POWER  
DELAY+REV  
DUAL MULTI EFFECT PROCESSORS  
PEAK  
PEAK  
POWER  
LINE MIC/G  
Set to "LINE" when  
connecting to a  
keyboard.  
Set to "MIC/G"  
when connecting  
to a microphone or  
guitar.  
LINE MIC/G  
Adjust the input levels from a key-  
board using the input level controls.  
See <Caution on Effect Processing>  
on the next page for details about how  
to set the level.  
Adjust the input level  
of a microphone or  
guitar using the TRIM  
control.  
1
(1&2
R
L
R
L
DUAL MODE  
m
(MONO)  
(MONO)  
R
L(MON)  
SINGLE MODE  
TRIM  
LINE MIC/G  
MIC  
MIN  
MAX  
MIN  
MAX  
GUITAR  
EFF MUTE  
OUTPUT  
2
OUTPUT  
1
LINE INPUT (-10dBV)  
MIC/GUITAR INPUT  
In the single (1/2)  
mode, these jacks are  
not used.  
Connect to a microphone or guitar di-  
rectly. Set the input select switch to "MIC/  
G".  
Connect to the L and R out-  
puts of a keyboard. If the key-  
board provides a mono out-  
put, use the "L(MONO)" jack.  
Set the input select switch to  
"LINE".  
Connect to the input of a key-  
board amplifier or guitar ampli-  
fier.  
19  
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DE-10 Owner’s Manual  
In the single (1/2) mode, these controls and indi-  
cators are not used.  
EFFECT  
2
TYPE  
F
VARIATION  
6
ADJUST  
PARAM.1  
TYPE  
ADJUST  
PARAM.2  
MIX  
VARIATION  
6
MIX  
PARAM.3  
DRY+EFF  
DRY+EFF  
DLY+REV  
SINGLE1/DUAL  
DELAY  
SINGLE  
2
2
MODE  
G
MODE  
7
8
E
D
G
H
5
4
7
8
VOCAL  
PLATE  
DELAY  
MISC  
5
4
L
L
DISTORTION  
SINGLE2  
H
I
MISC  
G.MULTI  
G.MULTI  
1
2
SINGLE1  
DUAL  
EFF MUTE  
I
9
C
3
9
ROOM  
CHO  
3
CHORUS  
PITCH  
B.MULTI  
J
10  
11  
B
A
J
2
1
10  
11  
S.HALL  
L.HALL  
PITCH  
2
1
DRY  
EFF  
DRY  
EFF  
M
M
K
FLANGER  
VO.MULTI  
K
FLANGE  
PEAK  
PEAK  
POWER  
4
4
2
3
5
4
1
<Front panel settings>  
<About PEAK indicator>  
1. Set the MODE switch to "SINGLE 1" or "SINGLE 2".  
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 to the desired position.  
You can select from among the following eleven types for  
each single mode. See page 8~15 for details about each  
type.  
• When selecting "SINGLE 1".  
MODE  
MODE  
SINGLE 1/DUAL  
SINGLE 2  
L. HALL  
S. HALL  
ROOM  
SINGLE 1/DUAL  
DELAY  
SINGLE 2  
DISTORTION  
G. MULTI 1  
G. MULTI 2  
B. MULTI  
SW  
SW  
L. HALL  
G
A
B
C
D
E
F
<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.  
H
I
MISC  
S. HALL  
CHORUS  
PITCH  
ROOM  
J
K
PLATE  
PLATE  
MIC SIM  
AMP SIM  
FLANGER  
VO. MULTI  
VOCAL  
DELAY + REV  
• When selecting "SINGLE 2".  
<Notes on using the ADJUST and MIX controls>  
• When you turn the ADJUST or MIX control, a click may  
be generated with some effect type.  
MODE  
MODE  
SINGLE 1/DUAL  
L. HALL  
SINGLE 2  
L. HALL  
S. HALL  
ROOM  
SINGLE 1/DUAL  
DELAY  
SINGLE 2  
DISTORTION  
G. MULTI 1  
G. MULTI 2  
B. MULTI  
SW  
SW  
G
H
I
A
B
C
D
E
F
MISC  
S. HALL  
CHORUS  
PITCH  
ROOM  
• If the default of a parameter is the maximum or  
minimum value, you cannot increase or decrease the  
value using the ADJUST control, respectively.  
J
PLATE  
PLATE  
MIC SIM  
AMP SIM  
K
FLANGER  
VO. MULTI  
VOCAL  
DELAY + REV  
3. Set the VARIATION switch to the desired position.  
4. Using the ADJUST (PARAM 1 through PARAM 3) controls,  
adjust the effect parameters.  
In the single mode, you can control three parameters for  
each effect, as shown in the table below.  
5. Using the MIX control, adjust the mixing balance of dry  
and effect signals fed from the appropriate OUTPUT jacks.  
20  
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DE-10 Owner’s Manual  
Specifications  
<INPUT x 3>  
LINE INPUT x 2  
• Connector:  
• Input Impedance: 20kΩ or more  
• Input Level:  
<FOOT SW>  
• Connector:  
ø 6mm phone jack (Optional Model 8051)  
ø 6mm phone jack/unbalanced  
<OTHERS>  
• Frequency Response:  
• Dynamic Range:  
• AD converter:  
20kHz ~ 20kHz (TYPICAL)  
92dB (TYPICAL)  
20bit 64 times over sampling delta sigma  
24 bit 128 times over sampling delta  
sigma  
-10dBV  
MIC/GUITAR x 1  
• Connector:  
• Input Impedance: 500kΩ or more  
ø 6mm phone jack/unbalanced  
• DA converter:  
• Input Level:  
-55dBV ~ -15dBV (Controllable)  
• Total Harmonic Distortion: 0.01% (TYPICAL)  
• Sampling Frequency:  
44.1kHz  
<OUTPUT x 4>  
<GENERAL>  
• Dimensions:  
• Weight:  
• Connector:  
• Output Impedance: 10kΩ or more  
• Output Level:  
ø 6mm phone jack/unbalanced  
482 (W) x 44 (H) x 230 (D) mm  
Approx. 2.5kg  
-10dBV  
• Power Supply:  
• Power Consumption:  
120V AC 60Hz, 230V ~ 50/60Hz  
8W  
• Specifications and appearance are subjects to change without notice for product improvement.  
Block Diagram  
Dual Mode  
TYPE  
VARIATION  
D/A  
D/A  
L (MONO)  
OUTPUT 1  
MIC/GUITAR  
EFFECT  
PROCESSOR  
TRIM  
A/D  
INPUT  
SELECT  
INPUT 1 (1&2)  
INPUT  
R
ADJUST  
TYPE  
VARIATION  
D/A  
D/A  
L (MONO)  
OUTPUT 2  
EFFECT  
PROCESSOR  
A/D  
INPUT 2  
INPUT  
R
ADJUST  
Single 1/2 Mode  
MIC/GUITAR  
TRIM  
A/D  
INPUT  
SELECT  
INPUT L (MONO)  
VARIATION  
TYPE  
INPUT  
D/A  
D/A  
L (MONO)  
OUTPUT 1  
EFFECT  
PROCESSOR  
R
ADJUST ADJUST  
PARAM.2 PARAM.3  
ADJUST  
PARAM.1  
A/D  
INPUT R  
INPUT  
MUTE DATA  
D/A  
D/A  
L (MONO)  
OUTPUT 2  
MUTE DATA  
R
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DE-10 Owner’s Manual  
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.  
FOSTEX DISTRIBUTORS LIST IN EUROPE * Including non-EU countries  
<ITALY>  
<AUSTRIA>  
NAME: Proel S. p. A.  
ADD: Zona Via Alla Ruenia 37/43 64027 - Sant'Omero (Teramo), Italy  
TEL: (+39) 0861-81241, FAX: (+39) 0861-887862  
NAME: ATEC Audio-u. Videogeraete VertriebsgesmbH.  
ADD: Im Winkel 5, A-2325 Velm, Austria  
TEL: (+43) 2234-74004, FAX: (+43) 2234-74074  
<THE NETHERLANDS>  
NAME: IEMKE ROOS AUDIO B. V.  
<BELGIUM>  
NAME: General Audio  
ADD: Kuiperbergweg 20, 1101 AG Amsterdam, The Netherlands  
TEL: (+31) 20-697-2121, FAX: (+31) 20-697-4201  
ADD: Albert Temmerstraat 21, 1731 Zellik, Belgium  
TEL: (+32) 2-4630650, FAX: (+32) 2-4661500  
<NORWAY>  
NAME: Fitzpatrick  
<DENMARK>  
NAME: SC Sound ApS  
ADD: P. B. 4316 Nydalen, 0402 Oslo, Norway  
TEL: (+47) 23 400 380, FAX: (+47) 23 400 389  
ADD: Malervej 2, DK-2630 Taastrup, Denmark  
TEL: (+45) 4399-8877, FAX: (+45) 4399-8077  
<PORTUGAL>  
<FINLAND>  
NAME: Caius - Tecnologias Audio e Musica, Lda.  
ADD: Praca do Bom Sucesso, No 61 Bom Sucesso Trade Center,  
Escritorio 701/702, 4150-1460 Porto, Portugal  
TEL: (+351) 22-608-06-10, FAX: (+351) 22-608-06-29  
NAME: Noretron Oy Audio  
ADD: P. O. Box 22, FIN-02631 Espoo, Finland  
TEL: (+358) 9-5259330, FAX: (+358) 9-52593352  
<FRANCE>  
NAME: Sennheiser France  
ADD: 128 bis, avenue Jean-Jaures, 94851 Ivry-sur-Seine Cedex,  
France  
TEL: (+33) 1 4987 0300, FAX: (+33) 1 4987 0324  
<SPAIN>  
NAME: Letusa S. A.  
ADD: C/Laguna 10, 28923 Alcorcon, Madrid, Spain  
TEL: (+34) 91-4862800, FAX: (+34) 91-9414597  
<SWEDEN>  
<GERMANY>  
NAME: TTS Scandinavia AB  
NAME: Mega Audio GmbH  
ADD: Kavallerivagen 24, 172 48 Sundbyberg, Sweden  
TEL: (+46) 8-59798000, FAX: (+46) 8-59798001  
ADD: Stromberger Str. 32, D-55411 Bingen, Germany  
TEL: (+49) 6721-94330, FAX: (+49) 6721-32046  
<SWITZERLAND>  
NAME: Audio Bauer Pro AG  
<GREECE>  
NAME: Bon Studio S. A.  
ADD: Bernerstrasse-Nord 182, CH-8064 Zurich, Switzerland  
TEL: (+41) 1-4323230, FAX: (+41) 1-4326558  
ADD: 6 Zaimi Street, Exarchia, 106.83 Athens, Greece  
TEL: (+30) 210-3809-605, 606, 607, 608  
FAX: (+30) 210-3845-755, 210-3827-868  
<UK>  
NAME: SCV London  
<ICELAND>  
ADD: 40 Chigwell Lane, Oakwood Hill Industrial Estate, Loughton,  
Essex IG10 3NY U. K.  
TEL: (+44) 20-8418-0778, FAX: (+44) 20-8418-0624  
NAME: I. D. elrf. electronic Ltd.  
ADD: ARMULA 38 108 REYKJAVIK, ICELAND  
TEL: (+354) 588 5010, FAX: (+354) 588 5011  
22  
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