DE-1 Owner's Manual CAUTION: TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN
ATTENTION: POUR EVITER LES CHOCS ELECTRIQUES, CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER - SERVICEABLE PARTS INSIDE. The lightning flash with arrowhead symbol, REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.
"WARNING" "TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE."
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. 9. Heat - The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers) that produce heat. 10. Power Sources - The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance. 11. Grounding or Polarization - The precautions that should be taken so that the grounding or polarization means of an appliance is not defeated. 12. Power Cord Protection - Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance. 13. Cleaning - The appliance should be cleaned only as recommended by the manufacturer. 14. Nonuse Periods - The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time. 15. Object and Liquid Entry - Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. 16. Damage Requiring Service - The appliance should be serviced by qualified service personnel when: A. The power supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the appliance; or The appliance has been exposed to rain; or The appliance does not appear to operate normally or exhibits a marked change in performance; or The appliance has been dropped, or the enclosure damaged.
SAFETY INSTRUCTIONS 1. Read Instructions - All the safety and operating instructions should be read before the appliance is operated. 2. Retain Instructions - The safety and operating instructions should be retained for future reference. 3. Heed Warnings - All warnings on the appliance and in the operating instructions should be adhered to. 4. Follow Instructions - All operating and use instructions should be followed. 5. Water and Moisture - The appliance should not be used near water - for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, and the like. 6. Carts and Stands - The appliance should be used only with a cart or stand that is recommended by the manufacturer.
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.
C. D. E.
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.
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DE-1 Owner's Manual
Introduction Thank you very much for having purchased the Fostex DE-1. 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. You can choose 11 variations of the algorithm to obtain a maximum of 121 types of different effects. Also, the DE-1 offers two operation modes as "Dual Mode" and "Single 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 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-1.
Precautions (please read before use) Power supply * When unplugging the AC adaptor from the outlet, be sure to grasp the adaptor. Attempting to unplug it by pulling on the AC 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 AC adaptor with wet hands. Doing so may result in dangerous electric shock. * Do not open the unit or touch any parts inside. 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 inside the unit. These things may cause electrical shock or short circuit the DE-1, and damage it. If the DE-1 should become wet, unplug the AC adaptor from the AC outlet, and contact your authorized service station.
Location * Avoid using the DE-1 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. * Unstable locations or where there is heavy vibration. * Near strong magnetic fields (on top of a television or speaker).
Table of Contents Introduction.............................................................3 Precautions.............................................................3 Digital Effect Functions...........................................4 The Details of the Preset Effects............................5 Effects in Dual Mode.........................................5 Effects in Single Mode.......................................8
The Details of the Algorithm.................................12 Functions...........................................................................14 Functions of the Dual Mode..........................14 Functions of the Single Mode.......................15
How to use the Dual Mode....................................16 How to use the Single Mode.................................17 Block Diagram / Specifications............................19
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DE-1 Owner's Manual
Digital Effect Functions The DE-1 offers high quality ambient effects by employing the A. S. P. (Fostex Advanced Signal Processing Technology), which is exclusively developed by Fostex. With the A. S. P., you can obtain an incomparably clean and high density Hall Reverb, overwhelmingly clear Room Reverb and wonderfully hi-fidelity Plate Reverb. In addition to these typical Reverbs, the DE-1 provides 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. You can choose 11 variations of the algorithm to obtain a maximum of 121 types of different effects according to your taste and usage. *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 reverberated sound that bounces back from walls, floors and ceilings of concert halls). The entire reverb sound quality depends on this Early Reflection sound and how closely it can resemble the real echo. The H. F. A. is an algorithm that enables the effect unit to reproduce a clear and natural Early Reflection sound by applying an ideal harmonic feedback to each delay module.
*H. D. L. P. (Hi-Density Logarithmic Processing) The reverb sounds consist of lots of small delay elements combined in a complex way, which are produced by many delay modules inside the effect unit. In order to obtain smooth and comfortable reverb sounds, it is very important to efficiently organize the relationship between each delay module and minimize negative mutual interference. The H. D. L. P. is a technology which applies efficient logarithmic processing to each delay module, so that they can work in the most efficient way in order to eliminate harmful reverb elements and roughness. This makes it possible to establish high density and transparent sounds.
Before the practical operation, we will briefly discuss the effect functions here such as Reverb, Delay, Chorus, Pitch and Flanger, which are integrated in the DE-1. Reverb: The so called Reverb effect consists of various reflection sounds mixed together. For example, when you clap your hands in a tunnel, you will hear the sound linger even after you stop clapping your hands. This is the Reverb. The sounds we normally hear in daily life have three types of sounds mixed together, i.e., "Direct sound", Early Reflection sound" and "Late Reflection sound". The Direct sound means the sound directly reaches the ears from the sound source. The Early Reflection sound means the sound that comes after the Direct sound and has rebound off the wall of the tunnel up to a few times. The Late Reflection sound means that the sound rebounds many times long after the Direct sound has disappeared. Our ears normally hear the "Direct sound" - "Early Reflection sound" - "Late Reflection sound" in that order.
Chorus: This makes the one original sound appear to have many sources. The Chorus is used to widen or thicken the original sound.
Pitch: The Pitch basically means the frequency of the audio. But, in the case of an effect unit, it works this way; for instance, you can amend the vocal tone by changing the Pitch lifting or dropping as much as an octave. Also, you can obtain some unusual effects by mixing the shifted Pitch sound and the original sound together.
Flanger: The Flanger is one of applications of the Delay. This is used to create a sound like a jet airplane ascending or descending.
Delay: This is the effect to add a delayed sound to the original sound. You can obtain a richer sound or completely change the original source sound by using the Delay.
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DE-1 Owner's Manual
The Details of the Preset Effects The DE-1 has 11 preset Effect Types available on both the Dual Mode and Single Mode. Each Effect Type further offers a maximum of 11 variations. See Operations on page 16 and 17 for how to set up the Preset Effects. In the following list, the numbers attached to the Preset Effects are categorized from (a) ~ (f), (A) ~ (J) and refer to the "Algorithm Reference Numbers". They tell you how the DE1 operates internally in each Preset Effect. See page 12 and 13 for more details of the algorithm.
Effects in DUAL MODE L.HALL (Large Hall) L.HALL 1 (Normal Large Hall) L.HALL 2 (Lo-Freq Large Hall) L.HALL 3 (Presence Large Hall) L.HALL 4 (Hard-Wall Large Hall) L. HALL 5 (Wet Large Hall) L. HALL 6 (Extensive Large Hall) L. HALL 7 (Cave) L. HALL 8 (Stadium 1) L. HALL 9 (Stadium 2) L. HALL 10 (Large Auditorium) L. HALL 11 (Large Cave) (a) Conventional large hall, with sonic detail, clarity, and an appropriate amount of early reflections. (a) Large hall with lingering low-frequency reverb components. (a) Reverb with crispness and good presence. (a) Large hall surrounded by hard walls, many early reflections, and a strong high-frequency ratio. (a) Reverb with restrained high-frequency range and gentle character. (a) Reverb with an extremely long pre-delay time, simulating a fairly broad space. (a) Reverb simulating a cave. Perhaps the thick moss accounts for the excellent highfrequency absorption! (a) Stadium reverb with many long early reflections. (a) Stadium reverb with a dry character. (a) Reverb simulating a space with little reverberation, such as a large auditorium. (a) Simulates a more spacious volume than the cave of L. HALL 7. Reverb time is longer.
* ADJUST knob: Reverb Time (adjust the length of the reverberation)
S. HALL (Small Hall) (a) Conventional small hall with sonic detail, clarity, and an appropriate amount of early reflections. S. HALL 2 (Lo-Freq Small Hall) (a) Small hall with lingering low-frequency reverb components. S. HALL 3 (Presence Small Hall) (a) General-purpose small hall with crisp sound and few early reflections. S. HALL 4 (Hard-Wall Small Hall) (a) Small hall surrounded by hard walls, many early reflections, and a strong high-frequency ratio. S. HALL 5 (Wet Small Hall) (a) Small hall with little high-frequency range. S. HALL 6 (Spacious Small Hall) (a) Small hall with a long pre-delay time, simulating a broad space. S. HALL 7 (Long and Narrow Hall) (a) Small hall simulating a long and narrow space where the reverberation is concentrated in the center. S. HALL 8 (Dead Small Hall) (a) Relatively "dead" small hall with a low high-frequency ratio. S. HALL 9 (Gymnasium) (a) Small hall simulating a space with low-density reverberation such as a gymnasium. S. HALL 10 (Live Stage) (a) Simulation of an outdoor stage. Extremely small amount of reverberation. S. HALL 11 (No-E/R Hall) Small hall with no early reflections, and the entire frequency range decays in the same way. * ADJUST knob: Reverb Time (adjust the length of the reverberation) S. HALL 1 (Normal Small Hall)
ROOM ROOM 1 (Normal Room) ROOM 2 (Garage) ROOM 3 (Dead Room) (a) Conventional room reverb simulating a nice space with just enough "sparkle." (a) Room reverb with crisp presence simulating a small, live space such as a garage. (a) Room reverb simulating a small, dead room. Add just a bit of this to give warmth to a sound. Ideal for narrations. ROOM 4 (Live Room) (a) Room reverb simulating a live space with low-density reverberation. ROOM 5 (Presence Room) (a) All-purpose room reverb with few early reflections and good definition. ROOM 6 (Mono Room) (a) Room reverb with reverberation concentrated in the center. ROOM 7 (Hard-Wall Drum Booth) (a) Room reverb simulating a drum booth with hard walls. Crisp, and good for percussion as well. ROOM 8 (Lo-Freq Drum Booth) (a) Room reverb simulating a drum booth with a boost in the low to mid-ranges.
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DE-1 Owner's Manual ROOM 9 (Small Live House) ROOM 10 (Back-Stage) ROOM 11 (Mid-Freq Small Hall) (a) Room reverb simulating a small club. (a) Room reverb simulating the sound back-stage. (a) Room reverb with unique character in the mid-range.
* ADJUST knob: Reverb Time (adjust the length of the reverberation)
PLATE PLATE 1 (Normal Plate) PLATE 2 (Old Plate) PLATE 3 (Presence Plate) PLATE 4 (Wet Plate) PLATE 5 (Hi-Freq Plate 1) PLATE 6 (Mono Plate) PLATE 7 (Lo-Freq Plate) PLATE 8 (Hi-Freq Plate 2) PLATE 9 (Mid-Freq Plate) PLATE 10 (Digital Plate) PLATE 11 (Coarse Plate) (a) (a) (a) (a) (a) (a) (a) (a) (a) (a) (a) Contemporary-feeling plate reverb with a wide bandwidth. Conventional plate reverb with the character of classic plate devices. Crisp plate reverb with extended highs. Plate reverb with a gentle character. Plate reverb with only the high-frequency component. Plate reverb panned to the center. Plate reverb with rapidly decaying highs and lingering lows. Plate reverb with unique character in the high range. Plate reverb with unique character in the mid range. Plate reverb emphasizing a digital feel, with metallic-sounding early reflection. Plate reverb with low-density reverberation.
* ADJUST knob: Reverb Time (adjust the length of the reverberation)
VOCAL VOCAL 1 (Presence Vocal Booth) (a) The early reflections of an ideal vocal booth plus short reverberation with extended high range. This adds sparkle to the sound, and is effective when you want to make the vocal stand out in the ensemble. VOCAL 2 (Vocal Reverb 1) (a) All-around reverb that makes any vocal sound great (!?) VOCAL 3 (Natural Vocal Booth) (a) The early reflections of an ideal vocal booth plus short reverberation. This adds a natural feeling of air, and is effective with simple arrangements with an unhurried vocal. VOCAL 4 (Fat Vocal) (a) Reverb with a short delay and a plate character. Adds depth to the sound. VOCAL 5 (Arena Vocal) (a) Spacious stadium-type early reflections plus short reverberation with extended high range. Good for chorus parts. VOCAL 6 (Vocal Reverb 2) (a) Easy to use vocal reverb with moderate delay and reverberation. VOCAL 7 (Back Chorus) (a) Reverb that adds depth and spaciousness to the sound. A good high range makes this ideal for chorus parts as well. VOCAL 8 (Ballad Vocal) (a) A short delay plus a gentle reverb. Recommended for slow songs. VOCAL 9 (Solo Vocal) (a) Spacious short delay plus a reverb with a real plate character. Blends naturally into any background. VOCAL 10 (Vocal Reverb 2) (a) Spacious short delay plus short reverberation. VOCAL 11 (Stadium Vocal) (a) Stadium-type early reflection plus majestic reverb. Adds depth and spaciousness to a vocal. * ADJUST knob: Reverb Time (adjust the length of the reverberation)
DLY+REV (Delay+Reverb) DLY+REV 1 (Mono Delay+Loud Hall) DLY+REV 2 (Panning Delay+Loud Hall) DLY+REV 3 (Mono Delay+Soft Hall) DLY+REV 4 (Panning Delay+Soft Hall) DLY+REV 5 (Mono Delay+Hi-Freq Plate) DLY+REV 6 (Panning Delay+Hi-Freq Plate) DLY+REV 7 (Mono Delay+Normal Plate) DLY+REV 8 (Panning Delay+Normal Plate) DLY+REV 9 (Mono Delay+Room) DLY+REV 10 (Panning Delay+Room) DLY+REV 11 (Single Panning Delay+Hall) (e) (e) (e) (e) (e) (e) (e) (e) (e) (e) (e) Mono delay + a fairly high level of hall reverb Panning delay + a fairly high level of hall reverb Mono delay + a low level of hall reverb Panning delay + a low level of hall reverb Mono delay + plate reverb with extended highs Panning delay + plate reverb with extended highs Mono delay + plate reverb with a plate character Panning delay + plate reverb with a plate character Mono delay + room reverb Panning delay + room reverb Panning delay (without feedback) + hall reverb
* ADJUST knob: Delay Time (adjust the delay time)
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DE-1 Owner's Manual
DELAY DELAY 1 (Normal Mono Delay) DELAY 2 (Long Feedback Mono Delay) DELAY 3 (Single Mono Delay) DELAY 4 (Normal Panning Delay) (d) (d) (d) (a) Conventional mono delay with appropriate feedback level and high ratio. Mono delay with long feedback level. Mono delay with no feedback. Panning delay which alternates the sound between left and right. An appropriate feedback level and high ratio. Panning delay with long feedback level. Panning delay with no feedback. L-R delay where the delayed sound is spread to the left and right without being positioned in the center. An appropriate feedback level and high ratio. L-R delay with long feedback level. L-R delay without feedback. Simulates an analog BBD delay. L-R delay with short delay time and no feedback. Effective when you want to subtly broaden a pad-type sound.
MISC (Miscellaneous) MISC 1 (Random E/R) (a) 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) (a) Random early reflections. Less high range than MISC 1, so suitable for backing tracks. MISC 3 (Hi-Freq Random E/R) (a) Random early reflections with only high-frequency components. MISC 4 (Rich Random E/R) (a) Miraculous ambience that could not exist in the real world, with early reflections that continue without being covered by reverberant components. MISC 5 (Hi-Density Random E/R) (a) 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) (a) Early reflections of a large hall. MISC 7 (Wet Large Hall E/R) (a) Early reflections of a large hall. Gentler sound than MISC 4. MISC 8 (Small Hall E/R) (a) Early reflections of a small hall. MISC 9 (Wet Small Hall E/R) (a) Early reflections of a small hall. Gentler sound than MISC 6. MISC 10 (Reverse E/R) (a) Early reflections of reverse reverb. Effective on vocal or brass section. MISC 11 (Gate E/R) (a) Gated early reflection with a crisp cutoff. * ADJUST knob: Room Size (adjust the size of the room)
CHORUS CHORUS 1 (Normal Chorus) (a) Conventional chorus with fairly shallow depth, suitable for any sound. Adds a natural spaciousness and depth without changing the character of the original sound. (a) Chorus with greater depth. Suitable when you want to aggressively modify the sound of an electric piano, etc. (a) Conventional chorus, plus a doubling effect created by a short delay. (a) Light chorus panned to center. Adds natural depth and warmth to vocals or sax, etc. (d) The effect of CHORUS 4 plus a doubling effect created by a short delay (d) Deep chorus panned to center. Effective for adding body to a center-panned instrument such as bass. (d) The effect of CHORUS 6 plus a doubling effect created by a short delay. (a) Chorus applied only to the high-frequency range. (a) Chorus applied only to the low-frequency range. (a) Pitch chorus that adds depth to the sound by slightly shifting the pitch. (d) Pitch chorus panned to the center.
* ADJUST knob: Depth (adjust the depth of the chorus)
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DE-1 Owner's Manual
PITCH PITCH 1--3 (+/- Octave Shift) (d) Pitch shift with a variable range of +/-1 octave. (No pitch shift when ADJUST = 0.) Select one of three variations: PITCH 1 is normal, PITCH 2 has faster response, and PITCH 3 is clearest. (d) Pitch shift with a variable range of 0-- +2 octaves. (+1 octave when ADJUST = 0.) Select one of three variations: PITCH 4 is normal, PITCH 5 has faster response, and PITCH 6 is clearest. (d) Pitch shift with a variable range of -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. (f) Pitch shift with delayed feedback. Offsetting the pitch will produce interesting results. (f) Pitch shift that produces a strange effect like a simulation of a space alien. We recommend that you set ADJUST to 0.
* ADJUST knob: Pitch (adjust the amount of pitch change. +/-1 octave)
FLANGE FLANGE 1 (Duo Flange) FLANGE 2 (Lo-Feedback Duo Flange) FLANGE 3 (No-Feedback Duo Flange) FLANGE 4 (Lo-Freq Roll Flange 1) FLANGE 5 (Lo-Freq Roll Flange 2) FLANGE 6 (Hi-Freq Flange) FLANGE 7 (Lo-Freq Flange) FLANGE 8 (Bi-Frange 1) FLANGE 9 (Bi-Flange 2) FLANGE 10 (Solo Flange 1) FLANGE 11 (Solo Flange 2) (b) Dual flanging in which two effect sounds with different modulation phase are heard from left and right. Deep feedback. (b) Dual flanging. Light feedback. (b) Dual flanging. Almost no feedback. (b) Flanging with modulation in the low-frequency component. Deep feedback. (b) Flanging with modulation in the low-frequency component. light feedback. (b) Flanging applied only to the high-frequency range. (b) Flanging applied only to the low-frequency range. (c) Two types of flanging heard from the center. Deep feedback. (c) Two types of flanging heard from the center. Light feedback. (d) One effect heard from the center. Deep feedback. (d) One effect heard from the center. Light feedback.
* ADJUST knob: Rate (adjust the modulation speed of the flanging)
Effects in SINGLE MODE L. HALL (Large Hall) L. HALL 1 (Normal Large Hall) L. HALL 2 (Lo-Freq Large Hall) (A) Same as DUAL mode L. HALL 1, but higher density reverberation. (A) Same as DUAL mode L. HALL 2, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 "Character.") (A) Same as DUAL mode L. HALL 3, but higher density reverberation. (A) Same as DUAL mode L. HALL 4, but higher density reverberation. (A) Same as DUAL mode L. HALL 5, but higher density reverberation. (A) Same as DUAL mode L. HALL 6, but higher density reverberation. (A) Same as DUAL mode L. HALL 7, but higher density reverberation. (A) Same as DUAL mode L. HALL 8, but higher density reverberation. (A) Same as DUAL mode L. HALL 9, but higher density reverberation. (B ) Reverb as if moving through a tunnel. Powerful stimulation for the three semicircular canals of the inner ear! (B) Special reverb with a deep flanging effect applied.
L. HALL 3 (Presence Large Hall) L. HALL 4 (Hard-Wall Large Hall) L. HALL 5 (Wet Large Hall) L. HALL 6 (Extensive Large Hall) L. HALL 7 (Cave) L. HALL 8 (Stadium 1) L. HALL 9 (Stadium 2) L. HALL 10 (Flange Large Hall 1) L. HALL 11 (Flange Large Hall 2)
* ADJUST knob 1 (PARAM.1): Reverb Time (adjust the length of reverberation) * ADJUST knob 2 (PARAM.2): E/R Level (adjust the volume of the early reflections) * ADJUST knob 3 (PARAM.3): Character (adjust the overtone structure of the reverberation) (cannot be adjusted on L. HALL 2)
S. HALL (Small Hall) S. HALL 1 (Normal Small Hall) (A) Same as DUAL mode S. HALL 1, but higher density reverberation.
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DE-1 Owner's Manual S. HALL 2 (Lo-Freq Small Hall) (A) Same as DUAL mode S. HALL 2, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 "Character.") (A) Same as DUAL mode S. HALL 3, but higher density reverberation. (A) Same as DUAL mode S. HALL 4, but higher density reverberation. (A) Same as DUAL mode S. HALL 5, but higher density reverberation. (A) Same as DUAL mode S. HALL 6, but higher density reverberation. (A) Same as DUAL mode S. HALL 7, but higher density reverberation. (A) Same as DUAL mode S. HALL 8, but higher density reverberation. (A) Same as DUAL mode S. HALL 9, but higher density reverberation. (B) Reverb as if moving through a tunnel. Powerful stimulation for the three semicircular canals of the inner ear! (B) Special reverb with a deep and intense flanging effect applied.
S. HALL 3 (Presence Small Hall) S. HALL 4 (Hard-Wall Small Hall) S. HALL 5 (Wet Small Hall) S. HALL 6 (Specious Small Hall) S. HALL 7 (Long and Narrow Hall) S. HALL 8 (Dead Small Hall) S. HALL 9 (Gymnasium) S. HALL 10 (Flange Small Hall 1) S. HALL 11 (Flange Small Hall 2)
* ADJUST konb 1 (PARAM.1): Reverb Time (adjust the length of reverberation) * ADJUST knob 2 (PARAM.2): E/R Level (adjust the volume of the early reflections) * ADJUST knob 3 (PARAM.3): Character (adjust the overtone structure of the reverberation) (cannot be adjusted on S. HALL 2)
ROOM ROOM 1 (Normal Room) ROOM 2 (Garage) (A) Same as DUAL mode ROOM 1, but higher density reverberation. (A) Same as DUAL mode ROOM 2, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 "Character.") (A) Same as DUAL mode ROOM 3, but higher density reverberation. (A) Same as DUAL mode ROOM 4, but higher density reverberation. (A) Same as DUAL mode ROOM 5, but higher density reverberation. (A) Same as DUAL mode ROOM 6, but higher density reverberation. (A) Same as DUAL mode ROOM 7, but higher density reverberation. (A) Same as DUAL mode ROOM 8, but higher density reverberation. (A) Same as DUAL mode ROOM 9, but higher density reverberation. (B) Amazing room reverb with a light flanging effect (B) Special reverb with flanging applied to the early reflections of the room.
* ADJUST knob 1 (PARAM.1): Reverb Time (adjust the length of reverberation) * ADJUST knob 2 (PARAM.2): E/R Level (adjust the volume of the early reflections) * ADJUST knob 3 (PARAM.3): Character (adjust the overtone structure of the reverberation) (cannot be adjusted on ROOM 2)
PLATE PLATE 1 (Normal Plate) PLATE 2 (Old Plate) PLATE 3 (Presence Plate) PLATE 4 (Wet Plate) PLATE 5 (Hi-Freq Plate 1) (A) (A) (A) (A) (A) Same as DUAL mode PLATE 1, but higher density reverberation. Same as DUAL mode PLATE 2, but higher density reverberation. Same as DUAL mode PLATE 3, but higher density reverberation. Same as DUAL mode PLATE 4, but higher density reverberation. Same as DUAL mode PLATE 5, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 "Character.") Same as DUAL mode PLATE 6, but higher density reverberation. Same as DUAL mode PLATE 7, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 "Character.") Same as DUAL mode PLATE 8, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 "Character.") Same as DUAL mode PLATE 9, but higher density reverberation. (Since special processing of the overtone structure is being performed, it is not possible to adjust PARAM.3 "Character.") Unusual plate reverb with a light flanging effect applied. Special reverb with an aggressive flanging effect applied.
* ADJUST knob 1 (PARAM.1): Reverb Time (adjust the length of reverberation) * ADJUST knob 2 (PARAM.2): E/R Level (adjust the volume of the early reflections) * ADJUST knob 3 (PARAM.3): Character (adjust the overtone structure of the reverberation) (cannot be adjusted on PLATE 5, 7, 8, and 9)
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DE-1 Owner's Manual
VOCAL VOCAL 1 (Presence Vocal Booth) VOCAL 2 (Vocal Reverb 1) VOCAL 3 (Natural Vocal Booth) VOCAL 4 (Fat Vocal) VOCAL 5 (Arena Vocal) VOCAL 6 (Vocal Reverb 2) VOCAL 7 (Back Chorus) VOCAL 8 (Ballad Vocal) VOCAL 9 (Solo Vocal) VOCAL 10 (Flange Vocal 1) VOCAL 11 (Flange Vocal 2) (A) (A) (A) (A) (A) (A) (A) (A) (A) (B) (B) 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.
* ADJUST knob 1 (PARAM.1): Reverb Time (adjust the length of reverberation) * ADJUST knob 2 (PARAM.2): E/R Level (adjust the volume of the early reflections) * ADJUST knob 3 (PARAM.3): Character (adjust the overtone structure of the reverberation)
DLY + REV (Delay + Reverb) DLY+REV 1 (Mono Delay+Loud Hall) DLY+REV 2 (Panning Delay+Loud Hall) DLY+REV 3 (Mono Delay+Soft Hall) DLY+REV 4 (Panning Delay+Soft Hall) DLY+REV 5 (Mono Delay+Hi-Freq Plate) DLY+REV 6 (Panning Delay+Hi-Freq Plate) DLY+REV 7 (Mono Delay+Normal Plate) DLY+REV 8 (Panning Delay+Normal Plate) DLY+REV 9 (Mono Delay+Flange Reverb) DLY+REV 10 (Panning Delay+Flange Reverb 1) DLY+REV 11 (Panning Delay+Flange Reverb 2) (A) (A) (A) (A) (A) (A) (A) (A) (B) (B) Same as DUAL mode DLY+REV1, but higher density reverberation. Same as DUAL mode DLY+REV2, but higher density reverberation. Same as DUAL mode DLY+REV3, but higher density reverberation. Same as DUAL mode DLY+REV4, but higher density reverberation. Same as DUAL mode DLY+REV5, but higher density reverberation. Same as DUAL mode DLY+REV6, but higher density reverberation. Same as DUAL mode DLY+REV7, but higher density reverberation. Same as DUAL mode DLY+REV8, but higher density reverberation. Reverb with a light flanging effect applied to a mono delay. Three and a half dimensional reverb with light flanging on the panning delay. (B) Strange reverb with aggressive flanging on the panning delay.
* ADJUST knob 1 (PARAM.1): Delay Time (adjust the delay time) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the number of delay repeats) * ADJUST knob 3 (PARAM.3): Reverb Time (adjust the length of reverberation)
DELAY DELAY 1 (Normal Stereo Delay) DELAY 2 (Long Stereo Delay) DELAY 3 (Single Stereo Delay) (E) Stereo delay that applies a delay while preserving the L-R input balance. (E) Stereo delay that applies a delay while preserving the L-R input balance. Longer delay time. (E) Stereo delay that applies a delay while preserving the L-R input balance. The delay time is fairly short with no feedback, so this is also convenient for compensating for audio delay in digital devices. (E) Simulation of an analog BBD delay. Stereo delay that preserves the L-R input balance. (E) Stereo delay that applies delay only to the high-frequency components while maintaining the L-R input balance. (F) Panning delay in which the sound alternates between left and right. (F) Panning delay with longer delay time. (F) Panning delay that delays only the high-frequency components. (F) L-R delay that spreads the delayed sound to left and right. (F) L-R delay with longer delay time. (F) L-R delay that delays only the high-frequency components.
* ADJUST knob 1 (PARAM.1): Delay Time (adjust the delay time) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the number of delay repeats) * ADJUST knob 3 (PARAM.3): Hi Ratio (adjust the proportion by which the high-frequency components decay as the delay repeats)
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DE-1 Owner's Manual
MISC (Miscellaneous) MISC 1 (Normal Gate Reverb) MISC 2 (Hi-Freq Mono Snare Gate) MISC 3 (Hi-Freq Stereo Snare Gate) MISC 4 (Lo-Freq Mono Kick Gate) MISC 5 (Spring Reverb 1) MISC 6 (Spring Reverb 2) MISC 7 (Large Hall E/R) MISC 8 (Presence Large Hall E/R) MISC 9 (Small Hall E/R) MISC 10 (Presence Small Hall E/R) MISC 11 (Normal Reverse Reverb) (A) (G) (A) (G) (A) (A) (A) (A) (A) (A) (A) Conventional gate reverb suitable for a wide range of applications. Center-panned gate reverb with extended highs. Ideal for snare drum. Spacious gate reverb with extended highs. Ideal for snare drum. Center-panned gate reverb with extended lows. Ideal for bass drum. Simulation of a good old spring reverb. Simulation of a good old spring reverb. Flashier sound than MISC 5. Simulation of the early reflections of a large hall. Early reflections of a large hall. Tighter sound than MISC 7. Simulation of the early reflections of a small hall. Early reflections of a small hall. Tighter sound than MISC 9. Reverse reverb. Effective as a subtle addition to vocals or brass section, or as a sound effect.
* ADJUST knob 1 (PARAM.1): Room Size (adjust the size of the space) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the number of delay repeats. The change is subtle, and may be difficult to notice.) * ADJUST knob 3 (PARAM.3): Density (adjust the density of the reflections)
CHORUS CHORUS 1 (3D Chorus) CHORUS 2 (3D Dub Chorus) CHORUS 3 (Mono Rich Chorus) CHORUS 4 (Chorus + Hall) CHORUS 5 (Chorus + Room) CHORUS 6 (Chorus + Hi-Freq Plate) CHORUS 7 (Chorus + Wet Plate) CHORUS 8 (Chorus + Delay + Hall) CHORUS 9 (Chorus + Delay + Room) CHORUS 10 (Chorus + Delay + Hi-Freq Plate) CHORUS 11 (Chorus + Delay + Wet Plate) (A) (H) (G) (H) (H) (H) (H) (D) (D) (D) (D) Simulation of an analog three-phase chorus with great spaciousness and depth. CHORUS 1 plus a doubling effect produced by a short delay. Center-panned chorus. Ideal for vocals or sax. Chorus + hall reverb. Chorus + room reverb. Chorus + plate reverb with extended highs Chorus + mellow plate reverb Chorus + short delay + hall reverb Chorus + short delay + room reverb Chorus + short delay + plate reverb with extended highs Chorus + short delay + mellow plate reverb
* ADJUST knob 1 (PARAM.1): Depth (adjust the chorus depth) * ADJUST knob 2 (PARAM.2): Character (adjust the overtone structure of the chorus) * ADJUST knob 3 (PARAM.3): Reverb Time (adjust the length of the reverberation) (CHORUS 4--11 only)
PITCH PITCH 1--3 (+/1 Octave Shift) (E) Totally independent stereo pitch shifter that separately applies a pitch shift to the L and R inputs, and outputs the result separately from the L and R outputs. Adjustable in a range of +/-1 octave. PITCH 1 is standard, PITCH 2 provides fast response, and PITCH 3 provides maximum clarity. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and outputs all of the sound from the center. PITCH 4 is standard, PITCH 5 provides faster response, and PITCH 6 provides maximum clarity. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and divides the pitch shifted sound between L and R. PITCH 7 is standard, PITCH 8 provides faster response, and PITCH 9 provides maximum clarity. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and applies a long delay feedback loop. The pitch shifted sound is divided between L and R for output. Dual pitch shifter that first merges the L and R inputs, then applies two different pitch shifts, and applies a short delay feedback loop. The pitch shifted sound is divided between L and R for output.
PITCH 4--6 (Mono Duo Pitch Shift)
(I)
PITCH 7--9 (Stereo Duo Pitch Shift)
(J)
PITCH 10 (Feedback Duo Pitch Shift)
(J)
PITCH 11 (Feedback Duo Pitch Shift)
(J)
* ADJUST knob 1 (PARAM.1): Pitch 1 (adjust the pitch of the first pitch shifted sound. +/-1 octave) * ADJUST knob 2 (PARAM.2): Pitch 2 (adjust the pitch of the second pitch shifted sound. +/-1 octave) * ADJUST knob 3 (PARAM.3): Pitch 3 (fine adjustment to the pitch of the overall pitch shifted sound. +/-1 semitone)
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DE-1 Owner's Manual
FLANGE FLANGE 1 (Stereo Duo Flange) (E) Dual stereo flanger that preserves the L-R input balance. Two flangers with different modulation phase are applied. Since the rate is quite slow, this is effective when applied to a beat track. Dual stereo flanger that preserves the L-R input balance. Two flangers with different modulation phase are applied. The rate is fairly fast. FLANGE 2 with lighter feedback. Dual stereo flanging. Single stereo flanging that preserves the L-R input balance. Deep feedback. FLANGE 4 with lighter feedback. Single stereo flanging. Dual flanging + hall reverb Dual flanging + crisp plate reverb Dual flanging + gentle plate reverb Single flanging + hall reverb Single flanging + crisp plate reverb Single flanging + gentle plate reverb
FLANGE 2 (St Hi-Rate Duo Flange 1) FLANGE 3 (St Hi-Rate Duo Flange 2) FLANGE 4 (Stereo Solo Flange 1) FLANGE 5 (Stereo Solo Flange 2) FLANGE 6 (Stereo Duo Flange + Hall) FLANGE 7 (Stereo Duo Flange + Plate) FLANGE 8 (Stereo Duo Flange + Wet Plate) FLANGE 9 (Stereo Solo Flange + Hall) FLANGE 10 (Stereo Solo Flange + Plate) FLANGE 11 (Stereo Solo Flange + Wet Plate)
(E) (E) (E) (E) (C) (C) (C) (C) (C) (C)
* ADJUST knob 1 (PARAM.1): Rate (adjust the modulation speed of the flanger) * ADJUST knob 2 (PARAM.2): Feedback Level (adjust the resonance of the flanger) * ADJUST knob 3 (PARAM.3): Reverb Time (adjust the length of the reverberation)
The Details of the Algorithm The algorithms inside the DE-1 work in the following ways depending on the Effect Type variation you choose in either the Dual Mode or Single Mode.
Dual Mode (a) IN
(d)
EFF EFFECT 2
L R
IN
EFF EFFECT 2
L R
EFFECT 1
EFFECT 1
(b) EFF IN L
(e) L R
IN
EFF
EFF
EFF EFFECT 1 EFFECT 2
R EFFECT 1 EFFECT 2
(c) EFF IN L
(f) IN
EFF EFF
EFF
L R
EFF EFFECT 1 EFFECT 2
R EFFECT 1 EFFECT 2
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DE-1 Owner's Manual
Single Mode (A) L IN R
(G) L
EFF 1+2
L R
IN R
EFF 1+2
L R
(B) L IN R
(H) EFF 1 EFF 2 L R
L IN R
EFF 1
EFF 2
L R
(C) L IN R
(I) L R
EFF 1
EFF 2
L IN R
EFF 1 EFF 2
L
R
(D) (J) L IN R L R
EFF 1
EFF 1'
EFF 2
EFF 1' L IN R
EFF 1 EFF 2 EFF 2'
L
(E) L IN R
R
EFF 1 EFF 2
L
R
(F) L IN R L R
EFF 1+2
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DE-1 Owner's Manual
Functions Here, we will discuss the switches and control knobs on the front panel and Input/Output jack sockets on the rear panel. Note that some functions operate in a different ways depending on either the Dual Mode or Single Mode you set up.
Functions of the Dual Mode EFFECT 1 VARIATION SW Use this to choose the Variation of the Effect Type for Effect 1. There are 11 variations available on each Effect Type.
EFFECT 2 TYPE SW Use this to choose the Effect Type for Effect 2. There are 11 types available.
EFFECT 2 ADJUST knob This control knob adjusts the effect parameters of Effect 2. The center position is the default setting. If you turn it to the left, the parameter will decrease. Similarly, if you turn it to the right, the parameter will increase.
EFFECT 1 ADJUST knob EFFECT 1 TYPE SW Use this to choose the Effect Type for Effect 1. There are 11 types available. This control knob adjusts the effect parameters of Effect 1. The center position is the default setting. If you turn it to the left, the parameter will decrease. Similarly, if you turn it to the right, the parameter will increase. EFFECT 1 TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO 5 4 3
EFFECT 2 VARIATION SW Use this to choose the Variation of the Effect Type for Effect 2. There are 11 variations available on each Effect Type.
POWER LED VARIATION 6 7 8 9 10 11 PEAK MODE SINGLE DUAL DRY EFF ADJUST PARAM.1 MIX DRY+EFF VOCAL PLATE ROOM S.HALL L.HALL TYPE DLY+REV DELAY MISC CHO 5 4 3 VARIATION 6 7 8 9 10 11 PEAK ADJUST PARAM.2 EFFECT 2 MIX PARAM.3 DRY+EFF
PITCH 2 FLANGE 1
PITCH 2 FLANGE 1
DRY _
EFF + POWER
This illuminates when the Power is ON. Also, this will blink when the Effect Mute is set to ON via the Foot SW.
PEAK LED This will illuminate when the Effect 1 Input signal reaches 6dB below the distortion level.
MODE SW Use this to choose the operation mode either Dual Mode or Single Mode.
PEAK LED This will illuminate when the Effect 2 Input signal reaches 6dB below the distortion level.
EFFECT 2 MIX knob Use this to adjust the mixing balance of the Dry sound and Effect sound for the signal at the OUTPUT 2 jack sockets; on the Left Max. : DRY 100%, EFF 0% in the Center : DRY 50%, EFF 50% on the Right Max. : DRY 0%, EFF 100%
EFFECT 1 MIX knob Use this to adjust the mixing balance of the Dry sound and Effect sound for the signal at the OUTPUT 1 jack sockets; on the Left Max. : DRY 100%, EFF 0% in the Center : DRY 50%, EFF 50% on the Right Max. : DRY 0%, EFF 100%
INPUT 1 (1 & 2) jack socket OUTPUT 1 jack sockets Foot SW socket Connect a Foot SW, such as the Fostex Model 8051, to control the Effect Mute ON/ OFF. These are the output terminals used to send a processed audio signal via Effect 1 in stereo (L, R). If you want to obtain a mono audio signal, use only the OUTPUT L (MONO) jack socket. This is the input terminal used to connect the audio source for Effect 1. If you want to feed the same audio signal to both Effect 1 and Effect 2 at once, only use this socket without connecting anything into the INPUT 2 jack socket.
EFF MUTE 9V AD-9B ONLY
R
L (MONO)
R
L (MONO)
2 R
DUAL MODE SINGLE MODE
1 (1&2) L (MONO)
MIN DC IN FOOT SW OUTPUT 2 OUTPUT 1
MAX INPUT
MIN
MAX
INPUT LEVEL knobs These volume knobs control the input level of INPUT 1 and INPUT 2.
DC INLET socket To connect the standard accessory AC adaptor to power up the DE-1. As the unit does not have a power switch, switching the power ON is done by connecting the AC adaptor.
OUTPUT 2 jack sockets These are the output terminals used to send a processed audio signal via Effect 2 in stereo (L, R). If you want to obtain a mono audio signal, use only the OUTPUT L (MONO) jack socket.
INPUT 2 jack socket This is the input terminal used to connect the audio source for Effect 2.
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DE-1 Owner's Manual
Functions of the Single Mode PARAM. 1 knob This control knob adjusts the Effect Parameter 1. The center position is the default setting. If you turn it to the left, the parameter will decrease. Similarly, if you turn it to the right, the parameter will increase.
PARAM. 2 knob This control knob adjusts the Effect Parameter 2. The center position is the default setting. If you turn it to the left, the parameter will decrease. Similarly, if you turn it to the right, the parameter will increase.
TYPE SW Use this to choose the Effect Type on the Single Mode. There are 11 types available.
These knobs have no functions in the Single Mode operation.
EFFECT 1 TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO 5 4 3
POWER LED This illuminates when the Power is ON. Also, this will blink when the Effect Mute is set to ON via the Foot SW.
PITCH 2 FLANGE 1
PITCH 2 FLANGE 1
DRY _
EFF + POWER
PEAK LED (L channel) This will illuminate when the Input signal reaches 6dB below the distortion level.
PEAK LED (R channel) This will illuminate when the Input signal reaches 6dB below the distortion level.
PARAM. 3 knob This control knob adjusts the Effect Parameter 3. The center position is the default setting. If you turn it to the left, the parameter will decrease. Similarly, if you turn it to the right, the parameter will increase.
VARIATION SW Use this to choose the Variation of the Effect Type. There are 11 variations available on each Effect Type.
MIX knob Use this to adjust the mixing balance of the Dry sound and Effect sound for the signal from the OUTPUT L, R jack sockets; on the Left Max. : DRY 100%, EFF 0% in the Center : DRY 50%, EFF 50% on the Right Max. : DRY 0%, EFF 100%
MODE SW Use this to choose the operation mode either the Dual Mode or Single Mode.
INPUT L (MONO), R jack sockets Foot SW socket Connect a Foot SW, such as the Fostex Model 8051, to control the Effect Mute ON/ OFF. These are the input terminals used to connect the two channel audio source for the Effect. If you want to feed the same audio signal to both L channel and R channel at once, only use the INPUT L (MONO) socket without connecting anything into the INPUT R jack socket.
EFF MUTE 9V AD-9B ONLY
R
L (MONO)
R
L (MONO)
2 R
DUAL MODE SINGLE MODE
1 (1&2) L (MONO)
MIN DC IN FOOT SW OUTPUT 2 OUTPUT 1
MAX INPUT
MIN
MAX
DC INLET socket To connect the standard accessory AC adaptor to power up the DE-1. As the unit does not have a power switch, switching the power ON is done by connecting the AC adaptor.
These jack sockets have no functions in the Single Mode operation.
INPUT LEVEL knobs These volume knobs control the input level of INPUT 1 and INPUT 2.
OUTPUT L (MONO), R jack sockets These are the output terminals used to send a processed audio signal via the Effect in stereo (L, R). If you want to obtain a mono audio signal (L+R), use only the OUTPUT L (MONO) jack socket.
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DE-1 Owner's Manual
How to use the Dual Mode Here, we discuss the practical operation of the Dual Mode. The Dual Mode has the features listed below. 1. You can use it as a two channel Effect Processor. 2. It provides one mono Input and stereo Outputs on each channel. 3. It has an independent PARAMETER ADJUST knob on each channel. With these, you can alter the parameter setting in more detail on top of the typical preset designed for each Effect. As an example of using the "DUAL MODE", connect the DE-1 between the AUX SEND and RETURN terminals of an external mixing console. (In order to indicate the DE-1 connections plainly, other cable connections are leftout in the connection example below.) EFFECT 1 TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO 5 4 3 VARIATION 6 7 8 9 10 11 PEAK MODE SINGLE DUAL DRY EFF ADJUST PARAM.1 MIX DRY+EFF VOCAL PLATE ROOM S.HALL L.HALL TYPE DLY+REV DELAY MISC CHO 5 4 3 VARIATION 6 7 8 9 10 11 PEAK ADJUST PARAM.2 EFFECT 2 MIX PARAM.3 DRY+EFF
PITCH 2 FLANGE 1
PITCH 2 FLANGE 1
DRY _
EFF + POWER
AUX SEND 1
AUX SEND 2
AUX RTN 1
AUX RTN 2
: Adjust the incoming signal level from For the audio mixer AUX Return terminals the mixer. See the Caution on the next page for how to adjust the Input Level.
EFF MUTE 9V AD-9B ONLY
R
L (MONO)
R
L (MONO)
2 R
DUAL MODE SINGLE MODE
1 (1&2) L (MONO)
MIN DC IN FOOT SW OUTPUT 2 OUTPUT 1
MAX INPUT
MIN
MAX
: Connect the Foot SW into the jack to remotely control the Effect Mute ON/OFF. The POWER LED on the front panel will flash when the Effect Mute in ON. The DE-1 will only mute the Effect sound. The original source sound (Dry sound) will stay active even though the Effect Mute is set to ON. For the audio mixer AUX Send terminals
5 MIX DRY+EFF VOCAL PLATE MODE SINGLE DUAL DRY EFF ROOM S.HALL L.HALL TYPE DLY+REV DELAY MISC CHO 5 4 3 VARIATION 6 7 8 9 10 11 PEAK
4 ADJUST PARAM.2
5 EFFECT 2 MIX PARAM.3 DRY+EFF
PITCH 2 FLANGE 1
PITCH 2 FLANGE 1
DRY _
EFF + POWER
2
3
1 16
2
3
DE-1 Owner's Manual the 1 Select SW. "DUAL" on the MODE MODE SINGLE DUAL
2 3 4 5
Choose the Effect Type you want to set for the Effect 1 and Effect 2. See page 5 for the variety of Effect Types.
TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO PITCH FLANGE
VARIATION
Set the variation on the Effect Type that you have chosen.
The PEAK LED indicator on the front panel is designed so that it will illuminate when the Input signal reaches 6dB below the distortion level. First, adjust the Input level using the control knob and watch the LED indicator. The best level setting makes the PEAK LED illuminate occasionally. In the case of the sound being distorted in the internal DSP, in spite of no indications on the PEAK LED, this is due to the rise of the entire signal level due to a variety of Effect sounds being used. If this happens, reduce the Input level with the control knob so that the Output sound is not distorted. The Output signal will disappear momentarily when you change the position of the MODE SW, EFFECT TYPE SW and VARIATION SW. This is not a fault. It is due to the DE1 resetting its internal DSP. Some clicking noises may be heard when you control the ADJUST knob and MIX knob, with certain types and sounds of the Effect. The ADJUST knob may not give you functions even if you try to increase the parameter when the default setting is already at the maximum. Similarly, you cannot decrease it further if the default parameter setting is already at the minimum position.
6 5 4 3 2 1 7 8 9 10 11
Adjust the parameters for Effect 1 and Effect 2.
ADJUST PARAM.1
ADJUST PARAM.2
Adjust the mixing balance of the Dry sound and Effect sound to get the ratio you require from the OUTPUT 1 and OUTPUT 2 jack sockets.
MIX DRY+EFF
MIX PARAM.3 DRY+EFF
DRY
EFF
DRY _
EFF +
How to use the Single Mode Here, we discuss the practical operation of the Single Mode. The Single Mode has the features listed below. [Outstanding features of the Single Mode] 1. You can use it as a high quality single channel Effect Processor. 2. It provides stereo Inputs and Outputs. 3. It has three ADJUST knobs as PARAM. 1~3. With these, you can alter three individual parameter settings in more detail, on top of the typical presets designed for each Effect. 4. It offers a higher density reverb than the Dual Mode. 5. The independent channel algorithm offers completely separate Output signals for each channel (L,R).
This is an example of the "Single Mode" used in a live performance. Connect the stereo output of the Keyboard directly into the DE-1 Input jack sockets. Connect the Effect Output of the DE-1 into the two separate PA speakers. Also you can operate the Effect Mute ON/OFF remotely via a Foot SW such as Fostex Model 8051.
EFFECT 1 TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO 5 4 3
DE-1 Owner's Manual To the two separate PA speakers Input terminal
: Adjust the incoming signal level from the musical instruments. See the Caution below for how to adjust the Input Level.
EFF MUTE 9V AD-9B ONLY
R
L (MONO)
R
L (MONO)
2 R
DUAL MODE SINGLE MODE
1 (1&2) L (MONO)
MIN DC IN FOOT SW OUTPUT 2 OUTPUT 1
MAX INPUT
MIN
MAX
: Connect a Foot SW into the jack to control the Effect Mute ON/OFF remotely. The POWER LED on the front panel will flash when the Effect Mute in ON. This operation is the same as in the Dual Mode. To the musical instruments (Keyboard) If it is mono source, connect it to the L (MONO) jack socket.
1 The PEAK LED indicator on the front panel is designed so that it will illuminate when the Input signal reaches 6dB below the distortion level. First, adjust the Input level using the control knob and watch the LED indicator. The best level setting makes the PEAK LED illuminate occasionally. In the case of the sound being distorted in the internal DSP, in spite of no indications on the PEAK LED, this is due to the rise of the entire signal level due to a variety of Effect sounds being used. If this happens, reduce the Input level with the control knob so that the Output sound is not distorted. The Output signal will disappear momentarily when you change the position of the MODE SW, EFFECT TYPE SW and VARIATION SW. This is not a fault. It is due to the DE1 resetting its internal DSP. Some clicking noises may be heard when you control the ADJUST knob and MIX knob, with certain types and sounds of the Effect. The ADJUST knob may not give you functions even if you try to increase the parameter when the default setting is already at the maximum. Similarly, you cannot decrease it further if the default parameter setting is already at the minimum position.
1 2 3 4
Select the "SINGLE" on the MODE SW.
Choose the Effect Type you want to set. See page 5 for the variety of the Effect Types.
TYPE DLY+REV VOCAL PLATE ROOM S.HALL L.HALL DELAY MISC CHO PITCH FLANGE
Set the variation on the Effect Type that you have chosen.
VARIATION 6 5 4 3 2 1 7 8 9 10 11
Adjust the parameters (PARAM. 1~3) for the Effect. In the Single Mode, use these three control knobs as seen in the drawing below. ADJUST PARAM.1
ADJUST PARAM.2
MIX PARAM.3 DRY+EFF
DRY _
EFF +
5
Adjust the mixing balance of the Dry sound and Effect sound to get the ratio you require from the OUTPUT L and R jack sockets.
MIX DRY+EFF
DRY
EFF
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DE-1 Owner's Manual
Block Diagram Dual Mode TYPE VARIATION DRY
D/A A/D INPUT 1 (1&2) INPUT
L (MONO)
EFF
MIX
EFFECT PROCESSOR
EFF
OUTPUT 1
D/A ADJUST DRY
R
TYPE
VARIATION
DRY
D/A A/D INPUT 2 INPUT
L (MONO)
EFF
MIX
EFFECT PROCESSOR
EFF
OUTPUT 2
D/A ADJUST DRY
R
Single Mode A/D INPUT L (MONO) INPUT DRY TYPE VARIATION
D/A EFFECT PROCESSOR EFF
L (MONO)
OUTPUT 1 EFF MIX
D/A ADJUST ADJUST ADJUST PARAM.1 PARAM.2 PARAM.3 INPUT R DRY
R
A/D INPUT MUTE DATA
D/A
L (MONO)
OUTPUT 2
MUTE DATA
D/A
R
Specifications
Connector: ø6mm phone jack/unbalanced Input Impedance: 20k or more Input Level: -10dBV