Fostex DE-10 User Manual

Owner’s Manual

24bit Dual Multi Effect Processor

Model

8588 013 000

(359872)

DUAL

MULTI EFFECT

PROCESSORS

EFFECT 1

MODE

SINGLE1/DUAL SINGLE 2
A
B
C
D
E
F

DELAY+REV AMP SIM

MODE

G

L.HALLL.HALL

DELAY DISTORTION

S.HALL

S.HALL

H

MISC

ROOM

ROOM

PLATE

PLATE

MIC SIM

VOCAL

G.MULTI 1

I

CHORUS

G.MULTI 2

B.MULTI

PITCH

J

VO.MULTI

K

FLANGER

G

DH

I

C

J

B

KEA

PEAK PEAK

TYPE VARIATION

F

SINGLE 2SINGLE1/DUAL

6
5
4
3
2
1

ADJUST

MIX

PARAM.1

DRY+EFF

7
8
9

10

DRY

11

EFF

MODE

SINGLE2

DUALSINGLE1

TYPE

DLY+REV
VOCAL
PLATE MISC
ROOM
S.HALL
L.HALL

VARIATION

6

DELAY

5
4

CHO

3

10

PITCH

2

1

FLANGE

1

EFFECT 2

ADJUST

MIX

PARAM.2

PARAM.3

DRY+EFF
7
8
9

1

EFF MUTE

EFF

DRY

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.

DE-10 Owner’s Manual

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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.

"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.

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.

CAUTION:

TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF
PLUG TO WIDE SLOT, FULLY INSERT.

ATTENTION:

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.

10. Power Sources - The appliance should be connected to a power
supply only of the type described in the operating instructions or
as marked on the appliance.

11. Grounding or Polarization - The precautions that should be taken
so that the grounding or polarization means of an appliance is
not defeated.

12. Power Cord Protection - Power supply cords should be routed
so that they are not likely to be walked on or pinched by items
placed upon or against them, paying particular attention to cords
at plugs, convenience receptacles, and the point where they
exit from the appliance.

13. Cleaning - The appliance should be cleaned only as
recommended by the manufacturer.

14. Nonuse Periods - The power cord of the appliance should be
unplugged from the outlet when left unused for a long period of
time.

15. Object and Liquid Entry - Care should be taken so that objects
do not fall and liquids are not spilled into the enclosure through
openings.

16. Damage Requiring Service - The appliance should be serviced
by qualified service personnel when:

A. The power supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has been spilled into the appliance; or
C. The appliance has been exposed to rain; or
D. 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.

2

DE-10 Owner’s Manual

Table of Contents Precautions (please read before use)

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

• 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

• 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

Po wer 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.

Location

• Avoid using the DE-10 in the following

locations:

• 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.

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

• Unstable locations or where there is heavy

vibration.

• Near strong magnetic fields (on top of a

television or speaker).

3

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. (Foste x 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 Feedbac k Algorithm)

There is one of indispensable elements in the natural echo called “Early Reflection sound”, which is usually sacrificed in
commercial reverb products in order to reduce costs. (In practice, the Early Reflection sound means the very first rever­berated sound that bounces back from walls, floors and ceilings of concert halls). The entire reverb sound quality depends
on this Early Reflection sound and how closely it can resemble the real echo. The H. F. A. is an algorithm that enables the
effect unit to reproduce a clear and natural Early Reflection sound by applying an ideal harmonic feedback to each delay
module.

*H. D. L. P. (Hi-Density Logarithmic Processing)

The reverb sounds consist of lots of small delay elements combined in a complex way, which are produced by many delay
modules inside the effect unit. In order to obtain smooth and comfortable reverb sounds, it is very important to efficiently
organize the relationship between each delay module and minimize negative mutual interference. The H. D. L. P. is a
technology which applies efficient logarithmic processing to each delay module, so that they can work in the most efficient
way in order to eliminate harmful reverb elements and roughness. This makes it possible to establish high density and
transparent sounds.

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.

4

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 DU AL MODE

• L.HALL (Large Hall)

L.HALL 1 (Natural Large Hall) : Conventional large hall, with sonic detail, clarity, and an appropriate amount of early reflections.
L.HALL 2 (Lo-Freq Large Hall) : Large hall with lingering low-frequency reverb components.
L.HALL 3 (Vivid Large Hall) : Reverb with crispness and good presence.
L.HALL 4 (Hard-Wall Large Hall) : Large hall surrounded by hard walls, many early reflections, and a strong high-frequency ratio.
L. HALL 5 (Soft-Wall Large Hall) : 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

L. HALL 8 (Stadium) : Stadium reverb with many long early reflections.
L. HALL 9 (Vivid Stadium) : Stadium reverb with a dry character.
L. HALL 10 (Auditorium) : Reverb simulating a space with little reverberation, such as a large auditorium.
L. HALL 11 (Big Cave) : Simulates a more spacious volume than the cave of L. HALL 7. Reverb time is longer .

* [ADJUST] knob: Adjust the Reverb Time.

absorption!

INPUT

L. HALL

OUTPUT (L)
OUTPUT (R)

• S. HALL (Small Hall)

S. HALL 1 (Natural Small Hall) : Conventional small hall with sonic detail, clarity , and an appropriate amount of early reflections.
S. HALL 2 (Lo-Freq Small Hall) : Small hall with lingering low-frequency reverb components.
S. HALL 3 (Vivid Small Hall) : General-purpose small hall with crisp sound and few early reflections.
S. HALL 4 (Hard-Wall Small Hall) : Small hall surrounded by hard walls, many early reflections, and a strong high-frequency ratio.
S. HALL 5 (Soft-W all Small Hall) : 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) : Small hall simulating a long and narrow space where the reverberation is concentrated in the center.
S. HALL 8 (Dead Hall) : Relatively “dead” small hall with a low high-frequency ratio.
S. HALL 9 (Small Stadium) : Small hall simulating a space with low-density reverberation such as a gymnasium.
S. HALL 10 (Out Door Stage) : Simulation of an outdoor stage. Extremely small amount of reverberation.
S. HALL 11 (Flat Reverb) : Small hall with no early reflections, and the entire frequency range decays in the same way.

* [ADJUST] knob: Adjust the Reverb Time.

INPUT

S. HALL

OUTPUT (L)
OUTPUT (R)

• ROOM

ROOM 1 (Natural Room) : Conventional room reverb simulating a nice space with just enough “sparkle.”
ROOM 2 (Garage) : Room reverb with crisp presence simulating a small, live space such as a garage.
ROOM 3 (Dead Room) : Room reverb simulating a small, dead room. Add just a bit of this to give warmth to a sound. Ideal for

ROOM 4 (Live Room) : Room reverb simulating a live space with low-density reverberation.
ROOM 5 (Vivid Room) : All-purpose room reverb with few early reflections and good definition.
ROOM 6 (Off Mic) : Room reverb with reverberation concentrated in the center.
ROOM 7 (Hard Wall Drum Booth) : Room reverb simulating a drum booth with hard walls. Crisp, and good for percussion as well.
ROOM 8 (Wood Wall Drum Booth) : Room reverb simulating a drum booth with a boost in the low to mid-ranges.
ROOM 9 (Live House) : Room reverb simulating a small club.
ROOM 10 (Back-Stage) : Room reverb simulating the sound back-stage.
ROOM 11 (Hi-Freq Room) : Room reverb with unique character in the mid-range.

* [ADJUST] knob: Adjust the Reverb Time.

narrations.

INPUT

ROOM

OUTPUT (L)
OUTPUT (R)

5

DE-10 Owner’s Manual

• PLATE

PLATE 1 (Normal Plate) : Contemporary-feeling plate reverb with a wide bandwidth.
PLATE 2 (Old Plate) : Conventional plate reverb with the character of classic plate devices.
PLATE 3 (V ivid Plate) : Crisp plate reverb with extended highs.
PLA TE 4 (Lo-Freq Plate) : Plate reverb with a gentle character.
PLATE 5 (Sharp Plate) : Plate reverb with only the high-frequency component.
PLATE 6 (Mono Plate) : Plate reverb panned to the center.
PLATE 7 (Dark Plate) : Plate reverb with rapidly decaying highs and lingering lows.
PLA TE 8 (Hi-Freq Plate) : Plate reverb with unique character in the high range.
PLA TE 9 (Mid-Freq Plate) : Plate reverb with unique character in the mid range.
PLATE 10 (Large E/R Plate) : Plate reverb emphasizing a digital feel, with metallic-sounding early reflection.
PLATE 11 (Flat Plate) : Plate reverb with low-density reverberation.

* [ADJUST] knob: Adjust the Reverb Time.

INPUT

PLATE

OUTPUT (L)
OUTPUT (R)

• VOCAL

VOCAL 1 (Standard Vocal) : The early reflections of an ideal vocal booth plus short reverberation with extended high range. This
VOCAL 2 (Karaoke) : All-around reverb that makes any vocal sound great (!?)

VOCAL 3 (V ocal Booth) : The early reflections of an ideal vocal booth plus short reverberation. This adds a natural feeling of air,
VOCAL 4 (W arm Vocal) : Reverb with a short delay and a plate character. Adds depth to the sound.

VOCAL 5 (Diffusion Vocal) : Spacious stadium-type early reflections plus short reverberation with extended high range. Good for
VOCAL 6 (Natural V ocal) : Easy to use vocal reverb with moderate delay and reverberation.

VOCAL 7 (Vivid Vocal) : Reverb that adds depth and spaciousness to the sound. A good high range makes this ideal for chorus
VOCAL 8 (Wet Vocal) : A short delay plus a gentle reverb. Recommended for slow songs.

VOCAL 9 (Doubling Vocal) : Spacious short delay plus a reverb with a real plate character. Blends naturally into any background.
VOCAL 10 (Dry Vocal) : Spacious short delay plus short reverberation.
VOCAL 11 (Stadium Vocal) : Stadium-type early reflection plus majestic reverb. Adds depth and spaciousness to a vocal.

* [ADJUST] knob: Adjust the Reverb Time.

adds sparkle to the sound, and is effective when you want to make the vocal stand out in the ensemble.

and is effective with simple arrangements with an unhurried vocal.

chorus parts.

parts as well.

INPUT

VOCAL

OUTPUT (L)
OUTPUT (R)

• DLY+REV (Delay+Reverb)

DLY+REV 1 (Mono Delay+Hall Reverb) : Mono delay + hall reverb.
DLY+REV 2 (L-R Delay+Hall Reverb) : Panning delay + hall reverb.
DLY+REV 3 (Diffusion Delay+Hall Reverb) : Spacious delay + hall reverb.
DLY+REV 4 (Mono Delay+Room Reverb) : Mono delay + room reverb.
DLY+REV 5 (L-R Delay+Room Reverb) : Panning delay + room reverb.
DLY+REV 6 (Diffusion Delay+Room Reverb) : Spacious delay + room reverb.
DLY+REV 7 (Mono Delay+Plate Reverb) : Mono delay + plate reverb.
DLY+REV 8 (L-R Delay+Plate Reverb) : Panning delay + plate reverb.
DLY+REV 9 (Diffusion 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.

INPUT

DELAY

• DELAY

DELAY 1 (Mono Delay) : Typical mono delay with moderate feedback.
DELAY 2 (L-R Delay) : Typical panning delay with moderate feedback.
DELAY 3 (Diffusion Delay) : Spacious mono delay with moderate feedback.
DELAY 4 (Mono Single Delay) : Typical mono delay without feedback.
DELAY 5 (L-R Single Delay) : Typical panning delay without feedback.
DELAY 6 (Diffusion Single Delay) : Spacious mono delay without feedback.
DELAY 7 (Mono Doubling) : Mono doubling delay.
DELAY 8 (Diffusion Doubling) : Stereo doubling delay.
DELAY 9 (Lo-Freq Delay) : Delay T ype 1 with only the low-frequency components.
DELAY 10 (Hi-Freq Delay 1) : Delay Type 2 with only the high-frequency components.
DELAY 11 (Hi-Freq Delay 2) : Delay Type 1 with only the high-frequency components.

* [ADJUST] knob: Adjust the Delay Time.

INPUT

DELAY

REVERB

OUTPUT (L)
OUTPUT (R)

OUTPUT (L)
OUTPUT (R)

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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
MISC 2 (Soft Random E/R) : Random early reflections. Less high range than MISC 1, so suitable for backing tracks.

MISC 3 (Tight Random E/R) : Random early reflections with only high-frequency components.
MISC 4 (Long E/R) : Miraculous ambience that could not exist in the real world, with early reflections that continue

MISC 5 (Short E/R) : Random early reflections at close spacing appear all at once. Effective for giving natural
MISC 6 (Large Hall E/R) : Early reflections of a large hall.

MISC 7 (Soft Large Hall E/R) : Early reflections of a large hall. Gentler sound than MISC 4.
MISC 8 (Small Hall E/R) : Early reflections of a small hall.
MISC 9 (Soft Small Hall E/R) : Early reflections of a small hall. Gentler sound than MISC 6.
MISC 10 (Reverse E/R) : Early reflections of reverse reverb. Effective on vocal or brass section.
MISC 11 (Gate Reverb) : Gated early reflection with a crisp cutoff.

* [ADJUST] knob: Adjust the size of the room.

natural feeling of air and space.

without being covered by reverberant components.
spaciousness to pad-type sounds.

INPUT

MISC

OUTPUT (L)
OUTPUT (R)

• CHORUS

CHORUS 1 (Natural Chorus) : Conventional chorus with fairly shallow depth, suitable for any sound. Adds a natural
CHORUS 2 (Deep Chorus) : Chorus with greater depth. Suitable when you want to aggressively modify the sound of an
CHORUS 3 (Doubling Chorus) : Conventional chorus, plus a doubling effect created by a short delay.

CHORUS 4 (Mono Chorus) : Light chorus panned to center. Adds natural depth and warmth to vocals or sax, etc.
CHORUS 5 (Mono Doubling Chorus) : The effect of CHORUS 4 plus a doubling effect created by a short delay.
CHORUS 6 (Mono Deep Chorus) : Deep chorus panned to center. Effective for adding body to a center-panned instrument such as

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 applied only to the high-frequency range.
CHORUS 9 (Lo-Freq Chorus) : Chorus applied only to the low-frequency range.
CHORUS 10 (Mono Delay Chorus) : Pitch chorus that adds depth to the sound by slightly shifting the pitch.
CHORUS 11 (L-R Delay Chorus) : Pitch chorus panned to the center.

* [ADJUST] knob: Adjust the depth of the chorus.

spaciousness and depth without changing the character of the original sound.
electric piano, etc.

bass.

INPUT

CHORUS

OUTPUT (L)
OUTPUT (R)

• PITCH

PITCH 1—3 (Pitch +/- 1oct.) : Pitch shift with a variable range of +/-1 octave. (No pitch shift when ADJUST = 0.)

PITCH 4—6 (Pitch Shift Up) : Pitch shift with a variable range of 0— +2 octaves. (+1 octave when ADJUST = 0.)

PITCH 7—9 (Pitch Shift Down) : Pitch shift with a variable range of -2—0 octaves. (-1 octave when ADJUST = 0.)

PITCH 10 (Pitch Delay) : Pitch shift with delayed feedback. Offsetting the pitch will produce interesting results.
PITCH 11 (SFX Pitch) : Pitch shift that produces a strange effect like a simulation of a space alien. We recommend that

* [ADJUST] knob: Adjust the amount of pitch change. +/-1 octave.

Select one of three variations: PITCH 1 is normal, PITCH 2 has faster response, and PITCH 3
is clearest.

Select one of three variations: PITCH 4 is normal, PITCH 5 has faster response, and PITCH 6
is clearest.

Select one of three variations: PITCH 7 is normal, PITCH 8 has faster response, and PITCH 9
is clearest.

you set ADJUST to 0.

INPUT

PITCH

OUTPUT (L)
OUTPUT (R)

• FLANGE

FLANGE 1 (Dual Flange) : Dual flanging in which two effect sounds with different modulation phase are heard from left
FLANGE 2 (Dual Flange Lo-Feedback) : Dual flanging. Light feedback.

FLANGE 3 (Dual Flange No-Feedback) : Dual flanging. Almost no feedback.
FLANGE 4 (Lo-Freq Flange) : 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) : Flanging applied only to the high-frequency range.
FLANGE 7 (Lo-Freq Flange) : Flanging applied only to the low-frequency range.
FLANGE 8 (Mono Dual Flange) : Two types of flanging heard from the center. Deep feedback.
FLANGE 9 (Mono Dual Flange Lo-Feedback) : Two types of flanging heard from the center. Light feedback.
FLANGE 10 (Mono Single Flange) : One effect heard from the center. Deep feedback.
FLANGE 11 (Mono Single Flange Lo-Feedback) : One effect heard from the center. Light feedback.

* [ADJUST] knob: Adjust the modulation speed of the flanging.

and right. Deep feedback.

INPUT

FLANGE

OUTPUT (L)

OUTPUT (R)

7