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Lexicon 300 - Freeverb3 Reverb Impulse Response Processor

1. 5 25 Effect Presets Using the Random Ambience Algorithm 5 27 Effect Presets Using the Rich Plate 5 28 Effect Presets Using the Stereo Adjust Algorithm 5 29 Effect Presets Using the Stereo Pitch Shift Algorithm 5 30 Effect Presets Using the Dual Delays Algorithm 5 31 Effect Presets Using the Split Chamber Algorithm 5 34 Effect Presets Using the Mono Pitch Shift Algorithm 5 36 Effect Presets Using the Compressor Algorithm 5 36 Effect Presets Using the PONS Algorithm 5 36 Effect Presets Using the Small Stereo Adjust Algorithm 5 36 Time Code Operation USING Time Gode eee e ct tetur ee eevee 6 2 The Event List eost nei d MEME ugar 6 3 Using time code to initiate program Changes 6 3 Snapping events sssssssssssssseeeeenenn nennen 6 4 Editing the iiit eet ce he ti 6 4 Trimming Time Codes in the Event List 6 5 Programming Parameter 6 6 Things to Consider about Glides 6 8 AOCING AN everit eet retentis t t e og 6 9 Deleting an event
2. 6 9 Dumping the List to MIDI storage devices 6 9 Event List Log Sheet ssssssssssssssseseeeeeneeen nen 6 10 7 8 9 MIDI Operation MIDI Connections cererea eae ennemis 7 2 Setting MIDI Channels sssssesssseeeenenneenenen nnn 7 3 Dynamic MID oser r ee nere rehus 7 4 Using MIDI Program Change Messages with the 300 7 5 MIDI Table 7 5 Editing the MIDI 7 5 Real time MIDI Effects Automation 7 6 Using Real time SysEx and Non registered Parameters 7 6 Using Dynamic MIDI to transmit and receive MIDI Controller Information seessessseeeeeenerennnnen 7 7 Using SysEx and Dynamic MIDI 7 7 Controlling Multiple 300s ssseeeeenmne nn 7 7 MIDI Dumps of Current Setup Event List MIDI Table and All Registers eiii e ee pee ott e denen 7 8 Troubleshooting Low Volt g8 4 tiim mtem eb ete 8 2 ree ud e uere ie Anata er ie dado 8 2 Common MIDI Problems eessseeeeeeneennnnen nnns 8 2 Common Time Code Problems ssssssseeeenereeennns 8 3 Common Digital Interfacing Problems
3. Stereo Adjustments Page MSTR Master Fader J 9 MSTR is a stereo level control with both channels equally attenuated boosted From 12 to 12 the fader moves in 25 dB increments Below 12 it moves 50 dB increments Below 60 dB the calibration comes in larger steps finally dropping to zero output at 72 dB BAL Balance BAL implements a sine cosine balance adjustment Balance is smoothly ad justed over a wide range with excellent resolution in the critical area around zero The display indicates the actual channel gains as the control is varied ROT Rotate ROT is similar to BAL but it treats stereo information somewhat differently Any signal panned to the center mono will be treated by ROT exactly as it would be treated by BAL However if a signal is panned full right and the control is moved toward the right instead of simply being attenuated as BAL would do the right channel is inverted in phase and added to the left channel A stereo image appears to rotate when this control is used Ambient information is preserved and both channels appear to retain equal loudness If stereo material is recorded with a coincident pair of figure of eight micro phones moving the ROT slider is exactly equivalent to rotating the microphone pair Other microphone arrays and multimicrophone setups do not rotate perfectly but using this control is frequently preferable to simply adjusting balance The display shows th
4. When the 300 is powered up the SETUP SELECT button should be lit indicating that the unitis in Setup Select mode Turning the Soft knob will cue a new setup into the display window Pressing ENTER will load the new Setup and the Effect s associated with it 3 2 If you wish to change the Analog Sampling rate or to slave lock the 300 to an external digital device or to external system word clock you must go into the 300 s Control mode Todo this simply press the CONTROL button Press PAGE DOWN twice to view Page Three the Machine Configuration page This page allows you to define Input type with the currently selected type underscored When shipped this will be the factory default Input type ANA LOG Mach Conf Single ANALOG 0 ana dig Before turning the Soft knob to change the Input type press PAGE DOWN to display the Digital Input and Sampling Rate page This page allows you to select different types of Analog and Digital I O parameters lp s CIk 48kHz Out AES Din XLR Inp Indicates the Digital Format if properly locked If appears the 300 is not locked to an external digital sync Clk Allows the engineer to select the Analog Sampling rate Pushing either of the 2 buttons above this label first selects the parameter You can then push the button again to toggle to 44kHz or you can use the Soft knob Out Allows you to select AES Professional or SPDIF Sony Phillips Digital InterFa
5. Pressing this button enables disables the Event List Event List ADD DEL Pressing one of these buttons se lects a control page for the Event List Pressing the second button from the right on the top row allows you to choose to have a Timecode Event list enabled ON or disabled OFF Pressing any of the bottom row of buttons selects a page of controls for the item displayed directly above that button Four pages are available for addition of events to the list ADD deletion of items from the list DEL modification of entries EDIT and on the fly insertion of items to the list SNAP The 300 automatically sorts the Event List based on the time code addresses If you add a new event it will be placed on the list at the appropriate place and other entries will move in position If you delete an entry the remaining entries will retain their relative positions but will move up one position Time Code Operation The Event List Using time code to initiate program changes 6 3 300 V3 0 Owner s Manual 6 4 Lexicon Snapping events The easiest way to develop a list in the 300 is to SNAP entries into the list To Editing the Event List use the snap function select OFF and turn the Soft knob to enable time code ON Locate the source machine to the beginning of the section you want to experiment with Give yourself about a 5 second preroll and roll tape Now press SNAP The display should show rollin
6. 8 3 MIDI Implementation Chart 10 Specifications Congratulations on your purchase of the 300 Digital Effects System The 300 not only contains the finest sounds as you ve come to expect from Lexicon it incorporates new functions that satisfy the needs of today s audio production Analog and Digital Audio Interfacing For both analog and digital use the 300 takes full advantage of recent advances in converter technology and combines them with flexible digital interfacing The A D and D A converters use oversampling techniques to minimize low level distortion and provide linear phase characteristics 64x oversampling Delta Sigma conversion is used in the A Ds 8x oversampling is used in the D As The result is sonic transparency without the artifacts normally encountered in conversion The digital I O simplifies interfacing with both the AES EBU professional and the EIAJ consumer format XLR RCA and Optical connectors are provided for both input and output The digital inputs of the 300 will automatically accept and lock to any AES EBU SPDIF format the 300 s digital output format is user selectable for feeding either professional or consumer equipment This allows for format conversion as well as using the high quality A D converters to feed digital recorders Control of additional Channel Status information is provided as well Dual DSP Architechture The 300 utilizes two proprietary high performance DSP engines The configu rat
7. Lecture Hall Random Ambience University sized 24 8 Meters without the 150 students in it Car Interior Random Ambience Not much explanation nessessary here except that the Soft knob is attached to Spin which waffles the audio around Score Stage Random Ambience Makes use of a large size 33 2 with a moderate amount of diffusion Great on string parts P125 Gate It Random Ambience Loud and dense Use the size parameter to match duration of the gate to the tempo of the music Boom boom on drums 5 3 300 V 3 0 Owner s Manual Lexicon Single Setup Presets cont d Name Algorithm Description P126 Rich Plate Rich Plate The old standard comes back to the future Advancing the Soft knob controls the reverb time negatively P127 Glossy Plate Rich Plate This preset shines a little differently Some close in pre echoes gives a strong impact to the original source P128 Warm Plate Rich Plate Not your average bright plate rather a slightly dull version which will work very well on horn tracks adding point and definition Ds Perc Plate Rich Plate For drums and the like Not bad on piano either Contem Plate Rich Plate Bright and splashy sounding Should work well to brighten a track without getting too washy sounding EKO Plate Rich Plate Combines a sweet combination of recirculating pre echoes and bright sounding reverb The Soft knob is negatively patched to RTIM and Delays 1 and 2 Bright Plate Rich Plate
8. 48kHz o 44 1 kHz PLL Sample Rate SR Digital In Digital In 0 0 or 16dB 10 10dB Rear Panel Input Level Gain Switch Control Panel MIDI and Time Code Program Change As you can see from the figure the 300 has a rich set of I O capabilities with many choices available to the user including Sample Rate Analog or Digital Input connector Digital and Analog Emphasis De emphasis Digital Output format AES or SPDIF Digital Copy SCMS and Emphasis bit manipulation Processor Configuration The I O organization is part of the 300 s Control Mode Other items which form part of the global operaton of the box are Time Code event list viewing and editing MIDI Mapping Tables Purge functions for User Registers Copy Tools and Bypass button functions System Overview System Overview 10 to 10dB Output Level Control 2 7 300 V 3 0 Owner s Manual SETUP CONTROL SELECT EDIT STORE EFFECT EDIT VALUE MOD EDIT Setup Presets The Setup Presets are organized as follows 101 150 Single Setups 201 225 Dual Mono Setups 301 325 Cascade Setups Single Set Ups contain one ef fect running in a single unified machine both DSP engines working as one Dual Mono and Cascade can be thought of as split configura tions and are capable of simulta neously running two different or identical effects Effect Presets Effect Presets are organized a
9. BASS sets the reverb time for low frequency signals as a multiplier of the RTIM parameter For example if BASS is set to 2X and RTIM is set to two seconds the low frequency reverb time will be four seconds For a natural sounding hall ambience we recommend values of 1 5X or less DIFF controls the degree to which initial echo density increases over time High settings of DIFF result in high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZE smaller spaces will sound denser To enhance percussion use high settings of DIFF For clearer more natural vocals mixes and music use low or moderate settings RAND sets the distance in time that the early reflections will move XOVR sets the frequency at which the transition from RTIM to BASS takes place XOVR should be set at least two octaves higher than the low frequency you want to boost For example to boost a signal at 100 Hz set XOVR to 400 Hz This setting works well for classical music XOVR works best around 400 for boosting low frequencies and around 1 5 kHz for cutting low frequencies When LINK is set the reverb time and spread values scale linearly as the SIZE control is varied For some special effects RTIM and SPRD can be unlinked The Mono Pitch Shift Algorithm has several useful effects including predelay feedback and glide The pitch shifter in the 300 includes a pitch detection feature which automatically ad
10. 0 0m 0 0 606 OverTheTop2 FDLY LFBD P602 Space 0 8m 10 0m FDLY LFLG 8 6m 85 P604 3VoiceDlys FDLY LFBD 0 0m 0 0m LFLG 0 DLY1 0 0m DLY2 0 0m APD1 0 0m APD2 0 0m DLY1 0 0m DLY2 0 0m APD1 re 0 0m APD2 s 0 0m mn DLY3 nid 147m DING RDLY 294m oom LDLY 18m RDLY 18m 5 31 300 V 3 0 Owner s Manual Lexicon Effect Presets using the Dual Delays Algorithm Cont d P607 LFO FazeDlys P609 Chorus P611 LFO Pan amp Faze CC FDLY LFBD CC FDLY LFBD CC FDLY LFBD 6 0m 1 9m 9 7m 1 4m 10 1m 3 5m MchA LFLG MchA LFLG MchA LFLG 99 19 99 CC DLY1 CC DLY1 0 0m CC DLY1 382m DLY2 0 0m DLY2 0 0m DLY2 366m APD1 0 0m 0 0m APD1 APD2 APD1 6 6m 0 0m 6 6m APD2 DLY3 APD2 8 4m 0 0m 8 4m DLY4 DLY3 0 0m DLY3 149m LDLY 0 0m DLY4 5 7m DLY4 130m RDLY 0 0m 16 0m LDLY LDLY 18 2m 0 0m RDLY RDLY 12 3m 0 0m P610 Sky Delays FDLY LFBD 1 8m 5 8m LFLG P608 Env Phazer 28 FDLY LFBD 9 7m 5 2 DLY1 LFLG 79 8m 86 DLY2 P612 Chorus EKOz 28 7m FDLY LFBD DLY1 8 4m 0 0m 0 0m APD1 LFLG DLY2 10 2m 37 0 0m APD2 5 6m DLY1 APD1 411 6 6m DLY3 DLY2 APD2 81 7m 223m 8 4m DLY4 56 0m APD1 DLY3 4 9m 0 0m LDLY APD2 DLY4 57 2m 7 1m 0 0m RDLY 41 4m DLY3 LDLY 330m 0 0m DLY4 RDLY 616m 0 0m LDLY 16 6m RDLY 31 7m 5 32 The Presets Effect Presets using the Dual Delays Algorithm Cont d P613 Wall Slaps P615 NegativeFIng CC FDLY LFBD CC FDLY LFBD 0 0m 0
11. 3 8 Note Lexicon From the 300 s Control mode there are two input format selections available when running Cascade programs Analog or Digital If Analog is selected as the main input type then the Digital Input can be used as a patch point either Pre Machine A Mid A B or Post Machine B Asinthe other setups there are Input level and source Balance Controls Cascade setups however have three mix controls AMIX proportions the dry signal to A s wet signal BMIX proportions the resulting A output with Machine B s output OMIX takes the resulting A B mix and blends mixes it with the dry signal which is picked off before EFFECTA Cascade setups also include an overall feedback control which routes the B output back to Machine A s input Be careful This parameter can wipe out tweeters woofers and ears if used too liberally If the sum of the feedback parameters in EFFECT A EFFECT B and the above mentioned overall Feedback parameter is greater than 100 runaway feedback will occur For example assume Machine A is running a Dual delay effect with Delay1 Feedback set to 40 and Delay3 Feedback set to 40 Machine B is running a Mono Shift program with the feedback parameter set to 40 The total amount of feedback in the system is 80 So far so good that is until you add more than 20 Cascade Feedback BE CAREFUL CASCADE Setups offer an amazing number of effect combinations Chambers into Delays Pitch Shifts i
12. EA 703 Drum Chamber EB 607 LFO Faze Delays REV DLY utilizes a great sounding mono reverb for kick and snare Machine B runs Faze Delays getting its signal from the right input The LFO in Setup Edit runs at 24Hz with a triangle waveform The FDLY parameter in Machine B is patched to this LFO MchA EA 703 Drum Chamber Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has less Diffusion Rt is set to 1 0 second at mid frequencies MchB EB 607 LFO FazeDlys Faze Dlys makes use of the LFO patched to the Flange Glide Delay FDLY The base delays are set in different time domains one side at 1 9ms with a feedforward gain the other at 5 6 with a negative feed gain As the Glide passes over each base delay the phase of each gain is changed In between the output is a mixture of each A great effect on a ripping guitar solo EA 705 Guitar Room EB 802 Guit Shift This Dual Mono preset will get you set for your guitar tracks The LFO is set to 0 24 Increase the rate in Setup Edit to increase the pitch glide in the Guitar Shift Effect preset MchA EA 705 Guitar Room This is a big wide sounding room for your guitars For heavy rock stuff you might consider panning the returns The room is a little bottom heavy for additional warmth Could also work well on vocals MchB EB 802 Guitar Shift This preset offers a medium amount of micropitch shift 14c along with a small amount of reci
13. P201 Ambience RTIM SIZE DIFF 2 0s 29 3M RLVL DDLY 14dB Om SPIN WAND 30 7098 MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 Size 63 2 Spin 18 P202 In A Room SIZE DIFF 9 0M 79 DDLY PDLY 7 3m WAND 63u P203 Stairwell SIZE DIFF 27M 99 DDLY PDLY 17 1 WAND Ou MOD EDIT SOURCE SOFTKNOB DEST SCALE Size 5 5 Roll 13 PDLY 21 RTIM 2 4 P204 Hangar SIZE DIFF 39 4M 34 DDLY PDLY 56 5m 1m WAND 7434u MOD EDIT SOURCE SOFTKNOB DEST SCALE Size 25 P205 Marble Foyer SIZE DIFF 19 7M DDLY 17 5m WAND 2730u 0 3s RLVL off SPIN 18 P206 EarlyReflectl SIZE DIFF 8 5M 59 DDLY PDLY 0 1m WAND Ou P207 Lecture Hall SIZE DIFF 24 8M 32 DDLY PDLY Om 27 7m WAND 9450u P208 Carlnterior SIZE DIFF 4 5M 0 DDLY PDLY WAND 1008 MOD EDIT SOURCE SOFTKNOB DEST SCALE Spin 60 P209 Score Stage SIZE DIFF 20 3M DDLY WAND 6426u P210 Gate It SIZE DIFF 14 1M 59 DDLY PDLY Om WAND 6426u 5 27 300 V 3 0 Owner s Manual Lexicon Effect Presets Using the Rich Plate Algorithm P301 Rich Plate P304 Perc Plate P307 Bright Plate SIZE ROLL SIZE ROLL SIZE ROLL 24 2M 14 2k 16 3M 8 5k 23 1M 10 6k TDCY BASS TDCY BASS TDCY BASS 12 8k 1 0X 10 6k 0 8X 12 8k 1 0X SHAP SHAP SHAP 16 15 0 LINK LINK LINK link link z link DLY2 DLY3 DLY2 DLY2 DLY3 500m 30m 92m 2 2 LVL3 FBK2 FBK2 LVL3
14. and use the Soft knob to select either SysEx or Non registered Params There is also an OFF setting to prevent unwanted MIDI transmissions Once you have selected an automation mode simply put your sequencer into Record and change the 300 s parameters to get the sounds you want When you play the sequence back the 300 will respond to the recorded information just as it was recorded Note The choice between SysEx or Non Registered Parameters is determined by your sequencer s capabilities and your current utilization of its available functions With a bit of experimentation and taking into consideration other MIDI data you need to record you can find the best combination for your equipment Note Program Change messages are transmitted over the PARAM MIDI channel regardless of automation mode Some sequencers cannot record SysEx or Non Registered Parameter informa tion In this case you can use Dynamic MIDI patches and record the MIDI Controller information used to get the real time effect changes you want Simply create the patches you want and record the Controller information on your sequencer When the sequence is played back the 300 s Dynamic MIDI patches will respond to the recorded Controller commands This type of operation gives the best of all the 300 s MIDI capabilities As previously described create the patches you want Set the 300 to one of the Automation modes Put your sequencer into Record and use the M
15. below 0 the crossfeed has a positive sign When the control is set to either maximum or minimum the gain in the crossfeed circuit is unity The result of this control is to change the separation of low frequency stereo signals When the control is raised low frequencies in the sum mono channel are reduced and low frequencies in the difference stereo channel are raised With the control at maximum low frequency mono signals are completely removed This represents an extreme setting which should seldom be needed The Algorithms and their Parameters RFnS Right Channel Flip n Swap BASL and BASR LTRB and RTRB BXOV Bass Crossover TXLR Independent Treble Crossover SPEQ Spatial EQ 300 V 3 0 Owner s Manual Lexicon in practice With material which has stereo bass information or which contains some reverberation the effect of raising SPEQ is to increase the sense of spacious ness and depth of the sound It is particularly useful on material recorded with panpots or coincident and semi coincident microphone technique When most of the bass in a recording is in the sum mono channel raising SPEQ may reduce the bass level This effect can be compensated for by raising the overall bass level with BASL and BASR Since both controls use the same BXOV setting this compensation will be quite accurate as long as SPEQ is set to less than 3 dB boost The Presets 9 5 1 300 V 3 0 Owner s Manual Lexicon The S
16. off MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 LVLS3 94 2LVL4 94 P111 Brick Wall RTIM SIZE ROLL 0 2s 27 0M 10 1k RLVL TDCY BASS full 15 9k 3 0X SPIN WAND SHAP 45 210u 255 DIFF LINK SHLF 31 unlk off DLY1 DLY2 RTIM 38m 66m 0 2s LVL1 LVL2 RLVL 3dB 3dB full DLY3 FBK3 DLY4 50m 0 64m LVL3 e LVL4 3dB 3dB MOD EDIT SOURCE SOFTKNOB DEST SCALE Size 21 P112 Deep End SIZE ROLL 29 3M 4 0k TDCY BASS 4 4k 2 0X WAND SHAP 5922u 141 LINK SHLF unlk off DLY2 RTIM 50m 2 45 LVL2 RLVL 2dB full FBK3 DLY4 18 600m LVL4 2 14dB MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 Size 27 2 DIy3 19 3 Dly4 18 4 RTIM 4196 P113 Oil Tanker SIZE ROLL 12 4M 2 9k TDCY BASS 4 4k 2 0X WAND SHAP 1890u 141 LINK SHLF Unlink off DLY2 RTIM 12m 1 6s LVL2 RLVL 2dB full FBK3 DLY4 12 54m LVL4 3dB Lexicon Effect Presets Using the Random Hall Algorithm Cont d P114 Synth Hall SIZE ROLL 22 0M 4 8k TDCY BASS 5 5k 0 6X WAND SHAP 147u 0 LINK SHLF link off DLY2 RTIM 16m 3 7s LVL2 RLVL off full FBK3 DLY4 0 Om LVL4 off MOD EDIT SOURCE SOFTKNOB DEST SCALE Shape 47 SPRD 44 PDLY 7 1 Roll 16 P115 Dance Hall SIZE ROLL 20 3M 8 5k TDCY BASS 7 5k 1 2 WAND SHAP 4410u 135 LINK SHLF link off DLY2 RTIM 22m 1 4s LVL2 RLVL 4dB full FBK3 DLY4 0 48m LVL4 off The Presets Effect Presets Using the Random Ambience Algorithm
17. press the 300 front panel key marked LEVEL The display will show This line is selected and will change as you turn the Soft Press this button to toggle knob to give a visual indica selection of INL on and off tion of the level settings INL 10 0dB to 10 0dB INR 10 0dB to 10 0dB LEVEL Actual level settings in dB Press this button to toggle sra show hara selection of INR on and off Thefront panel PAGE UP and PAGE DOWN keys allow youto switch the display from input levels IN L and R to output levels OUT L and R When a line is selected the boxes on the display will be lengthened The illustration above shows the upper line selected If both lines on the display are selected turning the Soft knob will alter both settings simultaneously The buttons directly above and below the display act as toggle switches to individu ally select and un select these lines If additional gain is needed the rear panel INPUT GAIN switch allows you to set unity gain of the 300 to OdB switch OUT or to 16dB switch IN Feed a 1kHz tone or a musical signal at the maximum peak level used in your system to the 300 Use the front panel Soft knob to adjust the level so that the peak input level falls just short of lighting the red overload LED To setthe output level pressthe front panel PAGE UP or PAGE DOWN key and use the Soft knob to set the output to provide appropriate levels for your console o
18. the other is 718ms This relationship is patched to the Soft knob OverTheTop1 Dual Delays This preset should be used pretty much through the box i e send it a pre fader signal then mix only the returns Flange Delay is patched to the LFO When properly modulated the flange delay glides between 9 5 and 18 7ms The base delays are set to 10ms with a positive feedback gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay Remember the LFO is part of the Setup so if you load the effect into a Setup where there is no LFO activity the preset will sound hollow and resonant OverTheTop2 Dual Delays Similar to OverTheTop1 except the flange delay glides between 0 08 and 10 7ms Flange Delay is patched to the LFO The base delays are set to 10ms with a negative amplifier gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay The channel outputs are reversed such that the left input will pass through to the right output and vice versa Remember the LFO is part of the Setup so if you load the effect into a Setup where there is no LFO activity the preset will sound hollow and resonant LFO FazeDlys Dual Delays Faze Dlys also makes use of the LFO again to the Flange Glide Delay FGLD The base delays are set in different time domains one side at 1 9ms with a feedforward gain and the other at 5 6 with a negative feed gain As the glide passes over each base delay the pha
19. time Specifically frame addresses 00 and 01 are eliminated at the end of every minute in an hour except for minutes 00 10 20 30 40 and 50 For example 00 00 59 29 advances to the number 00 01 00 02 In Drop Frame mode the frame numbers 00 and 01 do not exist except for minutes 00 10 20 30 40 and 50 Since Drop Frame time code eliminates only frame addresses the actual video is unaffected Color video frames continue to progress at the rate of 29 97 per second Any calculations of program length based on Drop Frame time code will therefore agree with standard clock time The 300 reads time code in the following formats SMPTE Standard time code compatible with a monochromatic frame rate of 30 frames per second SMPTE Standard Drop Frame time code compatible with a color frame rate of 29 97 frames per second Compatible with the European broadcast standard frame rate of 25 frames per second Compatible with frame rates of 24 frames per second The 300 allows you to use time code in any of the recognized formats to trigger Setup Effect and parameter changes Up to 50 time code entries can be made on an Event List Time codes can be entered via the numeric keypad they can be snapped on the fly while time code is running or they can be selected with the soft knob To access the Event List simply press the front panel CONTROL button to enter Control mode then use the Page Down button to step to the Event List display
20. 0 off 0 0 2dB FBK5 DLY6 FBK5 FBK5 DLY6 250m 0 2m LVL6 x LVL6 off 2dB MOD EDIT P305 Contem Plate P306 Round Plate SOURCE SOFTKNOB SIZE ROLL RTIM SIZE ROLL DEST SCALE 29 8M 9 7k 0 7s 27 6M 15 0k 1 RTIM 33 TDCY BASS RLVL TDCY BASS 8 9k 0 8X full 5 5k 2 0X P302 Glossy Plate SIZE ROLL SHAP RAND SHAP 20 3M flat 22 off 0 TDCY BASS LINK DIFF LINK 21 2k 0 6X link 99 link SHAP DLY2 DLY1 DLY2 DLY3 24 582 592 30m LINK FBK2 FBK1 FBK2 LVL3 link 096 0 0 off DLY2 FBK5 DLY5 FBK5 DLY6 92m 18m 0 10m FBK2 LVL5 LVL6 0 3dB 3dB FBKS P306 EKO Plate MOD EDIT 0 RTIM SIZE ROLL SOURCE SOFTKNOB 1 5s 28 7M 8 5k DEST SCALE RLVL TDCY BASS 1 FBK1 2996 4dB 6 3k 1 0X 2 FBK2 29 P303 Warm Plate 3 SIZE 100 SIZE ROLL RAND SHAP 4 SIZE 100 18 6M 7 5k 46 2 0 TDCY BASS DIFF LINK 8 9k 1 2X 67 link 7 SHAP DLY1 DLY2 DLY3 s 115 660m 628m 30m LINK FBK1 FBK2 LVL3 link 43 37 4dB DLY2 DLY5 5 DLY6 92m 54m 25 28m FBK2 LVL5 3 LVL6 0 4dB 4dB MOD EDIT 5 SOURCE SOFTKNOB 0 DEST SCALE 1 2496 2 27 2 29 The Presets Effect Presets Using the Stereo Adjust Algorithm P401 Stereo Adjust P404 3 Frame Dly BAL ROT DLAY BAL ROT DLAY lt 0 gt lt 0 gt lt 0 gt lt 0 gt 100 110 RFnS 11uS RFnS off L R off L R P407 MultiEchoes MSTR BAL ROT lt 0 gt lt 0 gt D EM 11uS RFnS off off
21. 0m 18 5m 8 3m MchA LFLG MchA LFLG 096 96 CC DLY1 CC DLY1 40 4m DLY2 DLY2 57 4m APD1 APD1 8 9m APD2 APD2 6 0m DLY3 DLY3 0 0m DLY4 DLY4 0 0m LDLY LDLY 26 9m RDLY RDLY 26 9m P614 Env FDLY 6 2m 5 33 300 V 3 0 Owner s Manual 5 34 Effect Presets using the Split Chamber Algorithm P701 Chamber RTIM SIZE 1 85 28 1 TDCY SHAP 1 6k 20 DIFF 1 2X 65 XORV LINK 0 8k Link P702 Key Chamber RTIM SIZE 1 4s 43 9M TDCY SHAP 0 5k 122 BASS DIFF 1 5X 61 XORV LINK 0 5k Link P703 Drum Chamber RTIM SIZE 1 0s 24 2M TDCY SHAP 1 0k 26 BASS DIFF 1 2X 50 XOVR LINK 0 8k Link P704 Drum Plate RTIM SIZE 1 4s 42 2M TDCY SHAP 3 6k 0 BASS DIFF 0 8X 67 XOVR LINK 0 6k Link P705 Guitar Room RTIM SIZE 0 7s 28 7M TDCY SHAP 1 0k 62 BASS DIFF 2 0X 64 XOVR LINK 1 4k Link P706 Big amp Short RTIM SIZE 0 35 54 6 TDCY SHAP 95 160 BASS DIFF 2 0X 64 XOVR LINK 1 2k Link P707 U Chamber RTIM SIZE 2 55 32 1M TDCY SHAP 1 0k 83 DIFF 1 2X 56 XOVR LINK 0 6k Link P708 L Chamber RTIM SIZE 1 3s 29 3M TDCY SHAP 1 6k 164 BASS DIFF 1 2X 77 XOVR LINK 0 6k Link P709 Basement RTIM SIZE 0 5s 15 8M TDCY SHAP 1 0k 27 BASS DIFF 1 5X 27 XOVR LINK 0 8k Link P710 Big Hall RTIM SIZE 2 45 48 4M TDCY SHAP 0 5k 109 BASS DIFF 1 5X 68 XOVR LINK 0 6k Link P711 Great Room RTIM SIZE 0 7s 28 7M TDC
22. 28 is patched to LDLY and RDLY in Machine B MchA EA 804 Sky Down This preset tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the feedback MchB EB 610 Sky Delays This preset combines a bit of giding delay along with all sets of delays Delays 1 and 2 are setshort with feedback and tuned diffusion gains Delays 3 and 4 are also set short and crossfeed into 2 and 1 respectively There is a small amount of post delay LDLY and RDLY and these two post echoes are patched to the Soft knob Use the Soft knob parameter to adjust the post delays to match the tempo By itself Sky Delays is sort of a chorused cluster echo Very similar to a bright resonant small room Beautiful effect on stacked vocals If you use this preset in a Cascade setup which has a small amount of Machine B feedback the chorus will trail itself upand down in pitch A very interesting twist IBe CAREFUL Do not use too much feedback as a runnaway feedback situaton may occur 5 18 The Presets P325 CC Spinola EA 609Chorus EB 011Panola This is a sort of retro sounding audio effect The Chorus preset passes into the fast panning Panola effect Mix post fader Kind of like a rotating speaker only different The LFO is set to 8 00Hz with a sine waveform MchA EA 609Chorus This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7 and 11 8ms If the LFO is advan
23. 363ms MchB EB 613 Wall Slaps Walls tied to the Soft knob move outward A small amount of diffusion to smear the attack 5 14 The Presets P311 CC Pch Comp EA 802 Guit Shift EB 901 EZ Comp 2 1 This preset combines a guitar shift effect going into an easy compressor effect The LFO controls the Glide Shift parameter GLD in Machine A The LFO rate is set to 0 16Hz with a sine waveform MchA EA 802 Guitar Shift This preset offers a heavy amount of micropitch shift 21c along with a small amount of recirculating predelay Raunchy sounding on beefy guitars MchB EB 901 EZ Comp 2 1 A nice preset to add to an overall mix You may need to adjust the Threshold parameter to make it work for the particular signal you re feeding it Release is set to gently fall away after 363ms If you re using this with a guitar you might want to grab the SLP slope control and increase the value P312 CC SurrVerb EA 720 Recital Hall EB 010 Small St Adj Machine B Small Stereo Adjust has three Soft knob patches which control the spacial placement of the source audio in this case the output of the reverb effect In a surround mixing environment advancing the Soft knob parameter will place more of the reverb into the surround channel assuming the returns of the 300 are panned hard left and right at the console MchA EA 720 Recital Hall This medium large 44 5M space opens sound sources beautifully Made for string pads and vo
24. Selecting digital input and or changing analog sampling rate 3 3 3 4 Dual Mono Setups bie ettet P ode tti eei E 3 5 Gascade Setups iyii xerit aie tr a en REPRE FOSTER EE ee EE Ex ated 3 7 Setup Select Mode pinti eiaeia ennt nna 3 9 The Setup Presets cccccccccceeseececeeeeeaeececaeeeeaaeesneaeeeesaaeeeeneees 3 9 Using the Soft Knob as a Parameter Controller 3 12 Setup Edit Mode ssssssssssseseeeee entrent 3 13 Single Setups etti dde aite ets 3 13 Dual Mono and Cascade Setups 3 15 Naming the Setup nieto eret eret ren et E Eae 3 17 Storing the Setup sssssssssssssseseeeene entrent 3 17 Effect Edit MOde 4 oen Eee aee ps 3 18 Parameter Selection sssssssssseeennee 3 18 Naming and Storing Effects sssssssssssseess 3 19 Mod Edit Mode 3 20 Soft Knob Patches diente e n ette tis 3 21 MOOS irit eer tue ete et tende eed had sate 3 22 Time Code Event edes 3 22 MIDI Mode and Map 3 23 Machine Configuration sse 3 24 Digital Interface and Sampling Rates 3 24 SCMS tertie en ais be
25. Setups Effects can be loaded copied edited named and stored as well as dumped and recalled via MIDI The 300 s Control Mode provides access to general global parameters and miscellaneous functions Selecting Control mode does not interrupt the audio operation of the 300 There are 9 Control mode pages 1 2 Ox d co eo Set up Configuration and Input type select Analog and or Digital Analog sample rate select Digital locked Digital input connector type Digital Input format display and Digital Output format selection SCMS Detect and select Digital emphasis detect and select Effect Load select Bypass Mute and Bypass function Input mute Bypass Copy Protect Copy Tools for Setups Effects and MIDI Mod Edits Purge Delete Tools for Time Code Event List All Registers All Effects MIDI Map Table and return to Factory Initialization Time Code Event List Management MIDI Mode and MIDI Map Table Note The 300 Digital Effects System is shipped from the factory running in an Analog Input 48kHz mode with Setup Preset S P101 SINGLE running Effect Preset EA P101 Large Hall If you are already familiar with the operation of the 300 and wish to change the Input to a Digital Type simply enter Control mode and make your selections If you have no previous experience with the 300 we suggest you remain in the analog mode and read on System Overview 2 9 3 System Operation 300 V 3 0 Owner s Ma
26. Thus maximum reverb time and spread require high settings of SIZE To find an appropriate reverb sound start with a preset with a similar sound to what you want to end up with Simply varying SIZE is often sufficient to arrive at the exact sound you are seeking Once a size has been selected SPREAD and SHAPE are used to adjust the shape and duration of the initial reverb envelope which together provide the major sonic impression of room size When SHAPE is at minimum the reverberation envelope builds up very quickly to a maximum amplitude and then dies away quickly at a smooth rate This envelope is characteristic of small reverberation chambers and reverberation plates There are few if any size cues in this envelope so it is ineffective in creating ambience With this SHAPE setting SPREAD has no effect The density is set by the size control and the rate of decay is set by RTIM This reverberation envelope is typical of many of the popular digital reverberators of the last few years As SHAPE is raised to about 1 8 of its range the initial sharp attack of the reverberation is reduced and reverberation builds more slowly The envelope then sustains briefly before it begins to die away at the rate set by RTIM SPREAD has little or no effect on this shape When SHAPE is at 1 4 of its range buildup is even slower and the sustain is longer Now SPREAD affects the length of both the buildup and the sustain As a rough estimate the susta
27. a total of 100 Effect Presets are provided for loading into the three Setup types Five algorithms can be loaded into Single Setups Random Hall Random Ambience Rich Plate Stereo Pitch Shift and Stereo Adjust Six different algorithms can be loaded into the split Setups Dual Mono and Cascade Dual Delays Split Chamber Mono Pitch Shift Compressor PONS and Small Stereo Adjust The organization of the Effect Setups is also shown to the left Each algorithm has its own control parameters Random Hall for example has 28 The front panel EFFECT EDIT key and the Soft knob allow effect parameters to be adjusted along a range of values dramatically altering the audible effect of the algorithm An effect can also activate as many as 4 patches each linking a source controller to a parameter This MOD EDIT function is intrinsically mapped as an extension of the EFFECT EDIT function Saving either saves the other The Effect Presets cannot be overwritten but can be modified and stored as custom Effects in any of 50 Effect Registers In summary the 300 is organized into setups and effects Setups are collections of many decisions including DSP routing Input levels Source Balances LFO Rate and Shape and an Effect or Effects These selections are grouped together named and stored so they can be called up with a single user action Each Effect included in a Setup contains an algorithm a complete set of parameters and 4 patches As with
28. clockwise until the display reads LFO_1 4 Before doing anything else press PAGE UP twice to the LFO control page Select RATE and adjust it to 07Hz Leave Shape at SINE The display should start to flicker 5 Press PAGE UP twice to the Level and Balance Page Press the VALUE key The value of ABAL balance should be modulating from left to right Although very simplified this is the basic model for making MOD patches in the 300 To disable the patch press SETUP SELECT and reselect the Setup thereby restoring the original settings Alternatively you can return to the LFO Rate page and set the rate to OFF On Page Eight you can name your Setup prior to storing it into a register The arrow cursor keys allow you to select a letter to change the softknob actually changes the character The maximum length of a name is 12 characters When you have made all the necessary changes to a setup and want to save it in a register press STORE The display will show Src SET Large Hall Dst R __ Available The top line of the display shows the source Src the currently selected setup name The bottom line shows the destination Dst the register number into which the the setup will be copied Use the Soft knob to select the register number you want then press STORE again The display will return to the last Setup Edit page Note The 300 has a memory protection feature which enables or disables copying into the regis
29. connectors may be selected for digital input Outputs Output format can be AES EBU or S PDIF Output always goes to all three digital outputs Digital interfaces conform to AES 3 1992 ANSI 54 40 1992 Input output impedance levels of the AES EBU connectors comply with the CCITT V 11 EIA RS 422A AES EBU COMM PORT espe Communications Installing the 300 The Rear Panel Analog Inputs and Outputs 3 pin XLR connectors electronically balanced Either pin 2 or pin 3 can be used as high but to maintain polarity when transferring data to the digital domain pin 2 high convention is used by Lexicon Pin 1 andeither pin 2 or pin 3 of each output must be grounded for unbalanced operation Input impedance is 50kQ unbalanced and 100kQ balanced Inputs accept input levels from 14dBu to 20dBu Output impedance is 750 and levels up to 18dBu are possible Input Gain Port DE9 connector re served for future en hancements MIDI Connectors Out Transmits MIDI data to other equipment Thru Passes any MIDI data received without change In Receives MIDI information from other MIDI 2 position In Out switch for matching in put gain to the source being used In 16dB Out OGB equipment such as master keyboard controllers MIDI foot controllers sequencers and synthesiz ers 300 V 3 0 Owner s Manual Lexicon Connectors Cables and Configurations Connectors Mati
30. each feedback loop will be rediffused DLY3 and DLY4 are cross feedback delay lines They are also adjustable anywhere along the 2 5 second delay line DLY3 feeds from the left delay position to the input of the right delay line The same is true with DLY4 feeding into the left delay line The feedback parameters adjust the amount level passed into the destination delay lines The last pair of delay pointers LDLY and RDLY can be thought of as independently adjustable post delays These can be adjusted anywhere along the 2 5 second delay line The output of each delay line can be positioned anywhere in the stereo pan field LPAN adjusts the position of the left delay loop RPAN positions the output of the right delay loop The Algorithms and their Parameters Split Setup Algorithms Dual Delays General Description 300 V 3 0 Owner s Manual Dual Delays Parameters gt Lroy ican pe gt Rrow Lacan 5 Lexicon Dual Delay Adjustments FDLY LFBD RFBD 0 479smp 0 10ms 0 479smp 0 10ms 0 479smp 0 10ms LFLG RFLG 0 99 0 99 Delay and Feedback Page 1 DLY1 0 119996smp 0 2498 9ms DLY2 0 19996smp 0 2498 9ms 48kHz 0 19996smp 0 2498 9ms APD2 0 19996smp 0 2498 9ms DLY3 0 19996smp 0 2498 9ms DLY4 0 19996smp 0 2498 9ms 0 19996smp L 0 98 R L R 0 2498 9ms RDLY RPAN 0 19996smp L 0 98 R L R 0 2498 9ms en Gan a 1 Ger pa pam ae Ca eo 1 a r
31. frequency set with BXOV TXOV sets the crossover point for TREB When TREB is set to full cut the level is 3 dB at the frequency set with TXOV TXLR sets the crossover point for LTRB and RTRB When either is set to full cut the level is 3 dB at the frequency set with TXLR SPEQ sets the amount of a crossfeed between channels The signal first goes through a 6 dB octave low pass filter whose frequency is set with BXOV When SPEQ is set positive above 0 the crossfeed has a negative sign When SPEQ is set negative below 0 the crossfeed has a positive sign When the control is set to either maximum or minimum the gain in the crossfeed circuit is unity The result of this control is to change the separation of low frequency stereo signals When the control is raised low frequencies in the sum mono channel are reduced and low frequencies in the difference stereo channel are raised With the control at maximum low frequency mono signals are completely removed This represents an extreme setting which should seldom be needed in practice With material which has stereo bass information or which contains some reverberation the effect of raising SPEQ is to increase the sense of spacious ness and depth of the sound It is particularly useful on material recorded with panpots or coincident and semi coincident microphone technique When most of the bass in a recording is in the sum mono channel raising SPEQ may reduce the bass le
32. in a fixed format with only analog or digital Dual Mono inputs each machine has its own level control The output of each level adjustment is split to each source balance control Each Dual Mono Setup Preset defaults to ABAL panned to LEFT ONLY and BBAL panned to RIGHT ONLY AIN ABAL BIN and BBAL are located on Page Two of the Setup Edit mode If you had for example a piano in the left input and a voice in the right input and both Balances were set to 50 a summed input with equal amounts of piano and voice would be passed to each DSP engine Adry signal is picked off before the signal passes into each Split DSP Effect The mono wet output of each DSP effect sums with the dry signal and is proportion ally mixed under the MIX controls AMIX and BMIX The third SETUP EDIT page contains AMIX and BMIX Continuing with the above example if both AMIX and BMIX were set to O WET or 100 DRY you could use AIN and BIN as level controls mixing two independent signals to mono as part of an analog or digital process Cascade Setups are another type of Split configuration They are numbered 301 325 in Setup Select mode While in Setup Select mode you can use the Soft knob to locate the Cascade Setups Pressing ENTER will load two split type programs one in Machine A the other in Machine B Analog or Digital L Input Input Level Balance Rp eve alan System Operation Cascade Setups 3 7 300 V 3 0 Owner s Manual
33. in whole steps The Soft knob is patched to the delay which you adjust to suit your taste Zorch Stereo Pitch Shift Up and down with delays and feedback Nightmare audio 5 5 300 V 3 0 Owner s Manual Lexicon Split Setup Presets Split Setups are divided into two types Dual Mono numbered 201 225 in Setup and their Effects Select mode and Cascade numbered 301 325 in Setup Select mode Most Dual Mono Setups have the left input feeding Machine A and the right input feeding Machine B Each Setup description below is followed by a description of the two effects incorporated in the Setup Dual Mono Setups and Effects P201 DM Rev Rev EA 701 Chamber EB 702 Key Chamber This setup utilizes two independent reverbs The left input feeds Machine A the right input feeds Machine B Each can be used independently and in fact should be used that way Pan the output of each Machine at the console to suit the mix MchA EA 701 Chamber A great general purpose reverb tail The size is set to 28 1M the largest value is 64M so the density is rather close in As you adjust SIZE the Rt value will also change If you want to unlink this natural phoenomena set LINK to Unlink on Page Two MchB EB 702 Key Chamber A nice bloommy sounding reverb Diffusion is set midway so there is some good articulation at the begining of the reverb envelope Use this on most keyboards but those with a strong point may require a bit more Diffusion y
34. level pseudo random signal which is added to digital audio to General Description reduce quantization noise in effect by replacing it with a nicer sounding noise It is possible to filter the quantization noise in such a way that almost all of the noise within the frequency range where human hearing is most acute is shifted to higher frequencies This is called psychoacoustically optimized noise shaping PONS because it takes advantage of the variations in the ear s sensitivity to noise within the 20 Hz 20 kHz range PONS Adjustments PONS Parameters PONS On Off Effect Naming Page PONS Adjustments Page DITH allows you to vary the amount of dither gain added to the signal DITH Dither Gain This control allows you to turn the dither function on or off PONS 300 V 3 0 Owner s Manual Lexicon Small Stereo Ad General Description just The Small Stereo Adjust algorithm is a version of Stereo Adjust with some of the specialized features omitted It is designed to be put in a Cascade Setup ahead of PONS Small Stereo Adjust Stereo Adjustments Parameters MSTR BAL ROT Off 72 to 1208 L 2 9 to R42 9dB L 2 9 to R 2 9dB RFnS Cut 6 6dB L R L R R L R L Equalization BASL LTRB BXOV Cut 18 608 Cut 18dB 6dB 0 1 26 5kHz BASR RTRB TXLR Cut 18 608 Cut 18dB 6dB 0 1 26 5kHz Effect Naming Page Equalizer Re E rere ires
35. names to registers For convenience a naming page is included in Effect Edit mode To rename a register follow the same procedure described for naming a Setup 300 V 3 0 Owner s Manual Mod Edit Mode Off Cnitlr 0 ModWheel Breath Cnilr 3 FootPedal PortaTime Volume Cnilr 9 Pan Expression Cntlr 12 15 GP Ontlr 1 4 Cntlr 20 31 Sustain PortaSw SostenSw SoftPedal Switch 68 79 GP Ontlr 5 8 Sitch 84 95 PitchWheel AfterTouch LastNote LastVel MidiClock Knob gt L Meter R Meter LFO 1 Available Source selections Lexicon Mod Edit mode is used to create or modify Dynamic MIDI patches To use Dynamic MIDI you assign a MIDI controller or an event to a setup parameter or an effect parameter using the patch parameters found on the pages in Mod Edit Two pages for Setup patches are available in Setup Edit mode Four parameter patch pages are available at any one time in Mod Edit mode The pages will be for Machine A or Machine B depending on the type of setup currently running and on the machine currently selected Each of the four available patch pages shows the following parameters Patch 1A DEST VALUE SOURCE THRS SCALE Destination This is used to select the effect parameter that the MIDI controller is patched to The available parameters are based on the algorithm that you are currently running Value This is used to set the initial value of the parameter that you are controlling This is provide
36. nice room reference The Soft knob parameter is patched to Predelay Use this to make a bounce off the back wall effect without changing the Reverb Time Recital Hall Split Chamber This medium large 44 5M space opens sound sources beautifully Made for string pads and voice 717 718 719 20 7 EP Algorithm Description Mono Shift Mono Pch Shift Baseline program with no pitch shift Go to the glide parameter GLD in the Effect Edit mode to dial up the amount of pitch shifting you want Guitar Shift Mono Pch Shift This preset offers a heavy amount of micropitch shift 21c along with a small amount of recirculating predelay Raunchy sounding on the beefy guitars Up Shift Mono Pch Shift Up Shift is a sweet sounding microshift up 7cents There is a slight chorus edge due to a modest amount feedback around a Oms delay line The Soft knob parameter controls the delay line length Sky Down Mono Pch Shift This preset is tunnels downward due to the liberal amount of delay feedback If the effect is too heavy dial back the feedback amount Env EKOShift Mono Pch Shift The Soft knob parameter controls the delay line length and the L Meter is negatively patched to the feedback FBK parameter such that when signal is present delay feedback is reduced but when the signal disappears the feedback is increased This is a very interesting effect when the echo fits the beat of the music 14 cents down with a 258ms recirculating
37. of a chamber shaped like that letter A little bigger than the U chamber Reverb time is patched to the Soft knob parameter P219 DM Up amp Down EA 807 HalfStepsUp EB 808 HalfStepsDn Left to Machine A and right to Machine B Diabolical and horrifying sounding MchA EA 807 HalfStepsUp Just what you think MchB EB 808 HalfStepsDn down Ditto 5 10 The Presets P220 DM MyGuitar EA 802 Guit Shift EB 614 Env Peak Great stuff for either a mono or stereo guitar Machine B should get a very strong if not a total pre fade signal MchA EA 802 Guitar Shift This preset offers a moderate amount of micropitch shift 14c along with a small amount of recirculating predelay Raunchy sounding on beefy guitars MchB 614 Env Peak This preset is similar to an OverTheTop type of effect except the flange delay is patched to the meter balistics Depending on the dynamics of your guitar playing you may wish to adjust the scaling parameter which is found in the Mod Edit patch P221 DM EnvSpooge EA 614 Env Peak EB 608 Env Phazer This preset uses two effects which have meter ballistics patched to the flange glide delays with a twist the Machine A Mod Edit patch gets its modulation information from the R meter the Machine B flange glide Mod patch is specified to modulate from the ballistics of the L meter One input modulates the other A T shirt to the engineer who gets the most creative MchA EP 614 Env Peak This preset is si
38. of time Suppose the current Setup and Effect is Dance Hall then all of the parameters in the Setup and effect can Be glided The Event List up to the glide might look something like this 01 00 59 27 00 Large Hall 02 01 00 15 00 DEUM E 03 01 00 21 07 New Event You will need to make acopy of event 03 because you want 2 parameter glides into the list then edit both entries From the main time code menu select ADD Now select the edit event number by pressing the key directly above Use the Soft knob to selet 3 then press STORE This makes a complete copy of event 3 and places it into slot 4 Note that Event 43 and Event 4 now have the same time code adress PRESS ONTRL to return to the main time code menu Press EDIT then select Edit 3 Now press the key directly below and use the Soft knob to program PA parameter Machine A Press the next button to the right to use the Soft knob to program the actual parameter Turn the Soft knob until the RTIM is displayed Press the next button to the right to use the Soft knob to select the final reverb time Adjust the value as close to 15 seconds as possible Finally press the next button to the right Turn the Soft knob clockwise to enter frame duration values 100 Fr will equal approximately 3 seconds Press STORE Event 3 should look like this Edit 03 01 00 21 05 PA RTIM gt 14 1s 100Fr Press the key directly ab
39. often rolled off with this parameter resulting in more natural sounding reverberation PDLY adds an additional delay to the reflections and to the reverberation This control may be useful in a sound reinforcement situation or for ambience effects Both DDLY and PDLY have 4 sample approximately 0 1msec resolution RLVL sets the amount of reverberation in the processed signal It is normally FULL but may be reduced for effects where the pre echoes should dominate TDCY sets the frequency above which sounds decay at a progressively faster rate It filters all the sound except the pre echoes When set relatively low itgives a darker tone to the reverberation simulating the effect of air absorption in a real hall TDCY also helps keep the ambience generated by the program from muddying the direct sound BASS sets the reverb time for low frequency signals as a multiplier of the RTIM parameter For example if BASS is set to 2X and RTIM is set to two seconds the low frequency reverb time will be four seconds For a natural sounding hall ambience we recommend values of 1 5X or less XOVR sets the frequency at which the transition from RTIM to BASS takes place XOVR should be set at least two octaves higher than the low frequency you want to boost For example to boost a signal at 100 Hz set XOVR to 400 Hz This setting works well for classical music XOVR works best around 400 for boosting low frequencies and around 1 5 kHz for cutting l
40. pan This preset should be used from a pre fade send source P142 Telephone Stereo Adjust No bottom end AT ALL 5 4 The Presets Algorithm Description Stereo Shift Stereo Pitch Shift Straight ahead stereo pitch shifting with the Soft knob attached to the Glide parameter The stored value of the Soft knob is 55 which when turned negatively to zero will yield an output 2 octaves down when turned all the way up will give an output 1 octave above unison Octave Down Stereo Pitch Shift Just like the name sez Vox Chorus Stereo Pitch Shift This presetis configured with different preset values of pitch shift for left and right down 23 cents on the left and down 43 cents on the right There are also different delays for the left and right with small amounts of feedback for each Whip this one on either the lead vocal or BG Vox Pole Flange Stereo Pitch Shift Similar to a Barber Pole type flange Mix 50 50 between source and returns Bulkie Roll Stereo Pitch Shift Fluffy sounding chorus effect Mode is set to Mono so you can independently pitch left or right When sent to the 300 pre fader the return audio has a slow motion movement around the stereo field Heavy Roll Stereo Pitch Shift Another independent left right preset except much stronger amounts of shift between the two channels Don t use this on anything pretty make the nasty nastier Going Going Stereo Pitch Shift Up Up Up
41. selected threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter MchB EB 709 Basement Tight and short Room size 15 8 meters and the tonality is fairly resonant sounding Almost trashy sounding low diffusion and will certainly get so if the Rt is made longer 5 13 300 V 3 0 Owner s Manual Lexicon P307 CC Dly gt Pch EA 609 Chorus EB 801 Mono Shift This preset combines a stereo chorus passing into a mono shift program Go to Machine B Effect Edit and modify the Glide Pitch GLD parameter If you want to open the stereo chorus effect reduce BMIX so that some of the Chorus program passes by the Mono Shift program The LFO is set moderatly fast to 2 14Hz with a Triangle shape MchA EA 609 Chorus This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines butthe output lines are channel swapped such that the left input passes to the right output and vice versa In a Dual Mono Setup of course this is inaudible MchB EB 801 Mono Shift Baseline mono shift program with no pitch shift Go to the glide parameter GLD in Effect Edit mode to select the amount of pitch shifting you want P308 CC Pch gt Dly EA 810 Vocal Shift EB 603 PingoPongo This is a very interesting detuned left rig
42. selection will destroy all user modifica tions of the original factory configurations m NN Purge Tools FACTORY SETUP EFX MIDI 1Ee1o s Select SETUP to clear all Select TCODE to clear setup registers Select EFX to clear all ef the Time Code Event List fect registers Select MIDI to clear the MIDI Program Change Map Table Pressing any of the active buttons to select one of these options will cause the display of a warning prompt When this prompt appears press STORE to execute the function Be careful These functions permanently erase user information System Operation Page Nine Purge Tools The Algorithms and their Parameters 4 4 1 300 V 3 0 Owner s Manual 4 2 Single Setup Algorithms Random Hall General Description Lexicon The 300 incorporates the results of a great deal of research into acoustics and reverberation Reverberation or reflected sound energy gives recorded music a sense of being performed in a real acoustic location In the 300 the SIZE SPREAD and SHAPE controls allow adjustment of the buildup and decay of the initial part of the reverberation envelope SHAPE controls the shape of the envelope while SPREAD and SIZE set the time over which this shape is active Inthe Random Hall program SIZE acts as a master control for the apparent size of the space being created by the 300 Both SPREAD and vary linearly with the setting of SIZE
43. selections on this page The Soft knob can also be used to alter selected items D gt N on the top line shows the Incoming pre emphasis bit status in this example N Pressing the key directly below D gt N sets the bit s outgoing status Y on or N off The rightmost buttons on both the top and bottom row select analog pre and de emphasis The choices are Y on or N off Control of emphasis de emphasis links the input and output i e you can select both or neither Page Five SCMS Mode Page Six Emphasis System Operation 300 V 3 0 Owner s Manual Page Seven Bypass Effect Load Mode Page Eight Copy Tools Lexicon Effect Load MUTE Bypass Btns INMUTE If you change between setups which use different algorithms the system will either mute or bypass while the parameter changes are being made depending on the selection you make here under Effect Load Selecting MUTE will mute the analog and digital outputs during these transitions selecting BYPASS allows you to hear the unprocessed audio signal This page also allows you to select whether the front panel BYPASS buttons mute the incoming signal INMUTE or bypass processing BYPASS The Copy Tools page allows you to copy setups effects or the mod portion of effects into the registers This page also allows you to enable and disable the 300 s memory protection function When you call up the Copy Tools page the display will show To
44. the enclosure voltage that may be sufficient to constitute a risk of This triangle which appears on CAUTION your component alerts you to important operating and main RISK OF ELECTRIC SHOCK nth _ DO NOT OPEN tenance instructions in this ac companying literature shock Lexicon Inc Copyright 1997 3 Oak Park All Rights Reserved Bedford MA 01730 1441 Telephone 617 280 0300 Lexicon Part 070 09678 Rev 2 Fax 617 280 0490 Introduction 1 Installing the 300 MOWING ep 1 2 Power Requirements 1 2 The Rear Panel 2 e Pr tt het e e C ee te 1 3 Connectors Cables and Configurations 1 4 CODFIeCtO S c eot esie eee eie oe sedet ee doen tetera 1 4 Gables mns anui tend noU oii diis iesus deum 1 5 Setting Analog Audio Levels 1 6 GConfigurations tie ee t RR eh e Leste t 1 7 System Overview Terms used in this manual ccccceesessceeececesseeceeeeeseesseeeeeeeaseseesees 2 2 The Front Panel enne nnne EET 2 4 Overview of Front Panel Controls 2 5 Overview of the 300 Display 2 6 System OVerviBW ete eee edit ep Freie 2 7 System Operation Getting Started esent nnns 3 2
45. the two stereo channels below about 300Hz The shuffler restores the low frequency separation by first matrixing the L and R signals into L R and L R bass boosting the L R channel then rematrixing back to Land R The effect is to convert small time differences which are not audible in loudspeaker reproduction between the two microphones into level differences which are audible The effect can be dramatic The frequency below which the boost acts is set by the SHUF control A setting of 5 will give a 3dB L R boost at about 150Hz a setting of 10 will be 3dB up at 250Hz Response rises at 6dB octave below this frequency More than 18dB of gain can be obtained at 20Hz when SHUF is set to 10 This control has been optimized for true binaural recordings where the differ ence signal at low frequencies is minimal If itis used on ordinary stereo material or with binaural material to which reverberation has been added excessive low frequency difference signals can result On such material it is better to use the SPEQ control which will achieve a similar result The SHUF control varies from 0 shuffler off to a maximum of 10 While theory would suggest a setting of 10 fora dummy head a setting of 5 appears to be more useful in practice The setting is very much a matter of taste If closely spaced microphones are used the setting will scale inversely with the microphone distance in centimeters For a spacing of 15cm try a shuffler setting of 5
46. to increase or decrease the time code value Usually when first using time code automation your first event will need to be trimmed up several seconds to allow the first Setup to load before audio as expalined above Turn the Soft knob counter clockwise When the correct number is displayed press STORE Press CNTRL to return to the main time code menu Press VIEW If you ve given yourself the correct pre roll roll tape The 300 should display time code and all subsequent events which you have programmed into the Event List Time Code Operation Trimming Time Codes in the Event List 6 5 300 V3 0 Owner s Manual Lexicon Programming Parameter glides can be a verypoweful feature When you select a parameter Parameter Glides glide PA PB or PS as type of automation change the display will update and 6 6 display three entries Parameter Selection PDLY DLY1 FBK1 final parameter value 12 5s 125m 225m 45 and the frame duration 25Fr of the glide The keys beneath each display entry allow you to select the function for Soft knob programming of the parameter glides All parameter glides are based on the current Setup and effect which loaded Example Let s say at the end of a scene we want the Reverb Time to increase from its preset value to 15 seconds We want this glide to take 100 frames At the same time we want the Input parameter to glide from its Setup value to OFF over the same amount
47. transmissions to record and play individ ual parameter changes 2 Using the 300 s Non Registered Parameter transmissions to record and play individual parmeter changes 3 Using MIDI Program Change messages to load Setups or Effects 4 Using MIDI Controller information and Dynamic MIDI patches to record and play parameter changes 5 Using the 300 s System Exclusive or Non Registered Parameter messages that are the result of Dynamic MIDI patches This allows you to control record and play as many as five of the 300 s variable parameters simulta neously 6 Controlling multiple 300s from a single master 300 When using the 300 s Automation capabilities it is good practice to put the 300 ona different MIDI Channel from those used by other equipment in your system This avoids the possibility of the 300 responding to commands that aren t really intended for it The 300 will transmit System Exclusive or Non Registered Parameter mes sages as you vary any of the available parameters if this function is assigned in automation mode As you turn the Soft knob to vary one of the 300 s effect parameters MIDI data in the selected output format will be transmitted from the 300 s rear panel MIDI OUT connector as a Program Change All parameter values are sent when the effect itself is changed This information can be recorded on your sequencer To setthe automation mode use the MIDI Control page in Control mode Press the key under AUTO
48. values This Soft knob can also be programmed in Mod Edit mode as a multi parameter controller linking one or more parameters within Setups and Effects The control portion of the Soft knob parameter is part of the Setup and is set in Setup Select mode The PAGE UP and PAGE DOWN keys enable you to utilize the Soft knob as a parameter controller Example Setup Preset DM 223 Delay Daze contains two effect presets 3Voice Dlys and Pingo Pongo each of which has delay parameters mapped to the Soft knob Load Dly Daze then press PAGE UP The screen should display SoftknobA 17 DLY3 DLY4 0513 0514 SoftknobB 17 DLY1 DLY2 RDLY 0514 SoftknobA is the Soft knob value for Machine A SoftknobB is the Soft knob value for Machine B SoftknobS is the Soft knob value for Setup Parameters Note the current Soft knob value this particular Setup has a preset value of 17 and the labels for the effect parameters linked to the knob DLY3 and DLY4 for Soft knob A DLY1 DLY2 and RDLY for Soft knob B Press VALUE to display the values of these effect parameters Remember that the display can only show one Machine s effect at a time to view parameters in the other Machine which might be linked to the Soft knob press MACH Leave the display in the value mode while turning the Soft knob on the front panel and you will see the displayed values change The Soft knob parameter has a range of 127 steps Setup Edit mode is used to select the eff
49. wet effects System Operation Setup Edit Mode Single Setups 300 V 3 0 Owner s Manual Lexicon The LFO Low Frequency Oscillator is a control generator which is designed to modulate Effect or Setup parameters in the 300 when parameters are patched to it The LFO has a shape and a rate speed function available on Page Four The shape can be SINEusoidal TRIANGLE SQUARE or RANDOM Rate is adjustable from Off to 9 0Hz The action of the meters is determined on Page Five The choices are ANA IN Analog In for either Left or Right channel DIG IN Digital In for either Left or Right channel FX OUT for either Left or Right channel commonly referred to as the WET BUS Note If you choose Left Meter or Right Meter as Patch sources when making MOD Edits you are essentially linking the ballistics of the meter to the assigned destination Pages Six and Seven allow you to make as many as two MOD patches in the Setup domain As an example try patching the LFO to a Balance parameter as follows 1 The display should read Patch 1S DEST VALUE SOURCE THRS SCALE 2 If DEST is not underscored press the button directly beneath it to select it Once it is underscored turn the softknob to select ANALOG BALANCE The display will revert to its state in Step 1 after approximately 20 seconds To return immediately to this display press SETUP EDIT 3 Select SOURCE by pressing the button directly beneath it Turn the softknob fully
50. 300 Digital Effects t system V30 Owner s Manual lexicon Unpacking and Inspection After unpacking the 300 save all packing materials in case you ever need to ship the unit Thoroughly inspect the 300 and packing materials for signs of damage Report any shipment damage to the carrier at once report equipment malfunction to your dealer Precautions The Lexicon 300 is a rugged device with extensive electronic protection However you should observe the same reasonable precautions that apply to any piece of audio equipment Always use the correct line voltage Refer to Chapter 1 of this manual for power requirements Don install the 300 in an unventilated rack or directly above heat producing equipment such as power amplifiers Maximum ambient operating temperature is 35 C 95 F Never attach audio power amplifier outputs directly to any of the 300 s connectors Before turning the 300 on or off mute your monitor speakers to avoid possible damage from transients To prevent fire or shock hazard do not expose the 300 to rain or moisture Notice This equipment generates and uses radio frequency energy and if not installed and used properly that is in strict accordance with the manufacturer s instructions may cause interference to radio and television reception It has been type tested and found to comply with the limits fora Class A computing device in accordance with the specifications in Subpart J of Part 15 of F
51. 4 LINK SHLF link off DLY2 RTIM 60m 1 3s LVL2 RLVL off 4dB FBK3 DLY4 0 Om LVL4 10 MOD EDIT SOURCE SOFTKNOB DEST SCALE PDLY 2 4 SPRD 63 SHAP 24 TDCY 16 P107 Chamber RTIM SIZE ROLL 1 35 25 3 3 4k RLVL TDCY BASS full 4 4k 1 5X SPIN WAND SHAP 34 6258u 67 DIFF LINK SHLF 79 link off DLY1 DLY2 RTIM 8m 20m 1 3s LVL1 LVL2 RLVL 7dB 7dB full DLY3 FBK3 DLY4 40m 0 48m LVL3 LVL4 off off MOD EDIT SOURCE SOFTKNOB DEST SCALE Size 30 5 25 300 V 3 0 Owner s Manual Effect Presets Using the Random Hall Algorithm Cont d P108 LiveDrumRoom RTIM SIZE ROLL 1 0s 18 6M 8 2k RLVL TDCY BASS full 7 5k 0 8X SPIN WAND SHAP 34 11348u 168 DIFF LINK SHLF 18 link off DLY1 DLY2 RTIM 14m 20m 1 0s LVL1 LVL2 RLVL off off full DLY3 FBK3 DLY4 40m 0 48m LVL3 LVL4 off off MOD EDIT SOURCE SOFTKNOB DEST SCALE Size 11 Roll 11 PDLY 0 8 P109 Studio A SIZE ROLL 24 8M 4 6k TDCY BASS 5 5k 1 2X WAND SHAP 4914u 95 LINK SHLF link off DLY2 RTIM 18m 6m 0 5s LVL1 LVL2 RLVL 6dB 8dB full DLY3 FBK3 DLY4 38m 0 20m LVL3 LVL4 Off off MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 LVL3 94 2LVL4 94 3 Roll 22 4 TDCY 19 5 26 P110 Studio B SIZE ROLL 16 9M 5 5k TDCY BASS 4 4k 1 2X WAND SHAP 2562u 75 LINK SHLF link off DLY2 RTIM 18m 12m 0 6s LVL1 LVL2 RLVL 10dB 10dB 2dB DLY3 FBK3 DLY4 14m 0 28m LVL3 LVL4 off
52. 6 maximum 10Hz to 20kHz 0 0196 maximum 90dB minimum 15us 40 9us 50us 3us 20 in 0 1dB increments Balanced XLR pin 2 high 750 2dBu to 18dBu 48kHz sample rate 10Hz to 21 5kHz 0 2dB 44 1kHz sample rate 10Hz to 20kHz 0 2dB 32kHz sample rate 10Hz to 14 5kHz 0 2dB 5 degrees 10Hz to 20kHz Frequency Independent From Digital Input to Analog Output 1 8mS 90dB maximum 10Hz to 20kHz 100dB minimum A weighted 0 0196 maximum 10Hz to 20kHz 0 0196 maximum 90dB minimum 15us 40 9us and 50us 3us 20 in 0 1dB increments Unless otherwise specified specifications presume 48kHz sample rate Emphasis off Gain switch at OdB and Gain Control at unity OdB 48kHz sample rate 10Hz tp 21 5kHz 0 2dB 80dB maximum 10Hz to 20kHz 90dB minimum A weighted 0 0196 maximum 10Hz to 20kHz 0 0196 maximum 90dB minimum Balanced female XLR digital input Balanced male XLR digital output Conforms to AES 3 1992 ANSI S4 40 1992 Both input and output are transformer coupled Input output levels and impedance comply with CCITT V 11 and EIA RS 422A Unbalanced coaxial RCA type digital input and output SPDIF compatible Optical fiber optic type digital input and output 48kHz 5Hz 42 kHz to 50kHz 44 1 kHz 5Hz Master Slave Balanced female XLR EIA 422 input 100mV p p minimum Formats supported Speed Range SMPTE 0 75 to 1 18 Drop or Non drop EBU 0 80 to 1 33 Film 0 82 to 1 33 5
53. Advancing the Soft knob parameter will cause the two post delays to move in sync out to more than 2200ms P302 CC Dly gt Rev EA 601 Dual Delays EB 714 Joe s B amp G Advance the Soft knob parameter and the Machine A effect gets longer and the reverb effect gets bigger If you modify BMIX after advancing the Soft knob parameter an even more distant echo effect can occur Yeah go ahead give it a try MchA EA 601 Dual Delays Baseline effect with the Soft knob patched to the last two delay lines in the signal path Advancing the Soft knob parameter will cause the two post delays to move in sync out to almost 3000ms MchB EB 714 Joe s B amp G Live performances in Joe s 14 6M bar Turn the Soft knob and the room size grows into a Bar and Grill 5 12 The Presets P303 CC Rev gt Pch EA 707 U Chamber EB 802 Guit Shift This preset runs 70 of a reverb effect into a pitch shift program The remaining 30 of the reverb effect bypasses the pitch shifter and appears at the stereo output Modify BMIX to some lesser value if you want to bypass some of the reverb around the pitch shifter If BMIX is set to all wet the reverb will be mono because the algorithm is mono in mono out Mcha EA 707 U Chamber This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall MchB EB 802 Guitar Shift This preset offers a moderate amount of micropitch shift 14c alo
54. CC Rules which are designated to provide reasonable protection against such interference in a residential installation However there is no guarantee that interference will not occur in a particular installation If this equipment does cause interference to radio or television reception which can be determined by turning the equipment OFF and ON the user is encouraged to try to correct the interference by one or more of the following measures Reorient the receiving antenna Relocate the computer with respect to the receiver Move the computer away from the receiver Plug the computer into a different outlet so that the computer and receiver are on different branch circuits If necessary the user should consult the dealer or an experienced radio television technician for additional suggestions The user may find the following booklet prepared by the Federal Communications Commission helpful How to identify and Resolve Radio TV Interference Problems This booklet is available from the U S Government Printing Office Washington DC 20402 Stock No 004 000 00345 4 Le pr sent appareil num rique n met pas de bruits radio lectriques d passant les limites applicables aux appareils num riques de la class A prescrites dans le R glement sur le brouillage radio lectrique dict par le minist re des Communications du Canada This triangle which appears on your component alerts you to the presence of uninsulated dangerous voltage inside
55. Delays This preset incorporates a bit of left right diffused delay along with some small delay offset between left and right delay outputs If the effect is too strong try lowering feedback levels for delays 3 and 4 MchB EB 902 DrumComp 3 1 This is a bit more aggressive with 7dB of boost below the selected threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter 5 7 300 V 3 0 Owner s Manual Lexicon P208 DM Pch Pch EA 803 Up Shift EB 806 Echo Down Atrue Dual Mono pitch preset Going to the Soft knob parameter location in Setup Select mode will enable you to advance the delay parameter in the Machine A effect MchA EA 803 Up Shift Up Shift is a sweet sounding microshift up 7cents There is a slight chorus edge due to a modest amount feedback around a Oms delay line The Soft knob controls the delay line length MchB EP 806 Echo Down 14 cents down with a 258ms recirculating delay line This effect works great either before or after a Reverb preset in a Cascade Setup p EA 810 Vocal Shift EB 902 DrumComp3 1 Send a vocal track into the left input and send a mono prefade drum premix into the right input MchA EA 810 Vocal Shift This preset combines a short delay line recirculating around a 7 cent pitch shifter MchB EB 902 DrumComp 3 1 This is a bit more agressive with 7dB of boost below the selected threshold A quick release of 58ms snaps up the vol
56. Dual Mono Setup Presets Mach A Effect Cascade Setup Mach A Effect Name Mach B Effect Chamber Drum Chamber Guitar Room U Chamber Chorus Dual Delays Space Delays Up Shift Vocal Shift EZ Comp LFO FazeDlys OverTheTop1 Chorus EKOz Up Shift Joe s Garage Recital Hall Drum Rooms U Chamber HalfStepsUp Guit Shift Env Peak Negative Flang 3VoiceDlys Chorus EKOz OverTheTop2 Presets Name Mach B Effect Chamber Dual Delays U Chamber Sky Down Guitar Room Drum Comp 3 1 Chorus Vocal Shift 3Voice Dly EZ Comp 2 1 Guit Shift Recital Hall Small St Adj Chamber Great Room Great Hall Big Bricks Big Hall Big amp Short OverTheTop1 LFO Pan amp Faze Env EKOShift Recital Hall Sky Down Chorus Lexicon Name Key Chamber LFO Faze Delays Guit Shift EZ Comp2 1 Chorus EKOz Sky Down DrumComp3 1 Echo down DrumComp3 1 DrumComp 3 1 Chorus OverTheTop2 Sky Delays Env EKOShift Basement Big Hall Great Room L Chamber HalfStepsDn Env Peak Env Phazer Space Dlys PingoPongo 3Voice Dlys Sky Down Dual Delays Joe s B amp G Guit Shift Drum Chamber EZ Comp 2 1 Basement Mono Shift PingoPongo EZ Comp 2 1 Wall Slaps EZ Comp 2 1 Small St Adj EZ Comp 2 1 PONS Dither 3Voice Dlys NegativeFIng Drum Comp 3 1 Chorus EKOz Chorus OverTheTop2 LFO FazeDlys Env Phazer Echo Down Sky Delays Panola To enter Setup Select mode simply press the front panel key labeled S
57. ETUP SELECT This mode has two pages of controls Page One S P101 Large Hall EA P101 Large Hall Page One allows selection of a setup The upper line indicates S setup a preset P or register R number and the setup name The upper row of buttons will step sequentially through the list of setups turning the soft knob will scroll through the list After finding a setup you want to load note its number There are two ways to load this setup Simply press ENTER while the number of the setup you want is selected on the display If this is not the current setup the number will flash on the display If you do not press ENTER within a few seconds the display will automatically change back to the current setup Pressing ENTER once the display has changed will still load the selected setup or Enter the setup number you want on the numeric keypad to select a setup Press ENTER to load the setup Page Two KnobPatchS 0 Dst1 Dst2 This page displays the current Soft knob parameter value as well as the Setup parameters which are patched to it Page Three KnobPatchA B 0 0511 Dst2 Dst 3 Dst 4 This page displays the current Soft knob parameter value as well as the Effect parameters which are patched to it System Operation Setup Select 300 V 3 0 Owner s Manual Using the Softknob as a Parameter Controller Lexicon The front panel Soft knob is primarily used to adjust different parameter
58. For a spacing of 30cm try a setting of 3 For a spacing of 7cm try a setting of 10 The Dual Delay algorithm consists of 2 types of delay lines Gliding Flange delays and Fixed delays This is a true stereo algorithm If run in a Dual Mono setup however it will be mono Two independet gliding flange predelays are available each with a 20ms range in single sample steps There is also a ganged stereo gliding flange delay There are two flange gain controls which vary the overall amount of flange effect The flange glides are typically modulated by the internal LFO Setting the flange gains very high will cause an over the top type of flange to occur as the flange glide delays cross over the predelay pointers The outputs of the flange delays are fed to the delay left and delay right lines which are 2 5 seconds long Once into these delay lines you can create many different delay effects There are two programmable taps on each delay line DLY1 left and DLY2 right can be programmed anywhere along this 2 5 second path There will however be no apparant delay unless a feedback value is assigned to the delay values via FBK1 and FBk2 All Pass filters or diffusors in line with the feedback paths are labeled APD All Pass Delay and APG All Pass Gain The actual tuning ofthe All pass delay is accomplished with the APD control The amount of diffusion is set by APG When APG is turned high and FBK1 is adjusted away from the 0 value
59. IDI Control lers to create the effect parameter changes you need As you change the effect parameters the 300 will transmit information to your sequencer in the format you have chosen System Exclusive or Non registered Parameters This allows you to control and record as many as five parameters simultaneously Again when you play back the sequence the 300 will respond just as the changes were recorded In applications that require more than one 300 to work together you can use one 300 as a master and slave as many 300s as you need to the master This is done by connecting the MIDI OUT of the master machine to the MIDI IN of the first slave then connecting the MIDI THRU of the first slave to the next slave and so on Set the Automation mode on all machines to the same setting and make sure that all machines are operating on the same MIDI Channel To see the results select an effect from the master machine then put all of the machines in Effect Edit mode displaying the same page When you turn the soft knob on the master machine all of the slaves will respond to the command Note that even if the displays are set to different pages on the various slave machines the parameter changes are still taking place Note If master and slave machines have different input sources i e a mix of analog and digital effect changes will not work in SysEx and Non Registered Parameter modes MIDI Operation Using Dynamic MIDI to transmit
60. IZE control to approximate the size of the acoustic space you are trying to create before adjusting anything else The size in meters is roughly equal to the longest dimension of the space Moving SIZE while a signal is present may cause audible transients on critical material The apparent size of the space created is actually a combination of the settings of the SIZE SHAP and SPRD controls Small acoustic spaces are character ized by a rapid buildup of diffusion However both small and large spaces frequently have an uneven buildup of initial reverberation This uneven buildup is controlled by the SPRD and SHAP controls PDLY adjusts an additional time delay between the input of signal and the onset of reverberation The control is not intended to mimic the time delays in natural spaces In real rooms the build up of reverberation is gradual and the initial time gapis usually relatively short Natural spaces are best emulated by setting SHAP at a middle value and adjusting SPRD for the desired effective pre delay Additional delay added with the PDLY control can increase the initial time gap slightly emulating a situation where reverberant pick up microphones are located much further from the source than the main microphones If less than about 30ms of pre delay is added this additional delay can add clarity with some music but it can also sound unnatural Large pre delays can be useful for slap echo effects TDCY sets the frequency abo
61. L R TREB LTRB TREB LTRB flat flat flat flat TXOV TXLR TXOV TXLR 7 5k 12 2k 7 5k 12 2k BASS TREB LTRB flat flat flat BXOV TXOV TXLR 0 5k 7 5k 12 2k LFIN RDLY LFIN RDLY 0S Om 0S Om Lfbk RFBK Lfbk RFBK 0 0 0 0 LDLY LFIN RDLY 60m 4345 270 LFBK Lfbk RFBK 45 20 28 MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 DLAY 100 P402 Phase Invert P405 4 Frame Dly BAL ROT BAL ROT lt 0 gt lt 0 gt lt 0 gt lt 0 gt 11uS RFnS 11uS RFnS off L R off L R P408 LFO Panner MSTR BAL ROT 0dB L 78 lt 0 gt D EM 11uS RFnS off off L R TREB LTRB TREB LTRB flat flat flat flat TXOV TXLR TXOV TXLR 7 5k 12 2k i 7 5k 12 2k RDLY LFIN RDLY 1335 Lfbk RFBK 0 0 BASS LTRB flat flat flat BXOV TXOV TXLR 0 5k 7 5k 12 2k LDLY RDLY Om Om LFBK RFBK 0 0 0 P403 2 Frame Dly P406 MS Decode BAL ROT BAL ROT lt 0 gt lt 0 gt L 0 R 67 11uS RFnS 11uS RFnS off L R off L R MOD EDIT SOURCE SOFTKNOB DEST SCALE LFO 100 TREB LTRB TREB LTRB flat flat flat flat TXOV TXLR TXOV TXLR 7 5k 12 2k 7 5k 12 2k P410 Telephone BAL ROT lt 0 gt lt 0 gt 11uS RFnS off L R LFIN 2828 Lfbk 0 TREB LTRB 6 0 16 TXOV TXLR 0 5k 6 6k P404 2 Frame Dly BAL ROT lt 0 gt lt 0 gt 11uS RFnS off L R LFIN RDLY 0S Lfbk RFBK 0 0 TREB LTRB flat flat TXOV TXLR 7 5k 12 2k LFIN RDLY 2825 Lfbk RFBK 0 0 5 29 300 V 3 0 Owner s Manual Effect Presets U
62. L4 0 93 0 93 Off 24dB Up Full Off 24dB Up Full Delay and Feedbac DLY BK DL Y6 BK 0 2800ms 0 93 0 2800ms LVL5 LVL6 Off 48dB Up Full Off 48dB Up Full mg Gays 9 ess Reverberator 1 Predelay RTIME SIZE SHAPE _ SPREAD R Level Rolloff XOVR BASS TDCY LINK A RAND 1 1 I 5 isis 5 gt a de 300 V 3 0 Owner s Manual RTIM Reverb Time SIZE ROLL Hi Freq Rolloff PDLY Pre Delay RLVL Reverb Level TDCY Treble Decay BASS Bass Multiply XOVR Bass Crossover Lexicon Rich Plate Basic Sounds Page This control adjusts the reverberation time of the independent reverberator The range of action is limited Be careful both long and short reverb times may sound unnatural If a much longer or shorter reverb time than the preset provides is desired SIZE should be changed first SIZE allows you to vary the apparent size of the space over a wide range SIZE is the most dramatic control and must be selected to match the music or program material It should be the first control that you adjust to tailor the desired space SIZE also affects the reverb time in a similar way to the standard reverb programs ROLL sets the frequency above which a 6 dB octave low pass filter attenuates the processed signal It attenuates both pre echoes and reverberant sound High frequencies are
63. RFIN 0 5000ms 0 500 samples 0 5000ms 0 500 samples LFBK Lfbk RFBK Rfbk 99 to 99 99 to 99 99 to 99 99 to 99 Reset Manual Auto Stereo Adjustments Page MSTR Master Fader MSTR is a stereo level control with both channels equally attenuated or boosted From 12 to 12 the fader moves in 25 dB increments Below 12 it moves in 50 dB increments Below 60 dB the calibration comes in larger steps finally dropping to zero output at 72 dB BAL implements a sine cosine balance adjustment Balance is smoothly ad justed over a wide range with excellent resolution in the critical area around zero The display indicates the actual channel gains as the control is varied ROT is similar to BAL but it treats stereo information somewhat differently Any signal panned to the center mono will be treated by ROT exactly as it would be treated by BAL However if a signal is panned full right and the control is moved toward the right instead of simply being attenuated as BAL would do the right channel is inverted in phase and added to the left channel A stereo image appears to rotate when this control is used Ambient information is preserved and both channels appear to retain equal loudness If stereo material is recorded with a coincident pair of figure of eight micro phones moving the ROT slider is exactly equivalent to rotating the microphone pair Other microphone arrays and multimicrophone setups do not rotate perfectly bu
64. RTIM is set to two seconds the low frequency reverb time will be four seconds For a natural sounding hall ambience we recommend values of 1 5X or less XOVR sets the frequency at which the transition from RTIM to BASS takes place XOVR should be set at least two octaves higher than the low frequency you want to boost For example to boost a signal at 100 Hz set XOVR to 400 Hz This setting works well for classical music XOVR works best around 400 for boosting low frequencies and around 1 5 kHz for cutting low frequencies The Algorithms and their Parameters ROLL Hi Freq Rolloff PDLY Pre Delay RLVL Reverb Level TDCY Treble Decay BASS Bass Multiply XOVR Bass Crossover 4 5 300 V 3 0 Owner s Manual 4 6 SPIN Randomization WAND Wander SHAP Shape SPRD Spread DIFF Diffusion LINK SHLF Lexicon Random Hall Tweaks Page SPIN affects the movement of the reverberation tail The object of SPIN and WAND is to continuously alter the timbre of the reverberant sound This makes the result more natural without making the position of instruments unstable SPIN should typically be 20 or higher High values may make the pitch of piano or guitar unstable WAND sets the distance in time that the early reflections will move For best results WAND should be about 10ms at larger sizes SHAP and SPRD work together to control the overall ambience of the reverbera tion created by the 300 SHAP de
65. Slightly smaller version of Contem Plate Great of vocals Some strong pre echoes to help the direct sound stand out Round Plate Rich Plate Soft but articulate The Soft knob is patched to feedback paths surrounding pre echoes 1 and 2 which feedback into the reverberator Name Algorithm Description StereoAdjust Stereo Adjust Sets you up to fix audio sources Null preset with pages for EQ delays phase and channel swaps and DC offset removal P135 Phase Invert Stereo Adjust The right channel is phase reversed to the left If you put a mono signal into this program and pan the output returns left and right you ll definitely twist your head off NOTE This phase reversed mono signal will also decode to the surround channel if run through a surround decoder P136 2 Frame Delay Stereo Adjust 66 3 ms of delay running at 44 1kHz and 65 9 ms at 48kHz P137 3 Frame Delay Stereo Adjust 100 ms of delay at both operating frequencies P138 4 Frame Delay Stereo Adjust 133 ms of delay at both operating frequencies MS Decode Stereo Adjust Take a 2 channel Mid left input Side right input recording and this program will properly decode to stereo output Stereo Adjust This preset combines echoes under the control of the Soft knob As you advance the Soft knob the delays will get longer P141 LFO Panner Stereo Adjust This preset attaches the LFO to the Stereo Adjust balance control Once again the LFO Rate determines the speed of the
66. Sounds RTIM sets the reverb time for mid frequency signals Because low frequency reverb time BASS is a multiplier of acts as a master control for the reverb time SIZE sets the rate of buildup of diffusion after the initial period which is controlled by DIFF It also acts as a master control for RTIM and SPRD The SIZE control changes a reverb sound from very large to very small Generally you should set the SIZE control to approximate the size of the acoustic space you are trying to create before adjusting anything else The size in meters is roughly equal to the longest dimension of the space Moving SIZE while a signal is present may cause audible transients on critical material The apparent size of the space created is actually a combination of the settings of the SIZE SHAP and SPRD controls Small acoustic spaces are character ized by a rapid buildup of diffusion However both small and large spaces frequently have an uneven buildup of initial reverberation This uneven buildup is controlled by the SPRD and SHAP controls ROLL sets the frequency above which a 6 dB octave low pass filter attenuates the processed signal It attenuates both pre echoes and reverberant sound High frequencies are often rolled off with this parameter resulting in more natural sounding reverberation The low pass characteristic can be modified to a shelving charactistic with the SHLF control When SHLF is off ROLL is typica
67. Time Volume Cntlr 9 Pan Expression Cntlr 12 15 GP Cnitlr 1 4 Cntlr 20 31 Sustain PortaSw SostenSw SoftPedal Switch 68 79 GP Cnitlr 5 8 Sitch 84 95 PitchWheel AfterTouch LastNote LastVel MidiClock Knob gt L Meter R Meter LFO 1 Available Source selections 7 4 Lexicon Dynamic MIDI allows you to patch virtually any MIDI controller to any effect parameter in the 300 Mod Edit mode is used to create or modify Dynamic MIDI patches To use Dynamic MIDI you assign a MIDI controller or an event to a setup parameter or to an effect parameter using the patch parameters found on the pages in Mod Edit Two pages for setup patches are available in Setup Edit mode Four parameter patch pages are available at any one time in Mod Edit mode These pages will be for Machine A or Machine B depending on the type of setup currently running and on the machine currently selected Each of the four patch pages available for each machine shows the following parameters Patch 1A DEST VALUE SOURCE THRS SCALE Destination This is used to select the effect parameter that the MIDI controller is patched to The available parameters are based on the algorithm that you are currently running Value This is used to set the initial value of the parameter that you are controlling This is provided as a convenience so that you do not have to go into Effect Edit mode to view the available parameters of the running algorithm S
68. Turning the soft knob alters the underscored character Available characters include 0 9 a z A Z and an assortment of symbols To rename the setup simply position the cursor under the first character of the current name turn the softknob to replace this character with the first character of the name you want select the next character and change it etc When you have made all the necessary changes to a setup and want to save it in a register press STORE The display will show Spo SET Large Hall Dst R SEL ES 3 The top line of the display shows the source Src the currently selected setup name The bottom line shows the destination Dst the register number into which the the setup will be copied Use the Soft knob to select the register number you want then press STORE again The display will return to the last Setup Edit page Note The 300 has a memory protection feature which enables or disables copying into the registers When Copy Tools are disabled all storing functions are inhibited The Control mode Copy Tools page allows this feature to beenabled or disabled For more details see the section describing Control mode at the end of this chapter System Operation Naming the Setup Storing the Setup 300 V 3 0 Owner s Manual Effect Edit Mode Parameter Selection SETUP CONTROL SELECT MACH SETUP EDIT STORE EFFECT EDIT VALUE MOD EDIT Lexicon The 300 is
69. Y L R FIN and is useful for long echo effects Fine Feedback is only around the Fine Delay and can be used for very short delay effects and coloration All feedback gains are adjustable in 1 increments from 99 to 99 If the magnitudes of both feedback gains for a channel sum to more than 100 that channel will take off and overload On the 300 Effects Feedback page overall and fine are distinguished by upper and lower case lettering LFBK Overall Left Channel Feedback Lfbk Fine Left Channel Feedback RFBK Overall Right Channel Feedback Rfbk Fine Right Channel Feedback 300 V 3 0 Owner s Manual DCSW DC Offset Nulling L DC and R DC Lch and Rch DC Offset SHUF Binaural Shuffler Lexicon Stereo Adjust DC Offsets Page This control provides three choices RESET MANUAL ADJUST and AUTO ADJUST RESET disables all DC adjustment AUTO ADJUST enables routines for correcting DC offset from material recorded through analog to digital con verters that are not properly trimmed for DC MANUAL ADJUST allows Softknob selection of offset values Replaces any previously obtained value with the value set here via the soft knob The display indicates the percent of the correction SHUF controls a spatial equalizer designed to make recordings from a dummy head or closely spaced omni microphones more suitable for loudspeaker reproduction Due to the close spacing of the microphones there is very little difference between
70. Y SHAP 1 0k 62 BASS DIFF 2 0X 64 XOVR LINK 1 4k Unlk PDLY 0 SPRD 0 712 Great Hall RTIM SIZE 2 1s 66 4M TDCY SHAP 1 0k 34 BASS DIFF 2 0X 80 XOVR LINK 0 9k Link PDLY 0 SPRD 0 RTIM 0 P713 Big Bricks RTIM SIZE 0 5s 36 0M TDCY SHAP 2 9k 85 BASS DIFF 1 5X 59 XOVR LINK 1 4k Unlk P714 Joe s B amp G RTIM SIZE 0 5s 14 6M TDCY SHAP 0 5 20 BASS DIFF 1 5X 66 XOVR LINK 1 4k Link SIZE 0 P715 Joe s Garage RTIM SIZE 0 7s 7 3M TDCY SHAP 2 2k BASS 1 2X XOVR 2 0k Lexicon PDLY The Presets Effect Presets using the Split Chamber Algorithm Cont d P716 Sizzle City P720 Recital Hall RTIM 2 65 TDCY 10 6k 0 4X XOVR 1 9k P717 Drum Rooms RTIM 1 1s TDCY 3 6k BASS 1 5X XOVR 0 8k XOVR P718 BigBathroom RTIM 1 15 TDCY 10 6k BASS 1 2X XOVR 5 8k RTIM 0 TDCY 0 P719 Delay Room RTIM 0 7s TDCY 1 0k BASS 1 2X XOVR 3 6k PDLY 0 SIZE 13 5M SHAP 161 DIFF 68 LINK Unlk SIZE 16 3M SHAP 58 DIFF 15 LINK Link SIZE 18 0M SHAP 205 DIFF 44 LINK Unlk SIZE 33 2M SHAP 138 DIFF 65 LINK Unlk RTIM 2 35 TDCY 1 0k BASS 1 2X XOVR 0 9k SIZE 44 5M SHAP 125 5 35 300 V 3 0 Owner s Manual Lexicon Effect Presets using the Mono Pitch Shift Algorithm P801 Mono Shift PCH DLY P809 Octave Down Nul 40m GLD FIN Oct 30m 100 Oc GLD FIN 50 0c Effect Prese
71. ZE DLY1 LVL1 DLY2 LVL2 DLY3 LVL3 FBKk3 DLY4 LVL4 FBK4 4 7 300 V 3 0 Owner s Manual Random Ambience 4 8 General Description Lexicon The 300 s Random Hall effects are designed to add a cushion of reverberance to recorded music while leaving the clarity of the direct sound unaffected Random Ambience is different It is intended to become a part of the direct sound give it both better blend and a definite position in space Random Ambience gives warmth spaciousness and depth to a performance without coloring the direct sound at all Random Ambience generates primarily the strong reflections which appear in the first few hundred milliseconds of the reverberation process These early reflections constitute the primary audible effect giving you the impression of a hall surrounding you while the music is playing To avoid any coloration from these strong reflections the time delays and amplitudes are random functions Random Ambience is very useful for adding a room sound to recorded music speech It is particularly easy to match a studio recording of dialog to a typical room environment In music recording using Random Ambience is an effective way of realistically adding distance to a close miked signal If an ensemble has been recorded with close mikes and pan pots Ambience can provide the missing blend and depth The apparent position of the instruments is preserved in the reverb while the apparent di
72. a single effect or pair of effects the configuration associated with them and an identifying name The three basic setup configu rations Single Dual Mono and Cascade are shown below INPUT LEVEL MOD EDIT DIGITAL PATCH EFFECT ALGORITHM MOD EDIT RANDOM HALL STEREO ADJUST PARAMETER EFFECT PATCH PATCH DUAL MONO SETUP INPUT LEVEL INPUT BALANCE MIX LFO METERS MOD EDIT SETUP ALVL BLVL ABAL BBAL A B RATE SHAPE LEFT RIGHT PATCH PATCH NAME EFFECT A EFFECT B ALGORITHM MOD EDIT ALGORITHM MOD EDIT _ parameter EFFECT _ Ill parameter DUAL DELAY COMPRESSOR VALUES NAME DUAL DELAY COMPRESSOR VALUES PONS SMALL STEREO ADJ PONS SMALL STEREO ADJ CASCADE SETUP MIX LFO METERS MOD EDIT INPUT INPUT CASCADE SETUP BALANCE BALANCE FEEDBACK A B o RATE SHAPE LEFT RIGHT PATCH PATCH NAME EFFECT A EFFECTB ALGORITHM MOD EDIT ALGORITHM MOD EDIT SPLIT CHAMBER MONO PITCH SHIFT PARAMETER PATCH PATCH Il EFFECT SPLIT CHAMBER MONO PITCH SHIFT PARAMETER PATCH PATCH DUAL DELAY COMPRESSOR VALUES NAME DUAL DELAY COMPRESSOR VALUES PATCH PATCH 300 V 3 0 Owner s Manual The Front Panel MIDI and Sample Rate LEDs The amber MIDI LED indicates activity over the designated MIDI channels The sam pling rate of the 300 is shown by the green LEDs Note 32kHz sampling rate i
73. act pitch shift in intervals and cents is displayed The fine control must be set to the exact middle of its range if perfect pitch intervals are to be obtained In the long display the Fine Pitch is shown by the number of cents added to or subtracted from the semitone intervals Remember that Pitch Interval will produce exact intervals only if Fine Pitch is centered The rightmost character in the long display is an asterisk if Fine Pitch is centered and a or otherwise When the VALUE key turns on the short value display Fine Pitch is not shown in cents but as a number ranging from 32 to 32 in order to give a clear indication of how much Pitch Interval has been changed When is shown Fine Pitch is centered and inactive As a rule 1 count of Fine Pitch is worth 2 cents near 200 3 cents near 100 6 cents near 50 and 12 cents near 25 PCHR performs the same functions as the PCHL control except that it is only active in Mono mode in which it adjusts the right channel FINL acts on both channels together in stereo mode and the left channelin mono mode It adjusts pitch continuously over a range of a few hundred cents and is additive to the PCHL control If PCHL is set to the middle of its range the FINL control can be used to set very small values of pitch shift producing a chorusing effect FINR performs the same functions as the FINL control except that it is only active in Mono mode in which it adjusts the right
74. ade sends to the 300 will require the mix to be set to another value Dual Mono Setups Setup Presets 201 225 are Split configurations Turn the Soft knob to cue up different Dual Mono Setups The top line of the display indicates the Setup Preset number and the two types of effects loaded in the Setup The bottom display line shows which Split Effect is loaded into which machine In the Dual Mono Split configuration each DSP engine Mach A and Mach B can run special Split Effect Algorithms and Presets Analog and or Digital formats can be input into the 300 When only one inputtype analog or digital is specified we refer to the format as Fixed When Analog is selected as the main Input source the Digital I O port can be placed in a pre or post effect patch point Conversely if the Digital input is selected as the main input source Analog I O connections can be used as a patch point Fixed Format Patch Points gt EFFEC Analog or Digital EFFEC pM EDIT B 44 Patch Points gt System Operation Dual Mono Setups A 2 B Z2 L Out R Out 3 5 300 V 3 0 Owner s Manual Mixed Format L T Analog Level J R gt 3 6 gt Digital Level R gt Lexicon When both Analog and Digital are specified to operate as MAIN Inputs we refer to itas Mixed Format The Mixed format gives you the option of using the left right or summed mono in
75. ages follow the machine channel assignment Selecting EDIT allows you to speciy the MIDI mapping mode The three choices available are OFF FIX or MAP For complete information on the MIDI Table see Chapter 7 MIDI Operation Selecting DUMP allows you to dump all registers the current setup the MIDI Map Table or a MIDI Timecode Event List System Operation Page Two MIDI Mode and Map Table 300 V 3 0 Owner s Manual Page Three Machine Configuration Page Four Digital Interface and Sampling Rates Lexicon Mach Conf Dual Mono I ANALOG O ANA DIG The upper line of this page describes the current machine configuration Single Dual Mono or Cascade The information that appears here is determined by the type of Setup currently running Either of the two left buttons on the botton allow selection of Input ANALOG and DIGITAL are available as choices with all types of setups A gt L D gt R Analog Left Digital Right D gt L A gt R Digital Left Analog Right is available for selection in Dual Mono setups The two right buttons on the bottom row allow selection of Output ANA DIG is available in all setup types A D Pre or A D Pst and D A Pre or D A Pst are available in Dual Mono setups Cascade setups display choice between A D Pre Mid or Pst and D A Pre Mid or Pst for patch point selection Clk 48kHz Din XLR This upper line of this page describes the current format being input to
76. and receive MIDI Controller Information Using SysEx and Dynamic MIDI Patches Controlling Multiple 300s 7 7 300 V 3 0 Owner s Manual Lexicon MIDI Dumps of Current Go to the MIDI page in Control mode and select DUMP The following display Setup Event List will appear MIDI Table and All Registers Dump ALL REGISTERS Bulk Dump Dly 2ms Pressing any of the buttons in the top row will allow Soft knob selection of the type of dump you want All Registers Current Setup MIDI Map Table or MTC Event List Pressing any of the buttons on the bottom row allow Softknob selection of pre dump delay of 2ms 50ms 100ms or 200ms Once you have made the selections you want here press STORE to send this MIDI information Please note that some dumps will take longer than others depending on the amount of information to be passed 7 8 8 Troubleshooting 8 1 300 V 3 0 Owner s Manual 8 2 Troubleshooting Low Voltage Overheating Common MIDI Problems Lexicon This chapter is intended primarily to help you recognize some common error states which can be corrected from the 300 front panel or by simple means such as cable replacement Any error states which are not covered here should be referred to your local dealer for service by a qualified technician In alow voltage or brown out condition the 300 will freeze in its current state None of the controls will have any effect When power returns
77. angerous control Be careful System Operation Storing the Setup Dual Mono and Cascade Setups 300 V 3 0 Owner s Manual Storing the Setup Lexicon Dual Mono Setups provide two Mix controls on Page Three AMIX and BMIX These are independent mix controls for each machine Cascade Setups provide three Mix controls on Page Three AMIX BMIX and OMIX AMIX varies the amount of dry input in Machine A s wet output This Mixture of wet and dry if any is passed along to the input of Machine B BMIX adjusts the proportion of Machine A s wet output to the wet output of Machine B OMIX takes that mix result and mixes it with the Dry input signal The LFO Low Frequency Oscillator is a control generator which is designed to modulate Effect or Setup parameters in the 300 when parameters are patched to it The LFO has a shape and a rate speed function available on Page Four The shape can be SINEusoidal TRIANGLE SQUARE or RANDOM Rate is adjustable from Off to 9 0Hz The action of the meters FX OUT for either Left or Right channel is determined on Page Five Note If you choose Left Meter or Right Meter as Patch sources when making MOD Edits you are essentially linking the ballistics ofthe meter to the destination parameter Pages Six and Seven allow you to make as many as two MOD patches in the Setup domain On Page Eight you can name your Setup prior to storing it into a register The arrow cursor key
78. ation Machine Installing the 300 ANALOG In with Digital Patch Point to ANALOG Out ANALOG AES EBU Format MACHINE DIGITAL PROCESSOR Out or CONSOLE EIAJ CP340 il sl 2 System Overview 2 1 300 V 3 0 Owner s Manual 2 2 Terms used in this manual Lexicon In discussing 300 operation the following terms are used Algorithm The 300 contains eleven algorithms An algorithm is a set of instructions that tells the 300 s audio processors how to process the input signal One algorithm produces pitch shift effects another produces reverberation etc Algorithms are stored inside the 300 on ROM Read only memory chips Configuration The 300 can deliver two effects one from each machine simultaneously The manner in which the two machines relate to each other is called the configuration The machines can be used with independent inputs and outputs Dual Mono configuration they can share the same stereo input signal Single configura tion orthe outputs of one machine can be fed into the input of another Cascade configuration Effect An effect consists of an algorithm the parameter values which create a specific sound four associated patches and an identifying name Machine The 300 contains two processing modules called Machine A and Machine B Although both machines can run simultaneously only one can be accessed from the front panel at any given time A dedicated function key labeled MACH allo
79. ay ratios of 1 2 meaning that when one is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the Soft knob parameter in Setup Select mode P DM 2 Flanges EA 606 OverTheTop2 EB 804 Sky Down Two dual mono flange effects This preset can work nicely with the same signal going to both Machines MchA EA 606 OverTheTop2 Similar to OverTheTop1 except the flange delay glides between 0 08 ms and 10 7ms This flange delay is patched to the LFO The base delays are set to 10ms with a negative amplifier gain MchB EB 804 Sky Down This preset tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the feedback amount Cascade Setups and Their Effects P301 CC Rev gt Dly EA 701 Chamber EB 601 Dual Delays This preset passes a reverb efffect into a delay effect with a delay Soft knob patch As the Soft knob parameter is advanced the reverb will be delayed If you modify the BMIX to some value less than its full wet preset value an interesting pre echo effect will occur MchA EA 701 Chamber A great general purpose reverb tail Size is set to 28 1M the largest value is 64M so the density is rather close in As you adjust Size Rt will also change If you want to unlink this natural phoenomena set LINK to unlinl on Page Two MchB EB 601 Dual Delays Baseline effect with the Soft knob parameter patched to the last two delay lines in the signal path
80. be set to SYS EX or NON REGISTERED PARAMS The 300 does not change effects to incoming time code Check your cable connections and the setting of the Event List mode in Control mode Also check the signal level of the incoming time code If it is too low the 300 may not respond The 300 will not lock to the incoming time code Check the signal level of the incoming time code If the level is too high or too low the 300 may not lock to the signal Also check the wiring of the time code cable The time code input on the 300 is electronically balanced and if the cable is not wired with this in mind the 300 may not lock to the signal The 300 changes effects too late Trim the time code values using the Edit function on the Time Code Event List page in Control mode The 300 will not lock onto an incoming digital signal Check the cables that you are using If the signal is coming in through the RCA conector cable length must be keptto a minimum If you are using the XLR input remember that this is a transformer balanced input and the cable must be wired with this in mind DO NOT USE ANALOG AUDIO CABLE TO CONNECT DIGITAL AUDIO When using the ANA DIG input mode there is no audio output If you are using this mode and you are not sending a digital signal to the 300 audio may not pass through the system To correct this choose the ANALOG mode or enter Effect Edit mode and turn the digital input level all the way down The meters do n
81. ce Consumer as output formats Din Allows selection from among the three 3 different Digital Input Connectors XLR RCA and OPTical If you wish to operate the 300 in the digital domain push either of the 2 buttons under the Din label to select that parameter The selected parameter will be underscored Use the Soft knob or multiple button pushes to select the Digital Input connector which suits your studio rig Press PAGE UP to display the Input I O selection screen In the SINGLE mode there are three choices ANALOG DIGITAL or ANAlog DlIGital Use the Soft knob to select DIGITAL then press PAGE DOWN to display the next screen System Operation Selecting digital Input and or changing analog sampling rate 3 3 300 V 3 0 Owner s Manual Lexicon If the system is properly locked the Inp field should now be displaying either AES or SPDIF Ifthe system is not properly locked to the incoming word clock the following error message will be displayed BAD NO DIGITAL INPUT Check Din connector Go back and check all your cables Once you ve configured the Analog or Digital audio type return to the Setup Select mode by pressing SETUP SELECT Single Setups SINGLE Setups 101 150 configure both DSP engines with microcode which enables them to function as a unified engine Both analog and digital inputs can be utilized simultaneously Each type of input A or D has a source Level and Balance control The Level co
82. ced to values near 1 50Hz to 2 0Hz a nice chorusing effect is achieved There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa MchB EB 011Panola This preset is a stereo adjust program with the Balance set to full left The Balance parameter is patched to the LFO If loaded into a Setup which has the LFO running Panola will cause the audio to move between the left and right speakers 5 19 300 V 3 0 Owner s Manual Lexicon Split Setup For your reference all of the presets effects available in the split mode are listed Effect Descriptions and described below in numerical order EP Name Algorithm Description Dual Delays Dual Delays Baseline effect with the Soft knob patched to the last two delay lines in the signal path Advancing the Soft knob parameter will cause the two post delays to move in sync out to more than 2200ms Space Delays Dual Delays This preset incorporates a bit of left right diffused delay along with some small delay offset between left and right delay outputs If the effect is too strong you could try turning back the feedback levels for Delays 3 and 4 Pingo Pongo Dual Delays Ping Pong delays bouncing back and forth The Soft knob parameter controls the timing of the bounce 3Voice Dlys Dual Delays Two taps Delay 3 and 4 are set with delay ratios of 1 2 meaning when one is 200ms the other is 400ms or when one is 359
83. cement RPAN adjusts the right delay channel pan placement The Algorithms and their Parameters FDLY Flange Delay LFBD and RFBD Left and Right Flange Base Delays LFLG and RFLG Left and Right Flange Gain DLY1 and DLY2 FBK1 and FBK2 APD1 and APD 2 All Pass Left and Right Delays APG1 and APG 2 All Pass Left and Right Gain DLY3 and DLY 4 FBK3 and FBK4 LDLY and RDLY LPAN and RPAN 300 V 3 0 Owner s Manual Split Chamber Lexicon General Description Split Chamber program provides several presets which can be loaded into Split Chamber Parameters any Dual Mono or Cascade setup Inthe Dual Mono setups it passes audio Mono In Mono Out In the Cascade setups audio is routed Mono In Stereo Out The Split Chamber program can simulate many different types of acoustic spaces or mechanical devices Th Split Chamber algorithm is great on anything SIZEs of 25 and larger set a lower acoustic density SHAP and SPRD help create the illusion of larger spaces whicle using short reverb times As in the Random Hall algorithm the LINK parameter couples SIZE to the RTIM and SPRD Unlink provides a method of setting stable RTIM and SPRD values then adjusting SIZE to set the right density and tuning Split Chamber is bright by design so you may want to use lower values of TDCY maybe even as low as 1 0kHz or 500Hz The randomization circuit in Split Chamber is designed to reduce coloration and o
84. channel Stereo Pitch Shift Delay and Feedback Page LDLY adjusts the length of a delay line in series with the left input The range is zero to 510ms in 2ms steps Pre delay also affects the delay of any feedback which is applied In stereo mode the two pre delays must be set to the same value or the signals will not be in phase Optimal pitch shift occurs when LDLY is about 40ms RDLY is the same as the LDLY except that it acts upon the right channel L FBK and R FBK control the amount of positive feedback from the output of the pitch shift to the input of the pre delay line The control is adjustable from 0 to 49996 Some very useful efects can be obtained by combining pitch shift delay and feedback BNPS is a band pass filter which rolls off the frequency responce of the audio before the splicing algorithm The 3dB point is 100 Hz The purpose of the band pass filter is to give the pitch shifter less information than it actually needs to decide when to make the splice Typically this will inprove the performance of the pitch shifter SYNC is only active in STEREO mode This control forces an exact sync of the two channels when the control is turned from 0 to 1 When SYNC is 1 there is an automatic re syncing any time the two channels differ in phase by about 10 samples This can occur if PCHL or LDLY is changed Re syncing can cause a small click in the output If the pitch shifter is being used to manually pitch correct classical m
85. choes page contain four pre echo taps with delay and level controls The taps are fed directly to the output wet signal rather than into the reverberator Pre echoes can best be understood by visualizing a stage where the early reflections are the sounds emanating from the rear and side stage walls directly after the sound from the stage Usually the rear stage wall reflection is earlier and louder than those from the two side walls The pre echoes are actually clusters of echoes with the density of the cluster set by DIFF The pre echo delay parameters change the perceived locations of reflecting surfaces surrounding the source Level adjusts the loudness of the reflection For each of the Lvl Pre echo level parameters there is a corresponding Dly parameter Each of these sets the delay time in ms for one of the pre echoes These are not affected by PDLY so pre echoes can be placed to occur before the reverberation starts The Dly pre echo delay parameters have a resolution of 2 milliseconds The Lvl pre echo level parameters have sixteen steps calibrated in decibels The Fbk feedback parameters for Delays 3 and 4 only are adjustable in 6 increments from 93 to 93 Pre Echo 1 one second maximum to left channel Pre Echo 2 one second maximum to right channel Pre Echo 3 2 8 seconds maximum to left channel with feedback Pre Echo 4 2 8 seconds maximum to right channel with feedback The Algorithms and their Parameters SI
86. cords MchA EA 605 OverTheTop1 This preset should be used pretty much through the box i e patched to the LFO When properly modulated the flange delay glides between 9 5ms and 18 7ms The base delays are set to 10ms with a positive feedback gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay MchB EB 606 OverTheTop2 Similar to OverTheTop1 except the flange delay glides between 0 08 ms and 10 7ms This flange delay is patched to the LFO Base delays are setto 10ms with a negative amplifier gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay The channel outputs are reversed such that the left input will pass through to the right output and vice versa P321 CC GuitarXP EA 611 LFO Pan amp Faze EB 607 LFO Faze Dlys GuitarXP incorporates a left right panning effect in Machine A into a modulating glide effect with added delays The LFO set to 0 20Hz with a triangle waveform ties it all together Here re some suggestions add some extra LDLY Left delay and RDLY Right delay to Machine B in Effect Edit Go back to Setup Edit and reduce BMIX to less than the preset 100 say to something like 4596 find the Cascade feedback parameter and add a small amount of feedback gain either positive or negative then store it all in a Setup Register MchA EA 611 LFO Pan amp Faze This cool wavy preset should be run pre fader with the Setup LFO at about 20Hz With a mono or st
87. d The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa In a Dual Mono Setup this is of course inaudible MchB EB 612 Chorus EKOz Chorus EKOz makes use of the flange gliding delay via the Setup LFO and several longer recurring echoes y EA 601 Dual Delays EB 804 Sky Down This preset incorporates a Setup Soft knob patch to the effect in Machine A Dual Delays Paging up one page will activate the Soft knob as a multi parameter controller In this Setup going to this location in Setup Select mode will change the stereo delay parameter in preset 601 which is loaded into Machine A left input Machine B right input loads a pitch shift program MchA EA 601 Dual Delays Baseline effect with the Soft knob patched to the last two delay lines in the signal path Advancing the Soft knob will cause the two post delays to move in sync out to almost 3000ms MchB EB 804 Sky Down This preset tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the Feedback value This preset has no Mod Edit patches EA 602 Space Delays 902 DrumComp3 1 This preset presents a delay preset to the left effect input output and a Drum compressor preset to the right effect input output MchA EA 602 Space
88. d LVL4 determine the loudness of DLY3 and DLY4 DLY5 Oms 2800ms and DLY6 Oms 2800ms allow you to build non diffused recirculating echoes independent of the reverberator Each has a feedback control FBK5 and FBK6 FBK5 and FBK6 provide feedback control for DLY5 and DLY6 LVL5 and LVL6 determine the loudness of DLY5 and DLY6 Remember these are undiffused pre echoes The Algorithms and their Parameters Stereo Pitch Shift Stereo Pitch Shift is a stereo or two channel mono pitch shifter with several General Description useful effects including predelay feedback and glide These are independently adjustable for each channel The pitch shifter in the 300 includes a pitch detection feature which automatically adjusts the period of the splices to match the pitch of incoming signals This feature greatly reduces the artifacts associ ated with pitch shift In stereo mode both channels are linked and the sum of the two channels L amp R is used in the pitch detector In mono mode each channel splices independently In either case it takes about 40 ms for the pitch detector to obtain an optimal pitch value Setting the LDLY and RDLY controls to this value will give the smoothest pitch shift Shorter values can be used for special effects or when extra delay cannot be tolerated There are three interacting controls for pitch described below Glide Pitch Interval and Fine Pitch Adjusting any pitch control activates a long display that sh
89. d as a convenience so that you do not have to go into Effect Edit mode to view the available parameters of the running algorithm Source This is used to select the MIDI controller or event that will control an effect parameter in the 300 The list contains the selections shown to the left Threshold This is used to set thecontroller value below which the controller will not have an effect on the parameter Scale This is used to set the effective control range of the MIDI controller Scaling can be set from 200 to 200 When Scale is set to 100 the full range of the MIDI controller will cover the full range of the selected parameter Setting a negative value will cause the 300 to reduce the setting of the parameter as the controller increases You can store any patches you create with the Effect simply by pressing STORE selecting a register number with the Soft knob and then pressing STORE again Note Be extremely careful when creating patches while a MIDI device is connected If you accidentally send a MIDI Program Change before saving the patches in a register they will be lost To avoid this possibility you may want to set the MIDI Master Channel in Control Mode to OFF or unplug the MIDI cable from the 300 s rear panel MIDI IN connector Soft knob patches are made in MOD Edit mode Press MOD EDIT to display one of the four possible patches in each Machine Press PAGE UP or PAGE DOWN to view other patches in the same ef
90. delay LDLY and RDLY and these two post echoes are patched to the Soft knob Use the Soft knob parameter to adjust post delays to match the tempo By itself Sky Delays is sort of a chorused cluster echo very similar to a bright resonant small room Beautiful effect on stacked vocals P214 DM GearUp EA 803 Up Shift EB 805 Env EKOShift This preset has both Machines linked to the Soft knob value location As you advance the Soft knob parameter the delay line lengths will get progressively longer MchA EP 803 UpShift A sweet sounding microshift up 7cents There is a slight chorus edge due to a modest amount feedback around a Oms delay line The Soft knob controls the delay line length MchB EP 805 Env EKOShift The Soft knob parameter controls the delay line length and the L Meter is negatively patched to the feedback FBK parameter such that when signal is present delay feedback is reduced when the signal disappears feedback is increased This is a very interesting effect when the echo fits the beat of the music 5 9 300 V 3 0 Owner s Manual Lexicon P215 DM TwoRooms EA P715 Joe s Garage EB P709 Basement Garage band and Basement band Use with Dual Mono sources and place behind the source MchA EA 715 Joe s Garage Two bays no waiting Small and bright MchB EP 709 Basement Tight and short Size is 15 8 meters and the tonality is fairly resonant sounding Almost trashy sounding low diffusion and will certainly get s
91. delay line This effect works great either before or after a Reverb preset 8 Just what you would think 808 Ditto 809 Sounds good and deep 810 Vocal Shift Mono Pch Shift This preset combines a short delay line recirculating around a 7 cent pitch shifter 801 804 806 07 5 23 300 V 3 0 Owner s Manual EP Name Algorithm EP Name E PONS Dither PONS EP Name Algorithm Small St Adj Small Stereo Adj Small Stereo Adj 5 24 Lexicon Description A nice preset to add to an overall mix You might need to adjust the threshold parameter to make it work for the particular signal you feed it The release parameter is set to gently fall away after 363ms This is a bit more agressive with 7dB of boost below average selected threshold A quick release of 58ms snaps up the volume As is the case with all compressor presets the threshold is the critical parameter Algorithm Description This preset has dither turned on and set to PONS with a level of 32 Experiments have shown this to be an optimum starting level of dither Description This preset is cut down version of the larger stereo adjust program in Single Setups This particular preset has the Soft knob patched to three parameters Spatial EQ SPEQ Bass Left BASL and Bass Right BASR boosts and cuts As you advance the Soft knob parameter the stereo image should move outward beyond the boundaries of the left and r
92. e 300 As with any MIDI connection use only standard MIDI cables and keep them as short as possible to avoid possible data errors Fifteen meters is generally accepted as the maximum length that should be used to maintain data integrity MIDI Out MIDI In MIDI In MIDI Out MIDI In MIDI Out MIDI Operation MIDI Out MIDI In 300 with sequencer computer and keyboard The 300 can receive MIDI information on two independent channels one for Setting MIDI Channels SysEx and Dump messages and one for Program Change and Dynamic MIDI patches MIDI Channel assignments are made in Control mode To select this function press CONTROL and use the PAGE UP DOWN keys to display the MIDI control page Midi Mode AUTO CHNL Map Table EDIT DUMP Pressing the button above CHNL will cause the following display to appear Channels MachA 1 16 OMNI Sys 1 16 OMNI MachB 1 16 OMNI Press either of the left hand buttons in the lower row to select the MIDI Channel for SysEx system and effect changes Setup patch channel assignments are also set here Press either of the right hand buttons in the Upper row to select the MIDI Channel for Dynamic MIDI parameter changes for Machine A Press either of the righthand buttons in the lower row for Machine B All selections may of course be set to the same channel 7 3 300 V 3 0 Owner s Manual Dynamic MIDI Off Cnitlr 0 ModWheel Breath Cntlr 3 FootPedal Porta
93. e Soft knob Room Size will go from its initial value of 19 1 Meters down to 9 6Meters These Rooms are diffuse and very articulate sounding Lower values of Room Size tend to be more resonant sounding Good for dialog reads RehursalRoom Random Hall This is a dense brashy sounding space with the listener in the back of the room Rolling off the high cut filter will put the carpeting on the walls Room size is set to 15 2M so the sound is very tight Good on vocals and fill P107 Chamber Random Hall Like the Room Preset the Soft knob is patched to the Size parameter Advancing the softknob reduces the Size value from a maximum of 25 3 Meters to 14 1 Meters Imagine a chamber with a reflective plaster finish P108 LiveDrumRoom Random Hall Bright and tight The Soft knob is patched to the Size and Rolloff parameters so that advancing the knob value makes the room a little bigger and brighter Random Hall This preset sounds like the big rooms 125 hour The Softknob is patched to Delay Levels 3 and 4 as well as to the Rolloff and Treble Decay parameters Advancing the Soft knob increases all of these parameters making the studio brighter and more reflective p Pre echo Levels 3 and 4 Advancing the Soft knob makes the Studio more reflective 5 2 The Presets Name Algorithm Description P111 Random Hall This preset is wide and abrupt sounding The Soft knob makes the Wall smaller Deep End Random Hall This preset actual
94. e actual channel gains for a continually panned source RFnS is used for digitally correcting probelms you used to be able to fix or create by switching analog cables around The normal setting is L to the left output and R to the right output Other settings should only be used when correcting some problem created previously in the recording process L R Normal Routing L R Right Channel polarity inverted flipped R L Left and Right Channels swapped R L Right flipped and swapped with Left Equalization Page BASL and BASR are 6dB octave shelving EQ controls with a range of 6 dB boost and 18dB cut They move 50 dB steps from 6 to 6 dB The crossover point is adjusted with BXOV These controls allow independent adjustment of left and right treble They may be used together with the stereo adjustments to create a 12 dB octave cut or boost Note that the 3 dB frequencies can be different from the stereo set BXOV sets the crossover point for BASL and BASR When BASL and BASR are set to full cut the level is 3 dB at the frequency set with BXOV TXLR sets the crossover point for LTRB and RTRB When either is set to full cut the level is 3 dB at the frequency set with TXLR SPEQ sets the amount of a crossfeed between channels The signal first goes through a 6 dB octave low pass filter whose frequency is set with BXOV When SPEQ is set positive above 0 the crossfeed has a negative sign When SPEQ is set negative
95. e addition of reverb time also patched Dig Deep MchB EB 616 NegativeFIng This is a really stiff flange which goes almost 20ms deep Flange gain is set extremely negative so the sound is tunnel like P317 CC BigBricks EA 713 Big Bricks EB 902 Drum Comp 3 1 This Setup really enunciates the Big Bricks preset 100 of the reverb in Machine A preset feeds into the compressor in Machine B MchA EA 713 Big Bricks Real ratchety sounding effect Powerful for non linear applications MchB EB 902 DrumComp 3 1 This preset amplifies Big Bricks with 7dB of boost below the selected Threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter P318 CC Rev gt EKOz EA 710 Big Hall EB 612 Chorus EKOz This is a beautiful long lasting effect Half 50 AMIX of the input signal passes around Big Hall and feeds directly to the Chorus and EKOz effect in Machine B If you need a pristine effect for a pristine track this is it The LFO is set moderately high with a rate of 2 92Hz sine wave You may want to slow it down if the glide is too much MchA EA 710 Big Hall Big and open sounding The 44ms of Predelay helps to separate the stage from the seating area Real good sounding on ballad vocals MchB EB 612 Chorus EKOz Chorus EKOz makes use of the flange gliding delay under the control of the Setup LFO plus several recurring long echoes 5 16 The Presets P319 CC Rev gt Kor
96. eas CE Dual Delays Adjustments Page FDLY is aseparate 20 ms ganged stereo delay line which is controllable in single sample steps LFBD and RFBD are base delays which get summed with the stereo ganged flange delay These base delays are adjustable in single sample steps through out a 20 millisecond range LFLG and RFLG are flange gains which are adjustabe as a feed forward amplifier loop 99 positive value or feedback amplifier loop 99 negative value Dual Delays Diffusors Feedback and Delays DLY1 and DLY2 set the delay values for the respective left to left and right to right feedback loops FBK1 and 2 set the gain of feedback for each of the delay lines Available values range from 99 to 99 gain APD1 and APD2 are diffusors All Pass Delays in series with the feedback loops associated with DLY1 and DLY2 Their controls range from 0 to 10 ms These controls essentially tune the diffuor delay line APG1 and APG2 are gains associated with the diffusors You can think of them as controlling the amount of diffusion DLY3 controls the delay time which cross feedbacks to the input of DLY2 DLY4 controls the delay time which cross feedbacks to the input of DLY1 FBK3 FBK4 control the gain of the feedbacks going with each of their respective delay lines LDLY sets the left channel delay line s time RDLY sets the right channel delay line s time LPAN adjusts the left delay channel pan pla
97. ect to be used in the setup To enter Setup Edit mode first go to Setup Select mode and select and load the setup you want to modify With the setup selected press SETUP EDIT The specific items available on the various Setup Edit pages are determined by the type of Setup Single Dual Mono or Cascade which is loaded Page 1 shows the Effect which is loaded in the currently running Setup and identifies the setup as SINGLE DUAL MONO or CASCADE The Effect ID number is underscored indicating that you can load new Effect Presets or Registers To select another Effect simply turn the softknob to cue up a new Effect then press ENTER Page One EA P209 Podium SINGLE MACH CONFIG Page 2 provides adjustment for analog and digital level and source balance into the unified DSP engine Simply press the key under the label of the control you want to adjust and turn the softknob As you turn the softknob a long text message will be displayed in the display After a brief timeout the display will return to its orginal state Page Two Mach A B Inputs ALVL ABAL DLVL DBAL Note Press VALUE to display parameter values rather than their labels Once you become familiar with the page layouts in the 300 you may find this mode useful Single Setups have only one adjustable parameter on Page 3 OMIX This control adjusts the proportion of wet signal to dry signal Most SINGLE Setup Presets have OMIX set to WET 100
98. ects for Machine A and effects for Machine B can be mapped to any program change message Dealing with MIDI Program Changes becomes much easier since you can completely rearrange the relationship of MIDI Program Change numbers to the 300 s registers and presets in minutes To assign Program Change messages to presets or setup registers call up the MIDI Control page from Control mode and press the button directly below EDIT 1 128 gt S E AorB Chieti preset or reg name Press either the first or second button on the top line and use the Soft knob to select the MIDI Program Change number you want to use The third button on the top line allows you to select S Setup EA Effect A or EB Effect B The rightmost button allows Soft knob selection of the setup or effect preset or register number you want loaded by the Program Change number displayed on the top line Continue this procedure until the table contains all of the entries you need MIDI Operation Using MIDI Program Change messages with the 300 MIDI Table mode Editing the MIDI Table 7 5 300 V 3 0 Owner s Manual 7 6 Real time MIDI Effects Automation Using Real time SysEx and Non Registered Parameters Lexicon The 300 can be automated in a number of different ways depending on your applications and on the capabilities of your MIDI sequencer The six major categories of MIDI Automation are 1 Using the 300 s System Exclusive
99. ed to or subtracted from the semitone intervals Remember that PITCH will produce exactintervals only if FIN is centered The rightmost character in the long display is an asterisk if FIN is centered and a or otherwise When the VALUE key turns on the short value display FIN is not shown in cents but as a number ranging from 32 to 32 in order to give a clear indication of how much the pitch shift has been changed When is shown FIN is centered and inactive As a rule 1 count of FIN is worth 2 cents near 200 3 cents near 100 6 cents near 50 and 12 cents near 25 PCH 300 V 3 0 Owner s Manual DLY FBK GLD FIN BNPS Lexicon DLY adjusts the length of a delay line from zero to 510ms in 2ms steps Optimal pitch shift occurs when DLY is about 40ms FBK controls the amount of positive feedback from the output of the pitch shift to the input of the pre delay line The control is adjustable from 0 to 99 Some very useful efects can be obtained by combining pitch shift delay and feedback GLD changes the pitch continuously over a range of 2 octaves 25 to 1 octave 199 This allows a glissando to be performed either manually or via MIDI FIN adjusts pitch continuously over a range of 2 octaves to 1 octave This allows a glissando to be performed either manually or via MIDI BNPS is a band pass filter which rolls off the frequency responce of the audio before the splicing algorithm The 3dB p
100. elections OFF FIX and MAP OFF sets the 300 to ignore all incoming Program Change messages If you are in the FIX mode and are transmitting on the System channel Program Change messages 0 99 will select 300 Setup Presets P1 P100 Program Change messages 100 127 will select the first 28 Setup Registers R1 R28 Note that R29 R50 are notaccessible to the MIDI Program Change mechanism Setup changes will take precedence over Effect changes In FIX mode if you are transmitting on channels assigned to Machine A and B which are different from the System channel number Setup changes will be ignored For each Machine Program Change messages 0 99 will select Effect Presets P1 P100 Program Change messages 100 127 will select Effect Reg isters R1 R28 Only effects which are legal for the setup will be selected effects will be ignored the currently running effect will not change An error message will be displayed You will quickly discover that a fixed relationship between MIDI Program Changes and the 300 s preset and register numbers is not very convenient Changing the presets in a synth or the registers in the 300 is not all that easy when you have to arrange everything so that MIDI Program Changes have the desired effect To solve this problem the 300 has a corresponding map table which is used when the MIDI Table mode is set to MAP In this mode program changes are transmitted on the System channel you have assigned Setups eff
101. er For additional control complete System Exclusive information is available Introduction Lexicon Sound Even with the best functions and features the heart of any signal processor is its sound The 300 contains the very best of the Lexicon Sound with new refinements such as dynamic size parameters in the Reverb and Ambience algorithms We have also included stereo and mono pitch shifting delay effects a mastering algorithm with precision level balance controls and equalization These sounds combined with analog and digital audio I O time code based effect change an internal LFO and full MIDI automation result in a system that provides new creative options each time you use it We re confident you ll find that the 300 s combination of state of the art sound and extraordinary versatility is exactly what you re looking for to make sure you don t miss out on anything we d like you to read this manual It provides a thorough explanation of both front panel and MIDI operation digital and analog interfacing descriptions of the effects and presets and complete MIDI Implem entation data all the information you need to access the full power of the 300 Installing the 300 300 V 3 0 Owner s Manual Lexicon Mounting Before rack mounting the 300 you may want to remove the four rubber feet Power Requirements attached to the bottom of the 300 chassis Gently pry off the black plastic buttons in the center of each foo
102. er its entire range the soft buttons will select other parameters for adjustment The PAGE UP and PAGE DOWN keys are used to access various pages of additional parameters which can then be edited via the Soft knob When changes have been made on a page and you move to a new page the previous edits remain intact However when a new effect is loaded edits will be lost unless you have stored the edited effect in a register In Split Setups effects are loaded into both Machine A and Machine B Use the MACH button to toggle between Machine Effects The 300 has 50 registers available to store edited versions of the preset effects Naming and After you have made the changes you want to an effect s parameters you can Storing Effects store the changed version into an effect register simply by pressing STORE The following display will appear EFFA 3VoiceDly R1 The display will show the name of the current effect in this example VoiceDly running in Machine A and a register location Press the button directly beneath R to select a different register with the Soft knob Press STORE again to complete the operation Once registers are filled they can be selected and loaded exactly like presets You can edit parameters in a register and store the results in the same register or another register When you store a register the edited effect still has the same name as the original effect To avoid confusion you can assign
103. ereosignal attached to both inputs the acoustic effect is a slow rotation in phase Thank goodness for CD s No record cutting lathe could handle this one Clean compressed guitars are the best here MchB EB 607 LFO FazeDlys Faze Dlys makes use of the LFO patched to the Flange Glide Delay FDLY The base delays are set in different time domains one side at 1 9ms with a feedforward gain the other at 5 6 with a negative feed gain As the Glide passes over each base delay the phase of each gain is changed In between the output is a mixture of each A great effect on a ripping guitar solo 5 17 300 V 3 0 Owner s Manual Lexicon P322 CC EKO gt Faze EA 805 Env EKOShift EB 608 Env Phazer This pitch into Gliding delay Setup is great for the rockers Use the Soft knob parameter to set the timing of the echoes in Machine A MchA EA 805 Env EKOShift The Soft knob paramter controls the delay line length and the L Meter is negatively patched to the feedback FBK parameter so that when signal is present delay feedback is reduced when the signal disappears feedback is increased This is a very interesting effect when the echo fits the beat of the music MchB EB 608 Env Phazer This preset makes use of a patch between the envelope detector in the meters and the flange glide delay As signal becomes stronger the glide delay drops in the time domain eventually crossing the 5 2ms base delays As audio signal strength lessens the glide ret
104. es is described below Event List OFF VIEW ADD DEL EDIT SNAP This page allows creation and modification of a list of up to 50 events triggered standard timecode or MIDI timecode Four main functions are provided Add Delete Edit and Snap For more information see Chapter 6 Time Code Operation The MIDI Control page allows you to specify mapping of MIDI Non registered parameters System Exclusive messages or Program Change messages to the 300 registers The button directly above AUTO allows you to set this MIDI Mode MIDI Mode AUTO CHNL P Chg Map EDIT DUMP Onthe upper line selecting AUTO activates output automation on the 300 The choices are OFF SysEx Non registered parameters and Program Change Only When the AUTO Mode is set to OFF the 300 will not output MIDI data Note In Program Change Only automation mode effect registers R29 50 are not transmitted as their sequence numbers fall outside of the range of what can be legally represented by a MIDI data byte 0x00 0x7F Therefore program change 0x00 0x63 E P1 100 program change 0x64 0x7F E R1 28 For more information on Automation see MIDI Operation Selecting CHNL allows you to set the system and machine channels on which the 300 can send and receive messages Possible setttings are 1 16 OMNI All bulk dump and SysEx messages except Program Change follow the system channel while all generic MIDI and Non registered parameter mess
105. etup Presets 300 shipped with 100 setup presets 50 Single Setups and 25 each of the two split setup types as well as 50 setup registers for storing your modified setups Single Setup Single Effects are only available in Single type Setups Therefore the descrip and Effect Presets tions and the names of the setup and effect presets are identical An asterisk indicates there is a Soft knob patch which controls various parameters with one controller Name Algorithm Description P101 Large Hall Random Hall Used as a great standard reference point The hall size is big with a gentle bloom in the reverberation envelope The first set of pre echoes is set to 14 and 20 ms but the levels are set to OFF Set levels to taste if you want to add some initial reflections Random Hall Similar to Large Hall but the size is not as big 29 3 and the reverb time is proportionately shorter The same arrangement exists for the pre echoes Random Hall An even smaller version a bit denser good for general reverb fill E Random Hall This preset is big and spread out There are 2 close in pre echoes and 2 longer and softer delays which have low recirculation added The Soft knob controls the Size parameter Spread and Shape are intrinsically linked and Treble Decay As the Soft knob value is increased Room Size is decreased and Treble Decay is brightened Random Hall This preset links Room Size to the Soft knob As you turn th
106. event press the button directly above the Event number field and use the Soft knob to scroll to the event that you want to copy When you press STORE the event will be copied The copy will be placed directly after the original on the list To edit the event effect return to the main Time Code menu by pressing CONTROL then press the button directly above EDIT The second way to use the ADD function allows you to edit an existing event and add the edited version as a new event in the list To do this press the button directly above the event number and use the Soft knob to scroll to the event you want to start with Now select the effect number or the time code field by pressing the button directly above these display choices and change the values as needed Each time you alter a time code entry press ENTER When you have made all the changes you want press STORE and the modified events will be added to the list To delete an entry from the Event List select DEL The display will show XX 00 00 00 00 Setup name or No Event Selecting XX allows soft knob selection from among the Event List entry numbers 1 50 The time code associated with the event number is displayed to the right Press the key directly above Del to delete any event number from the list Note thatif an entry number is deleted from the list all subsequent entries will move up on the list The Event List can be transferred via MIDI data dump via t
107. fect Press MACH to display patches in the other Machine Example Setup Preset DM 223 Delay Daze contains two effect presets 3Voice Dlys and Pingo Pongo each of which has delay parameters mapped to the Soft knob The 3Voice Dlys effect preset loaded into Machine A has 2 patches DLY3 and DLY4 the Pingo Pongo effect preset loaded into Machine B has 3 patches DLY1 DLY2 and RDLY Press VALUE to display the actual values of each patch Selecting any of these parameters or any field labeled Dst allows you to select a different parameter to be patched to the Soft knob Patched parameters become part ofthe Setup and control of their values is accessed in Setup Select mode A Patch page viewed in Label mode Patch 1A DEST VALUE SOURCE THRESH SCALE A Patch page viewed in View mode Patch 1A DIy3 gt 17 Soft knob patches are made just like other MIDI patches Choose the Destination first the parameter you wish to control then the source controller the MIDI controller Softknob LFO Mod Wheel Pitch bender etc then a scaling amount to increment or to decrement the parameter In the value mode if you select knob gt as a source controller the actual Soft knob value can be adjusted Press the button directly under the Soft knob value In this example this would be the button under 17 Now as you turn the Soft knob the MOD EDIT display will show the interaction betwee
108. g Almost trashy sounding low diffusion and will certainly get so if the RT is made longer Big Hall Split Chamber Big and open sounding The 44ms of predelay help to separate the stage from the seating area Real good sounding on ballad vocals Great Room Split Chamber The Soft knob parameter advances the Predelay and spreads to open the room up almost to hall proportions Bass multiply is set to 2 0X to round out the bottom end Great Hall Split Chamber The largest room size yet at 64meters Similar to Great Room with Spread and Predelay patched to the Soft knob with RT also patched Dig Deep Big Bricks Split Chamber Real ratchety sounding effect Powerful effect for non line applications i Split Chamber Live performances in Joe s 14 6M Bar Advance the Soft knob parameter and the room size grows into a Bar and Grill 715 Split Chamber Two bays no waiting Small and bright 716 Sizzle City Split Chamber Small and long type Plate Very metallic reverb effect Great for cheap cymbals 5 22 7 701 702 703 704 05 706 707 708 709 710 711 712 713 714 o o w Qo O The Presets Drum Rooms Split Chamber Deep and narrow in shape The Soft knob parameter makes the room shallower and gated sounding BigBathroom Split Chamber Bright and clean Generic WC Great for solo stuff or for adding liveness to a track Soft knob draws out the Reverb Time Delay Room Split Chamber This preset offers a
109. g time code 01 00 00 00 00 SNAP CLR 00 00 00 00 The number displayed the upper left portion of the display indicates the event number which you are about to snap Simply press the key directly below SNAP wherever you want effect changes to happen This will assign those time code addresses to the Event List The upper right portion of the display shows running time code The lower line of the display shows the time code of the most recently snapped entry and allows you to clear the most recently snapped time code Time code formats are indicated as follows SV valid SMPTE Non Drop SDV valid SMPTE Drop Frame E V valid EBU F V valid Film V indicates valid time code Editing the list includes trimming snapped time codes choosing the type of automation change and selecting the event The EDIT function also allows you to enter time code numbers directly into the list rather than snapping them To edit the event list press the key directly below EDIT The display will show Pressing the key directly above 01 allows you to use the Soft knob to scroll through the Event List to select the event number you want to edit You will obviously want to start with number one Edit 01 00 00 00 00 New Event Press the key directly beneath Use the Soft knob to select the automation type Turn the Soft knob clockwise or counterclockwise to cause the letter S to appear The fir
110. gnificant and least significant bits you would never want to reduce the most significant bits you want to increase the least sigificant bits Adding some pre delay gives the control mechanism time to react before the audio reaches the digital VCA Of course the more predelay you add the more out of sync the audio will become Attack constants should be kept to short values 7 15 or 30ms A good starting point for release time is 91 or 114 ms 300 V 3 0 Owner s Manual Compressor Parameters Lexicon Compressor Adjustments RTC 0 4000ms SLP 1 0 99 99 1 p Eredelay AA Compressor RELEASE Expander gt xscore x rens T PDLY ATC Attack RTC Release Time Constant THRS Threshold GAIN SLP Slope Compressor Adjustments Page PDLY sets the predelay of the audio before the digital VCA ATC adjusts the attack time constant RTC allows adjustment of the release time constant THRS sets the level at which compression starts GAIN adjusts the gain of low level signals below the compression threshold SLP controls the slope ofthe gain reduction curve or the ratio of input level versus output level The Algorithms and their Parameters Expander Adjustments Page EXTH sets the threshold at which the expander starts to work EXSL EXG sets the amount of negative gain EXTH EXSL controls the slope of the expander circuit EXG PONS Dither is a low
111. gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt Effect Algorithms Large Hall Medium Hall Small Hall Church Rooms Rehursal Hall Chamber LiveDrumRoom Studio A Studio B Brick Wall Deep End Oil Tanker Synth Hall Dance Hall Random Hall Ambience In A Room Stairwell Hangar Marble Foyer EarlyReflect Lecture Hall Carlnterior Score Stage Gate It Random Ambience Rich Plate Glossy Plate Warm Plate Perc Plate Contem Plate EKO Plate Bright Plate Round Plate Rich Plate Stereo Adjust Phase Invert 2 Frame Dly 3 Frame Dly 4 Frame Dly MS Decode MultiEchoes pee ranner Stereo Adjust Telephone Stereo Shift Octave Down Vox Chorus Pole Flange Bulkie Roll Heavy Roll Going Going Stereo Pitch Shift Zorch 300 V 3 0 Owner s Manual Setup Setup Name Rev Rev Rev Dly Rev Pch Rev Comp Dly Dly Dly Pch Dly Comp Pch Pch Pch Comp Comp Comp Slow Spin WideFlang X Traffic GearUp TwoRooms TwoHalls Verbs RevPan Up amp Down MyGuitar EnvSpooge Fing amp Dlys Dly Daze Clusters 2 Flanges Setup Setup Name Rev gt Dly Dly gt Rev Rev gt Pch Pch gt Rev Rev gt Comp Comp gt Rev Dly gt Pch Pch gt Dly Dly gt Comp Comp gt Dly Pch gt Comp SurrVerb V3Comp V3Chamber SpaceOut JetVerb BigBricks Rev gt EKOz Rev gt Korus Over Top GuitarXP EKO gt Faze Verb gt Down The Sky Spinola
112. hanged first SIZE allows you to vary the apparent size of the space over a wide range SIZE SIZE is the most dramatic control and must be selected to match the music or program material It should be the first control that you adjust to tailor the desired space SIZE also affects the reverb time in a similar way to the standard reverb programs DIFF controls the degree to which initial echo density increases over time High DIFF settings of DIFF result in high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZE smaller spaces will sound denser To enhance percussion use high settings of DIFF For clearer more natural vocals mixes and music use low or moderate settings ROLL sets the frequency above which a 6 dB octave low pass filter attenuates ROLL Hi Freq Rolloff the processed signal It attenuates both pre echoes and reverberant sound High frequencies are often rolled off with this parameter resulting in more natural sounding reverberation 4 9 300 V 3 0 Owner s Manual RLVL Reverb Level DDLY Dry Delay PDLY Pre Delay SPIN Randomization WAND Wander Lexicon RLVL sets the amount of reverberation in the processed signal It is normally FULL but may be reduced for effects where the pre echoes should dominate DDLY provides a delay for the dry audio path PDLY adds an additional delay to the reflections and to the reverberation This c
113. he MIDI Control page in Control Mode Time Code Operation Adding an event Deleting an event Dumping the list to MIDI storage devices 6 9 300 Event List Comment Time Code This page may be reproduced as needed for recording any Event List you create i 4 b b xj ol ol 1 MIDI Operation 300 V 3 0 Owner s Manual MIDI Connections 300 with keyboard 300 with sequencer computer 7 2 Lexicon The 300 contains innovative MIDI features that exemplify Lexicon s commitment to using the power of MIDI to provide new functions to our users In the 300 most of these functions fall into one of four categories 1 Real time Dynamic MIDI9 control of as many as ten of the 300 s variable parameters simultaneously Two Setup patches can run on the channel specified for System changes and each machine can have four patches on a user designated channel 2 Automatic selection of a 300 effect via MIDI Program Change messages 3 Real time effects automation using MIDI System Exclusive or Non regis tered parameters 4 Transfer of setups effects the Event List and corresponding MIDI table to a computer other MIDI compatible device or to another 300 Each of these applications will be discussed in this chapter but first let s cover some typical installations All MIDI connections described in this chapter use the MIDI IN OUT and THRU connectors located on the rear panel of th
114. hich makes the decay less metallic and reduces the apparent reverb time The random elements also improve the steady state timbre of the program The speed at which the delay elements move is controlled by SPIN Values of SPIN which are higher than about 38 can cause audible pitch wobble in very critical material such as classical guitar or piano and can also cause noise on pure tones This noise is not audible in speech however and for mixed music or speech values up to 48 will give an improved sound WANDER is typically set to about 10ms at larger settings of SIZE The effect of WANDER is reduced for small SIZEs When you set out to create a sound the first and most important decision is how big a space you want The best way to start is to listen to several presets and choose the one which sounds closest to what you have in mind If necessary use SIZE to make a slightly larger or smaller sound as needed Next use RTIM to fine tune the amount of time the reverberation takes to die away atthe end of musical phrases Actual halls vary a great deal in their actual RTIM values The setting of the BASS is also critical in matching the sound of an existing hall An ideal concert hall would have a BASS setting of 1 2 It is rare when actual physical spaces exceed 1 5 Many if not most good recording environments have values of BASS of 1 0 or less so a value of 0 8 could be tried when attempting to match an existing hall There are two additi
115. ht delay effect The Soft knob parameter controls the timing of the bouncing delays The stored value of the Soft knob parameter is 16 MchA EA 810 Vocal Shift This preset combines a short delay line recirculating around a 7 cent pitch shifter MchB EB 603 Pingo Pongo Ping Pong delays bouncing back and forth The Soft knob controls the timing of the bounce P309 CC Diy gt Comp EA 604 3Voice Dly EB 901 EZ Comp 2 1 The Soft knob controls the timing relationships of the delay settings in the Machine A effect The Soft knob parameter is stored with a value of 31 MchA EA 604 3Voice Dlys Two taps Delays 3 and 4 are set with delay ratios of 1 2 meaning that when one is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the Soft knob in Setup Select MchB EB 901 EZ Comp 2 1 nice preset to add to an overall mix You may need to adjust the Threshold parameter to make it work for the particular signal you re feeding it Release is set to gently fall away after 363ms P310 CC Comp gt Dly EA 901 EZ Comp 2 1 EB 613 Wall Slaps This effect places a soft compressor ahead of Machine B which is running a delay program The Soft knob value is set to 20 when the setup is selected MchA EA 901 EZ Comp 2 1 A soft preset to add to an overall mix You may need to adjust the Threshold parameter to make it work for the particular signal you re feeding it Release is set to gently fall away after
116. ice MchB EB 010 Small St Adj This preset is a cut down version of the larger Stereo Adjust program available in Single Setups This particular preset has the Soft knob patched to three parameters Spatial EQ SPEQ Bass Left BASL and Bass Right BASR boosts and cuts P313 CC V3Comp EA 010 Small St Adj EB 901 EZ Comp 2 1 This is a straight ahead stereo compressor setup Use it in a mix insert point or pre fade send MchA EA 010 Small St Adj This preset is a cut down version of the larger Stereo Adjust program available in Single Setups This particular preset has the Soft knob patched to three parameters Spatial EQ SPEQ Bass Left BASL and Bass Right BASR boosts and cuts MchB EB 901 EZ Comp 2 1 A soft and easy preset to add to an overall mix You may need to adjust the Threshold parameter to make it work for the particular signal you re feeding it Release is set to gently fall away after 363ms P314 CC V3Chamber EA 701 Chamber EB 001 PONS Dither This preset is a reverb ahead of the dither program The reverb is essentially untouched as it passes through Machine B Remember the chamber algorithm is actually mono in stereo out MchA EA 701 Chamber A great general purpose reverb tail Size is set to 28 1M the largest value is 64M so the density is rather close in As you adjust Size Rt will also change If you want to unlink this natural phoenomena set LINK to Unlink on Page Two MchB EB 001PONS Dither Th
117. ides between 08 ms and 10 7ms This flange delay is patched to the LFO The base delays are set to 10ms with a negative amplifier gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay The channel outputs are reversed such that the left input will pass through to the right output and vice versa Remember the LFO lives in the Setup domain so if you load the effect into a setup where there is no LFO activity the preset will sound hollow and resonant P213 DM X Traffic EA 612 Chorus EKOz Sky Delays This preset has cross panning ABAL and BBAL patched between the source inputs of each Machine That is the left input signal will pan between Machine A and Machine the right input will do the same thing in the other direction One idea might beto take a pair of related tracks say a couple of different sounding keyboards and cross pan them between Machine inputs The rate of the pan is set by the LFO Remember the LFO set to 0 14Hz with a triangle waveform is also patched to the flange glides in both Machine A and Machine B MchA EA 612 Chorus EKOz Chorus EKOz makes use of the flange gliding delay and several recurring echoes MchB EB 610 Sky Delays This preset combines a bit of giding delay along with all sets of delays Delays 1 and 2 are set short with feedback and tuned diffusion gains Delays 3 and 4 are also set short and crossfeed into 2 and 1 respectively The is a small amount of post
118. ight speakers This preset is a stereo adjust program with the Balance set to full left The Balance parameter is patched to the LFO If loaded into a Setup which has the LFO running Panola will cause the audio to move between the left and right speakers The Presets Effect Preset Parameters Effect Presets Using the Random Hall Algorithm P101 Large Hall SIZE ROLL 37 1M 0 9k TDCY BASS 3 6k 1 2X WAND SHAP 10 1 120 LINK SHLF link 6dB DLY2 RTIM 20m 2 03s LVL2 RLVL off full FBK3 DLY4 0 48m LVL4 off P102 Medium Hall SIZE ROLL 29 3M 1 0k TDCY BASS 4 4k 1 2X WAND SHAP 8016u 100 LINK SHLF link 6dB DLY2 RTIM 20m 1 7s LVL2 RLVL off full FBK3 DLY4 0 48m LVL4 off P103 Small Hall SIZE ROLL 23 6M 1 3k TDCY BASS 5 5k 1 2X WAND SHAP 6762u 70 LINK SHLF link 6dB DLY2 RTIM 18m 1 1s LVL2 RLVL off full FBK3 DLY4 0 34m LVL4 off P104 Church SIZE ROLL 38 8M 4 0k TDCY BASS 2 9k 1 5X WAND 10 1 LINK link DLY2 32m 26m LVL1 LVL2 8dB 7dB DLY3 374m 12 LVL3 14dB MOD EDIT SOURCE SOFTKNOB DEST SCALE Size 49 TDCY 30 LVL3 14 LVL4 10 P105 Rooms SIZE ROLL 19 1M 6 6k TDCY BASS 3 6k 1 2X WAND 6258u LINK link DLY2 10m 20m LVL1 LVL2 12dB 10dB DLY3 FBK3 40m 0 LVL3 off MOD EDIT SOURCE SOFTKNOB DEST SCALE Size 25 P106 RehursalRoom SIZE ROLL 15 2M 5 1k TDCY BASS 4 4k 0 4X WAND SHAP Ou 12
119. in will be approximately the time value indicated by the SPREAD display in milliseconds As SHAPE is raised further the buildup and sustain remain similar but now a secondary sustain appears in the envelope at a lower level than the first This secondary plateau simulates a very diffused reflection off the back wall of a hall and is effective in creating a sense of size and space This reflection becomes stronger and stronger reaching an optimal loudness when SHAPE is at about 1 2 of its range The highest SHAPE settings are typically used for effects Near the top of the scale the back wall reflection becomes stronger than the earlier part of the envelope resulting in inverse sound Note that none of these shape effects are audible unless RTIM is set short enough Generally RTIM should be set to a value of about 1 2 seconds for small rooms and up to 2 4 seconds or so for halls SIZE should also be set to a value appropriate to the desired hall size note however that small sizes color the reverberation 15 meters makes a very small room and 38 meters is useful for a large hall Used with care SHAPE and SPREAD allow the 300 to produce superior ambience a sound which is spacious and has great depth without the long reverberation of a church The Random Hall algorithm in the 300 incorporates random delay elements These elements have several effects First there is a reduction of long lived modes in the reverberant decay w
120. ion of these engines can be determined by the end user to suit a particular audio application The Single Setup configuration unites both DSP engines Two split configurations Dual Mono and Cascade allow each DSP engine to run a special program especially designed for Split applications The Single algorithms include Random Hall Random Ambience Rich Plate Stereo Pitch Shift and Stereo Adjust The split algorithms include Dual Delays Chamber Mono Pitch Shift Compressor a special mastering dither program called PONS Psychoacoustically Optimized Noise Shaping and a small version of Stereo Adjust Comprehensive Effects Automation The 300 makes effects automation available in three different ways If you use time code the 300 s Event List and Time Code Reader add a new twistto effects processing Each entry in the 50 item list contains a time code value and a 300 effect preset register number allowing incoming time code to trigger setup and effect changes as well as setup and effect parameter glides For changing effects in music or changing rooms and environments for film and video the 300 s time code capability opens new avenues to all time code users Dynamic MIDI is included for real time performance control and effects auto mation All parameters in the 300 can be patched to most MIDI controllers allowing full control from remote devices For full MIDI automation all parameter changes can be recorded on any sequenc
121. ires lower threshold settings than analog compression The reason for this is that there is no such thing as headroom in a digital system dBfs Digital Full scale OVU is the maximum level audio Audio dynamics below full scale however can be manipulated and modified Example 1 Press SETUP SELECT and turn the Softknob to select Cascade Setup 313 STEREO COMP This preset loads the stereo compressor into both ma chines but mixes Machine B to full dry no point in compressing twice 2 Press ENTER to load the preset 3 Press EFFECT EDIT Note the front panel level meters and try to establish the average input level A simple approach might be to look at the peaks and valleys in signal amplitude and estimate the middle ground If this all seams too complicated just select THRS and set it to 17dB 4 Select GAIN and set it to Max 9 dB At this point there should be no effect on the dynamics because you ve not yet adjusted the slope parameter 5 Select SLP and increase it to 2 0 1 a2 to 1 Compression Slope Now you should hear a change If you still do not hear a net effect readjust THRS until something becomes audible Remember as you adjust the threshold clockwise closer to digital full scale more and more audio will be gain increased overload can occur The whole purpose of a digital compressor is to maintain peaks while compress ing lower level audio signals upwards If you think about it in terms of the most si
122. is natural phenomena you can set the link value to unlink Key Chamber Split Chamber A nice bloomy sounding reverb The diffusion is set midway so there is some good articulation at the begining of the reverb envelope Use this on most keyboards but those with a strong point may require a bit more diffusion Drum Chamber Split Chamber Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has lass diffusion RT is set to 1 0 second at mid frequencies Drum Plate Split Chamber Tight and diffuse with all the ring you could possibly want Guitar Room Split Chamber This is a big wide sounding room for your guitars For the heavy rock stuff you might consider panning in the returns The room is a little bottom heavy for additional warmth Could also work well on vocals Big amp Short Split Chamber This reverb effect is sort of gated Big room size set to 54 6 meters and RT set to 0 3 seconds This preset really opens up a sparse track U Chamber Split Chamber This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall L Chamber Split Chamber L Chamber mimics the shape of a chamber by that letter One side is shorter than the other with the speaker closer to one side A little bigger than the U chamber Basement Split Chamber Tight and short The room size 15 8 meters and the tonality is fairly resonant soundin
123. is preset has dither turned on and set to PONS Psycoacoustically Optimized Noise Shaping with level of 32 Experiments have shown this to be an optimum starting level of dither 5 15 300 V 3 0 Owner s Manual Lexicon P315 EA 711 Great Room EB 604 3Voice Dlys This preset loads two effects both of which have Soft knob parameterpatches The Soft knob parameter has a Setup value of 18 AMIX is set to 37 so that much of the dry signal bypasses the reverb preset and passes through to the delay effect If you want to increase the amount of reverb going into the delay effect locate the AMIX Setup parameter and increase it MchA EA 711 Great Room The Soft knob parameter advances Predelay and Spread to open the room up nearly to hall proportions Bass multiply BASS is set to 2 0X to round out the bottom end MchB EB 604 3Voice Dlys Two taps Delays 3 and 4 are set with delay ratios of 1 2 meaning that when one is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the Soft knob parameter in Setup Select mode P316 CC JetVerb EA 712 Great Hall EB 616 NegativeFIng Take off The long reverb in Machine A which can be made longer by advancing the Soft knob parameter passes into a flange driven by 0 14Hz triangle LFO MchA EA 712 Great Hall The largest room size yet at 64meters Similar to Great Room with Spread and Predelay patched to the Soft knob with th
124. ity to uniquely identify any frame provides a reference system for fast and accurate location of any point on the tape This referencing system maintains its accuracy regardless of changes in playback or editing equipment allowing precise synchronization of an entire editing system Time code identifies each video frame by assigning it a unique address Frames are sequentially identified by hour minute second and frame For example a typical timecode address appears as 09 42 31 07 hours minutes seconds frames As each frame is advanced the time code address is increased by one frame count Because the time code signal is locked to advancing video frames both advance at exactly the same rate In the USA there are two standard frame rates one for black and white monochrome and one for color Monochromatic video runs at a rate of 30 frames per second If a black and white TV program is measured by time code the program length time code display and clock time will all be in synchronization Color video signals run ata rate of 29 97 frames per second and clocking a one hour color program at 30 frames per second will result in a time discrepancy of 3 6 seconds or 108 frames In order to correct this discrepancy a version of time code called SMPTE Drop Frame was developed SMPTE Drop Frame Time Code as its name implies eliminates frame ad dresses from the Time Code each hour to allow matching of time code and clock
125. justs the period of the splices to match the pitch of incoming signals This feature makes the splicing intelligent and greatly reduces the artifacts associated with pitch shift the Mono Pitch Shift program each channel splices independently It takes about 40 ms for the pitch detector to obtain an optimal pitch value Setting the DLY control to this value will give the smoothest pitch shift Shorter values can be used for special effects or when extra delay cannot be tolerated There are three interacting controls for pitch described below Glide Pitch Interval and Fine Pitch Adjusting any pitch control activates a long display that shows the pitch percentage the musical interval and any fine adjustment in cents Always use this long display when matching Glide to Pitch Interval and Fine Pitch Mono Pitch Shift Adjustments PCH DLY FBK 2Oct to M7 48 0 510ms 0 98 Max GLD FIN BNPS 2Oct to M7 48 96 cents On Off Effect Naming Page Shifter The Algorithms and their Parameters Mono Pitch Shift General Description Mono Pitch Shift Parameters v p Bensoass gt Delay gt Mono Pitch Shift Adjustments Page PCH adjusts pitch interval The exact tuning can be altered by FIN and the exact pitch shiftin intervals and cents is displayed FIN must be set to the exact middle of its range if perfect pitch intervals are to be obtained In the long display fine pitch is shown by the number of cents add
126. kes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa In a Dual Mono Setup this is of course inaudible 5 8 The Presets P212 DM WideFlang EA 605 OverTheTop1 EB 606 OverTheTop2 This preset can be used with either two mono sources or one stereo source One channel glides with a positive resonance the other flanges with a negative resonance This preset sounds really awesome with a pre fade mono send going to each input The LFO which is set to 0 22Hz with a triangle waveform determines the speed of the flange glides in each Machine MchA EP 605 OverTheTop1 This preset should be used pretty much through the box i e send it a pre fader signal then mix only the returns The Flange Delay is patched to the LFO When properly modulated the flange delay glides between 9 5ms and 18ms The base delays are set to 10ms with a positive feedback gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay Remember the LFO lives in the Setup domain so if you load the effect into a setup where there is no LFO activity the preset will sound hollow and resonant MchB EP 606 OverTheTop2 Similar to OverTheTop1 except the flange delay gl
127. lly set betwen 2kHz and 4kHz PDLY adjusts an additional time delay between the input of signal and the onset of reverberation The control is not intended to mimic the time delays in natural spaces In real rooms the build up of reverberation is gradual and the initial time gap is usually relatively short Natural spaces are best emulated by setting SHAP at a middle value and adjusting SPRD for the desired effective pre delay Additional delay added with the PDLY control can increase the initial time gap slightly emulating a situation where reverberant pick up microphones are located much further from the source than the main microphones If less than about 30ms of pre delay is added this additional delay can add clarity with some music but it can also sound unnatural Large pre delays can be useful for slap echo effects RLVL sets the amount of reverberation in the processed signal It is normally FULL but may be reduced for effects where the pre echoes should dominate TDCY sets the frequency above which sounds decay at a progressively faster rate It filters all the sound except the pre echoes When setrelatively low it gives a darker tone to the reverberation simulating the effect of air absorption in a real hall TDCY also helps keep the ambience generated by the program from muddying the direct sound BASS sets the reverb time for low frequency signals as a multiplier of the RTIM parameter For example if BASS is set to 2X and
128. ly goes from the Deep End to the Shallow End We just didn t have the space in the display to fit the title P113 Oil Tanker Random Hall Round and booooomy All of the pre echoes are utilized to present strong reflections from the original source Synth Hall Random Hall A very diffuse medium sized with a long RT value The Soft knob advances Shape Spread Predelay and Rolloff P115 Dance Hall Random Hall Medium bright hall 1 4 seconds of reverb time Super on backing vox Great for the whole band Name Algorithm Description Ambience Random Ambience This preset creates a great sounding starting point Wonderful for soloists The Soft knob makes the space smaller and more randomized P117 Random Ambience Definitely short and abrupt Very realistic for ADR work i About 14 stories up and very flu parameter will move you higher v Random Ambience ttery sounding Increasing the Size into the concrete building Random Ambience Big wide open enclosed space 38 8M Very diffuse Akin to a hangar with two 747 s in it P120 MarbleFoyer Random Ambience A very realistic hotel or apartment foyer area The Mix control in Setup Edit is set to 70 while the dry delay in Effect Edit is set to 19 1ms to create a single hard reflection before the onset of the main reverb effect P121 Early Reflect RandomAmbience Very very diffuse almost gated sound A nice short ambience never gets in the way of the effect
129. milar to an OverTheTop type effect except the flange delay is patched to meter ballistics Some modification of the scaling parameter in the Mod Edit patch may be nessessary to suit Machine B ballistics MchB EP 608 Env Phazer This preset makes use of a patch between the L Meter and the flange glide delay As signal becomes stronger the glide delay drops in the time domain eventually crossing the 5 2ms base delays As audio signal strength lessens the glide returns to its preset value of 10ms Very good on vocals To make this effect work properly be sure to drive the 300 to within 12dB of full scale dBfs Remember in this setup the effects are reversed from the meter ballistics which drive them Good Luck P222 DM Fing amp Dlys EA 615 Negative Flang EB 602 Space Dlys This is a true Dual Mono Setup The Setup is set to 0 6Hz with a triangle waveform It drives the flange glide delay FDL Y in Machine A MchA EA 615 NegativeFIng This is a really stiff flange which goes almost 20ms deep Flange gain is set extremely negative so the sound is tunnel like MchB EB 602 Space Delays This preset incorporates a bit of multi diffused delays along with some small delay offsets between the post delay outputs If the effect is too strong try lowering feedback levels for delays 3 and 4 You may hear a kind of resonant tuning to the return signal This is because the flange delay has gain LFLG and RFLG in the circuit but itis not patched t
130. mo rize effects and set ups Value Used to display parameter values for Soft button or Soft knob adjustment Control Used to ac cess system parame ters Setup Edit Used to create or modify the current setup Effect Edit Used to adjust the parameters of effects Mod Edit Used to create patches The 300 front panel has been designed for ease of use and intuitive access to all of the 300 s functions In general the user will be operating in one of the following modes of operation each of which is accessed from the dedicated keypad on the front panel Each mode key has an LED which lights when the key is activated The functions of the VALUE and STORE keys are discussed later in this section SETUP SELECT It is from Setup Select mode that setups are selected and loaded Setups can be selected with the Soft knob or by entering a setup number on the numeric keypad and then pressing ENTER CONTROL Control mode provides access to global system functions which include Digital I O Configuration MIDI Channels Modes and Effect Change tables Selecting Control mode does not interrupt the audio operation of the 300 MACH This button allows you to toggle between the 300 s two DSP engines Each machine can process audio continuously and simultaneously However the front panel can only actively control one effect at a time Each time you press MACH the 300 switches control the display indicates whether Machine A or B i
131. monitoring RDAT MACHINE Analog ouiputs for monitoring CONSOLE or Destination Machine HEADPHONE AMP Note These digital connections can be made with fiber optic or XLR cables instead of 75Q coaxial RCA cables Installing the 300 AES EBU to S PDIF Conversion Source Machine DIGITAL AUDIO or DIGITAL VIDEO MACHINE AES EBU Format Analog outputs for monitoring EJAJ CP340 INE S PDIF Format RDAT MACHINE Analog outputs for monitoring CONSOLE or Destination Machine HEADPHONE AMP S PDIF to AES EBU Conversion Source Machine RDAT MACHINE or CD PLAYER S PDIF Format Analog outputs for monitoring AES EBU Format DIGITAL AUDIO or DIGITAL VIDEO CONSOLE MACHINE Analog outputs for monitoring or HEADPHONE AMP Destination Machine 300 V 3 0 Owner s Manual Lexicon ANALOG I O and AES EBU to AES EBU Analog Source Digital Source ANALOG DIGITAL AUDIO MACHINE or or MACHINE Analog audio AES EBU Format Analog audio DIGITAL AUDIO or CONSOLE HEADPHONE AMP P MACHINE Analog outputs for monitoring ANALOG MACHINE Digital Destination Analog Destination ANALOG I O and AES EBU Digital Output Source Machine CONSOLE or MIKE PREAMP Analog audio AES EBU Format CP340 E s Out Analog audio DIGITAL AUDIO or DIGITAL VIDEO CONSOLE HEADPHONE AMP MACHINE Analog outputs for monitoring or ANALOG MACHINE Destin
132. n the Soft knob contoller and the patched effect parameter Remember All MOD Edits are an extension of the individual effect There are four patches in each effect machine Therefore all MOD patches are stored with the effect However it is important to realize that the Soft knob parameter controller is much like any other external MIDI controller in that it is actually part of the Setup System Operation Soft knob Patches 300 V 3 0 Owner s Manual Control Mode Page One Time Code Event List Lexicon If the Soft knob value is set to 37 and then stored into a Setup Register when you recall that Setup the knob will automatically set the effect parameter value which it controls Itis also important to understand that if you load a Setup which has a Soft knob value of say 66 and then load any other effect s into that setup any Soft knob patches which exist in the newly loaded effect s will cause the linked parame ters to jump to some new value The Soft knob value controls the linked parameter s at all times Control mode provides access to general global parameters and miscellaneous functions including audio configuration Selecting Control mode does not interrupt the audio operation of the 300 There are nine Control mode pages Event List MIDI Mode and Map Table Machine Configuration Digital Interface and Sampling Rates SCMS Mode Emphasis Bypass Effect Load Mode Copy Tools Purge Tools Each of these pag
133. ng Connector Description L and R Analog XLR Active balanced pin 2 high Audio Input 2dBu min 20dBu max at OdB setting L and R Analog XLR Active balanced pin 2 high Audio Output 2dBu to 18dBu at full scale output AES EBU XLR A3M Balanced RS 422 Digital Input pin 2 high AES EBU XLR Balanced RS 422 Digital Output pin 2 high S PDIF RCA Unbalanced 75Q EIAJ CP340 Consumer Digital Input and Output Consumer Digital Audio Optical Input and Output S PDIF EIAJ Consumer Digital EIAJ CP340 Audio format Time Code XLR A3M Active balanced RS 422 pin 2 high 100mV p p Input minimum MIDI In 5 pin DIN Standard MIDI Interface MIDI Out MIDI Thru Pin 2 high by convention For best performance maintain balanced connections and use high quality low capacitance twisted shielded pair cable When connecting to single ended unbalanced devices connect the low side to signal ground at the unbalanced piece of equipment For mono connection connect the left and right input channels in parallel Be careful to keep input and output to all channels wired consistently Out of phase wiring can produce audible effects This interface requires balanced connections using high quality low capaci tance controlled impedance data communication twisted shielded pair cable It will not work reliably if microphone cable is used This interface is unbalanced but because it carries digital signals it requires
134. ng with a small amount of recirculating predelay In this preset it s more like a reverb pitch shift P304 Pch 2Hev EA 804 Sky Down EB 703 Drum Chamber This Setup links a tunneling downward pitch program into a great sounding reverb Play around with BMIX for a different kind of effect MchA EA 804 Sky Down This preset tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the feedback amount MchB EB 703 Drum Chamber Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has less Diffusion Rt is set to 1 0 second at mid frequencies P305 CC Rev gt Comp EA 705 Guitar Room EB 901 EZ Comp 2 1 This preset changes the dynamics of the Guitar Room effect preset If you play around with the compressor preset you can no doubt get some strange effects MchA EA 705 Guitar Room This is a big wide sounding room for your guitars For heavy rock stuff consider panning in the returns The room is a little bottom heavy for additional warmth MchB EB 901 EZ Comp 2 1 A nice preset to add to an overall mix You may need to adjust Threshold to make it work for the particular signal you re feeding it Release is set to gently fall away after 363ms P306 CC Comp Rev EA 902 Drum Comp 3 1 EB 709 Basement Squash it up a little before they the drums go into the Basement MchA EA 902 DrumComp 3 1 This is a bit more aggressive with 7dB of boost below the
135. nto Chambers Flanges into Delays Reverbs into Compressor etc You experiment name and store new combinations into User Setup Registers Remember Input levels Source Balances Mix Balances Feedback amounts LFO type and of course the two effects are part of the storable Setup System Operation Setup Select mode allows you to select and run setup presets and registers Setup Select Mode The 300 is shipped with 100 setup presets as well as 50 setup registers for The Setup Presets storing your modified setups The setup presets provide a convenient starting point for selecting the audio DSP routing you want to use Note Presets marked with an asterisk have a Soft knob patch Single Setup Presets Setup Setup Name Large Hall Medium Hall Small Hall Church Rooms RehursalRoom Chamber LiveDrumRoom Studio A Studio B Brick Wall Deep End Oil Tanker Synth Hall Dance Hall Ambience In A Room Stairwell Hangar MarbleFoyer EarlyReflect Lecture Hall Carlnterior Score Stage Gate It Rich Plate Glossy Plate Warm Plate Perc Plate Contem Plate EKO Plate Bright Plate Round Plate StereoAdjust Phase Invert 2 Frame Dly 3 Frame Dly 4 Frame Dly MS Decode MultiEchoes LFO Panner Telephone Stereo Shift Octave Down Vox Chorus Pole Flange Bulkie Roll Heavy Roll Going Going Zorch Mach gt gt gt gt gt gt gt gt 5 5 5 5 5 5 5 5 52n 5 gt gt gt
136. ntrol varies the input level to the DSP engine for each type of input Analog or Digital The Balance controls determine what ratio Analog and Digital Out L gt Analog Overall L R IL M 9 Level Mix gt n Analog Digital L B Digital Digital R gt Level Balance of Left Right balance feeds the DSP engine Analog and digital input levels and balances are located on Page 2 of the SETUP EDIT mode Press SETUP EDIT then press PAGE DOWN once Example All SINGLE Setups have Balance set to 50 This means an equal proportion of Left and Right input signal is passed into the Single Effect 1 Press the ABAL Analog Balance 2 Turn the Soft knob counterclockwise to let more of the Left input pass through 3 Turn the knob clockwise to allow more of the Right channel to pass through 4 Return the parameter to 50 allowing proper stereo to pass to the DSP effect Before the signal passes into the loaded effect a post input level and post balance is picked off and bypasses the effect Lexicon calls this the Dry signal path The Dry signal and the Wet DSP effect signal are summed and proportionally mixed by the control labeled OMIX Overall Mix This control is foundonthe next Page Press PAGE DOWN once The resulting mix is passed out both analog and digital 3 4 NOTE Most studio applications assume 100 Wet mix Most SINGLE Setups are set with OMIX at 100 Wet However itis possible that some pre f
137. nual Lexicon Getting Started When shipped the 300 V3 0 defaults to an Analog In 48K sample rate state It also loads Setup Preset 101 Large Hall with the Random Hall Effect Large Hall Effect Preset 101 The various audio DSP routing configurations which can be utilized by the 300 are groupedinto Setups Thethree Setuptypes are SINGLE DUAL MONO and CASCADE SETUP NAME RANDOM HALL STEREO ADJUST RANDOM AMBIENCE STEREO PITCH SHIFT RICH PLATE EFFECT ALGORITHM DUAL DELAY COMPRESSOR PARAMETER VALUES MIX LFO INPUT INPUT CASCADE BALANCE BALANCE FEEDBACK A B RATE SHAPE EFFECTA ALGORITHM SPLIT CHAMBER MONO PITCH SHIFT Pons sant stereo ans PARAMETER VALUES LFO METERS EFFECT ALGORITHM PARAMETER VALUES DUAL MONO SETUP MOD EDIT PATCH PATCH EFFECT PATCH PATCH PATCH PATCH ALGORITHM SPLIT CHAMBER MONO PITCH SHIFT MOD EDIT PATCH PATCH MOD EDIT EFFECT NAME EFFECT B MOD EDIT PATCH PATCH PARAMETER EFFECT NAME CASCADE SETUP DUAL DELAY COMPRESSOR SMALL STEREO ADJ METERS VALUES NAME PATCH PATCH MOD EDIT MOD EDIT LEFT ALGORITHM SETUP NAME MOD EDIT RIGHT PATCH PATCH EFFECT B SPLIT CHAMBER DUAL DELAY PONS PATCH PATCH PATCH PATCH EFFECT NAME MONO PITCH SHIFT COMPRESSOR SMALL STEREO ADJ PATCH PATCH PATCH PATCH PARAMETER VALUES EFFECT NAME
138. o form the main reverberant output Both the pre echoes and the reverberation are affected For example if SHLF is set to 6dB frequencies below approximately ROLL 2 will be boosted by 3 5dB above approximately ROLL x 2 the response will be flat SHLF provides a method for making the spectral content of the reverberation match the ideal spectrum for musical acoustics in rooms For this application ROLL should be set between 700 and 1 5kHz with SHLF set between 12 and 6dB SIZE sets the rate of buildup of diffusion after the initial period which is controlled by DIFF It also acts as a master control for RTIM and SPRD The SIZE control changes a reverb sound from very large to very small Generally you should set the SIZE control to approximate the size of the acoustic space you are trying to create before adjusting anything else The size in meters is roughly equal to the longest dimension of the space Moving SIZE while a signal is present may cause audible transients on critical material The apparent size of the space created is actually a combination of the settings of the SIZE SHAP and SPRD controls Small acoustic spaces are character ized by a rapid buildup of diffusion However both small and large spaces frequently have an uneven buildup of initial reverberation This uneven buildup is controlled by the SPRD and SHAP controls Random Hall and Feedback Pre Echoes Pages The Random Hall Pre Echoes page and the Feedback Pre E
139. o if the Rt is made longer P216 DM TwoHalls EA 720 Recital Hall EB 710 Big Hall Two mono halls left to left and right to right Try reversing the returns relative to the sources at the console for a different effect MchA EA 720 Recital Hall This medium large 44 5M space opens sound sources beautifully Made for string pads and voice MchB EP 710 Big Hall Big and open sounding The 44ms of predelay help to separate the stage from the seating area Real good sounding on ballad vocals P217 DM Verbs EA 717 Drum Rooms 711 Great Room Advancing the Soft knob parameter will change the characteristics of each Machine preset as described below MchA EP 717 Drum Rooms Deep and narrow in shape The Soft knob parameter makes the room shallower and gated sounding MchB EP 711 Great Room The Soft knob parameter advances Predelay and Spread to open the room up nearly to hall proportions Bass multiply BASS is set to 2 0X to round out the bottom end P218 DM RevPan EA 707 U Chamber EB 708 L Chamber This preset has two Setup Edit parameters patched to the LFO ABAL and BBAL Sources going into Machine A and B will cross pan between them as in X Traffic The LFO is set to 0 06Hz with a triangle waveform MchA EA 707 U Chamber This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall MchB 708 L Chamber L Chamber mimics the shape
140. o the LFO It just stays in its preset location at 8 6ms If you want to change the tuning adjust flange glide FDLY in Effect Edit mode to another value P223 DM Dly Daze EA 604 3VoiceDlys EB 603 PingoPongo The Soft knob parameter affects the delay spacing in both Machine effect presets Increasing the Soft knob parameter value will make each delay effect longer and longer decreasing it will make each delay effect shorter The Soft knob value is set to 12 when the setup is selected MchA EA 604 3Voice Dlys Two taps Delays 3 and 4 are set with delay ratios of 1 2 meaning that when one is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the Soft knob parameter in Setup Select mode MchB EB 603 Pingo Pongo Ping Pong delays bouncing back and forth The Soft knob controls the timing of the bounce 5 11 300 V 3 0 Owner s Manual Lexicon P224 DM Clusters EA 612 Chorus EKOz 604 3Voice Dlys This preset is intended for dual mono use The LFO is set to a Triangle shape moving at 2 50Hz The Soft knob changes the spacing of the delays in Machine B The Soft knob value is set to 20 when the setup is selected This means that the Soft knob can go down from its preset value if the application warrants it MchA EP 612 Chorus EKOz Chorus EKOz makes use of the flange gliding delay and several recurring echoes MchB EP 604 3Voice Dlys Two taps Delays 3 and 4 are set with del
141. oint is 100 Hz The purpose of the band pass filter is to give the pitch shifter less information than it actually needs to decide when to make the splice Typically this will further improve the perform ance of the pitch shifter The Algorithms and their Parameters Compressor The Compressor algorithm is a true digital compressor which will run in either General Description Dual Mono or Cascade Setups In Dual Mono Setups it configures to mono in mono out in Cascade Setups it configures as a true stereo effect The compressor can be described as an upwards averaging compressor Digital compressors like analog compressors decrease audio above a given thresh old Unlike analog compressors they increase gain below the threshold The result from either analog or digital compression is exactly the same less dynamic range As shown in the diagram below the audio path takes two routes One path goes through a predelay mechanism which delaysthe audio a maximum of 48 ms The other path sends control information dependent on the settings of slope threshold attack and release to digital VCA s labeled MAX COMP GAIN and EXP GAIN As the signal crosses the threshold point both Compressor Gain and Expansion Gain vary constantly Compressor Gain determines the maxi mum amount of gain increase below the threshold Expansion Gain determines the maximum amount of gain attenuation below the threshold Generally digital compression requ
142. ols ENABLE SETUP EFX MIDI The upper line on this page allows you to enable or prohibit the 300 s copy functions Pressing either of the two righthand buttons above the display will toggle the memory protect function between ENABLE and DISABLE Dis abling the memory function will prevent Event Listand MIDI Map editing Setup and Effect storing Setup and Effect copying as well as incoming MIDI loads of any of the above The lower line allows selection of SETUP EFX or MIDI Selecting SETUP will cause the display to show SET Large Hall R __ Available Select Src and use the Soft knob to designate a setup number or the current setup to be copied select Dst and use the Soft knob to specify the register number where you want this copy stored When you have made these selec tions press STORE Selecting EFX will cause a similar page to appear which allows you to copy the effect and the patches used in any effect to any other register Selecting MIDI allows you to copy patches from one effect to another The Purge page allows you to delete all setup or effect registers the MIDI Program Change Map Table or the Time Code Event List It also allows reinitialization of a Lexicon demonstration erasing all user effects and Time Code Event List data and a complete reinitialization of the system to its factory configuration Selecting FACTORY restores the 300 to its factory memory configuration This
143. ome special effects RTIM and SPRD can be unlinked SIZE allows you to vary the apparent size of the space over a wide range SIZE isthe most dramatic control and must be selected to match the music or program material It should be the first control that you adjust to tailor the desired space SIZE also affects the reverb time in a similar way to the standard reverb programs Rich Plate Delay and Feedback Pre Echoes Page These pages provide control over three stereo delay pairs All three are summed with the output of the reverberator Many many different echo combinations are possible DLY1 and DLY2 Oms 2000ms are recirculating delay lines to the left and right channel inputs The path of either is picked off after the diffusor with the amount of recirculation defined by the adjustment of FBK1 for DLY1 and FBK2 for DLY2 DLY1 and DLY2 are the only delays which effectively feed back recirculate into the reverberator The Algorithms and their Parameters RAND Randomization SHAP Shape SPRD Spread DIFF Diffusion LINK SIZE DLY1 DLY2 300 V 3 0 Owner s Manual FBK1 FBK2 DLY3 DLY4 LVL3 LVL4 DLY5 DLY6 FBK5 FBK6 LVL5 LVL6 Lexicon FBK1 and FBK2 determine the amount of recirculation passed back through to the left and right inputs DLY3 Oms 1000ms and DLY4 Oms 1000ms are also picked off after the diffusor The level of each is controlled by LVL3 and LVL4 respectively LVL3 an
144. onal controls to deal with SHAPE and SPREAD adjust the effective reverb time when the music is running Higher values of SHAPE and SPREAD produce a longer effective reverb time Longer effective reverb times give greater spaciousness to the sound The 300 reverberation algorithm offers the option of adding early reflections pre echoes which have been made into diffused clusters of pre echoes The density of the cluster is set by the DIFFUSION control We recommend that these pre echoes be used with caution unless you are trying to match the sound of the reverberation to a particular location where such reflections are strong The Algorithms and their Parameters Random Delays Creating a Realistic Sound 4 3 300 V 3 0 Owner s Manual 4 4 Random Hall Parameters RTIM 02 60 49s RLVL Off 48dB Up Full Lexicon Random Hall Basic Sounds SIZE 4 39 4M TDCY 0 5 21 2kHz ROLL 0 1 26 5kHz Flat BASS 0 2x 4 0x PDLY 0 1000ms XOVR 0 1 26 5kHz Random Hall Tweaks 0 1000ms LVL1 Off 24dB Up Full DLY3 0 2800ms LVL3 Off 24dB Up Full WAND Ous 37 1ms LINK SHLF Link Unlink Off 24dB Up Full Random Hall Pre Echoes SHAP 0 255 0 1000ms LVL2 Off 24dB Up Full 24 65 39s RLVL Off 24dB Up Full FBK4 93 to 93 0 2800ms 93 to 93 LVL4 RTIM Mid Frequency Reverb Time SIZE Off 24dB Up Full Sei eis Reverberator sA gt Random Hall Basic
145. onant small room Beautiful effect on stacked vocals If you use this preset in a cascade setup which has some small amount of Machine B feedback the chorus will trail itself upand down in pitch Very interesting twist Be careful not to use too much feedback to avoid runaway feedback Chorus EKOz Dual Delays This preset makes use of a gliding delay and several reccuring echoes Wall Slaps Dual Delays Walls tied to the Soft knob parameter move outward A small amount of diffusion to smear the attack Env Peak Dual Delays This preset is similar to an OverTheTop type effect except the flange delay is patched to the meter ballistics NegativeFIng Dual Delays This is a really stiff flange which goes almost 20ms deep Flange gain is set extremely negative so the sound is tunnel like LFO Pan amp Faze Dual Delays This cool wavy preset runs pre fader with the Setup LFO at about 20Hz LFO drifts back and forth with a stereo signal attached to it With a mono signal attached to both inputs the acoustic effect is a slow rotation in phase Thank goodness for CD s No record cutting lathe could handle this one Clean compressed guitars are the best here 5 21 300 V 3 0 Owner s Manual Lexicon EP Name Algorithm Description Chamber Split Chamber A great general purpose reverb tail The size is set to 28 1M the largest value is 64M so the density is rather close in As you adjust size the Rt value will also change If you want to unlink th
146. ontrol may be useful in a sound reinforcement situation or for ambience effects Both DDLY and PDLY have 4 sample approximately 0 1msec resolution Random Ambience Tweaks Page SPIN affects the movement of many of the delay taps The object of SPIN and WAND is to continuously alter the timbre of the reverberant sound This makes the result more natural without making the position of instruments unstable SPIN should typically be 20 or higher High values may make the pitch of piano or guitar unstable WAND sets the distance in time that the early reflections will move For best results WAND should be about 10ms at larger sizes The Algorithms and their Parameters Rich Plate The Rich Plate program is denser smoother and less colored than other reverb General Description programs When used with the SIZE control at around 16 meters the sound is dense and tight ideal for percussion Larger sizes and longer reverb times are suitable for vocals and brass The Rich Plate program has five control pages with 28 adjustable parameters shown below Rich Plate Basic Sounds Rich Plate Parameters RTIM SIZE ROLL PDLY 0 15 40 46s 4 0 39 4M 0 1 26 5kHz Flat 0 1000ms RLVL TDCY BASS XOVR Off 48dB Up Full 0 5 21 2kHz 0 2x 4 0x 0 1 26 5kHz Rich Plate Tweaks RAND SHAP SPRD Off 1 98 Up Full 0 255 0 250 DIFF LINK SIZE 0 99 Link Unlink 4 0 39 4M DLY1 DLY2 DLY3 DLY4 0 2000ms 0 2000ms 0 1000ms 0 1000ms FBK1 FBK2 LVL3 LV
147. ot show any incoming signal The meters may be set to read the wrong inputs Use the Meter page in Setup Edit mode to select the inputs you are using Troubleshooting Common Time Code Problems Common Digital Interfacing Problems 8 3 MIDI Implementation Details are available to assist experienced programmers in developing software for use with the 300 These can be obtained from your dealer or directly from Lexicon Request Model 300 MIDI Implementation Details MIDI Implementation Chart 9 1 300 V 3 0 Owner s Manual MIDI Implementation Chart Lexicon Lexicon 300 Digital Effects System Version 3 0 Function Transmitted Recognized Remarks Basic Default 1 1 Mach A Mach B and Channel Channel 1 16 OMNI 1 16 OMNI System on separate channels Memorized Mode Defaullt Messages Mode 1 3 Altered Note X 0 127 Used as controller Number True Voice Velocity Note ON X O v 1 127 Used as controller Note OFF X X After Keys X X Touch Channels X X Pitch Bender X MSB only Control 0 95 x OX 0 99 Controllers can Change be patched to control effects parameters 96 OX OX Data Increment 97 OX OX Data Decrement 98 OX O N RPN 99 OX N RPN Program O 0 127 Change True O 0 127 System Exclusive System Song Pos X X Song Sel X X Common Tune X X System Clock X as Controller Real Time Commands X X Aux Local ON OFF X X Messages All Notes OFF X X Acti
148. ource This is used to select the MIDI controller or event that will control an effect parameter in the 300 The list contains the selections shown to the left Threshold This is used to set the point below which controller values will not have an effect on the parameter Scale This is used to set the effective control range of the MIDI controller Scaling can be set from 200 to 200 When Scale is set to 100 the full range of the MIDI controller will correspond to the full range of the selected Destination parameter Setting a negative value will cause the 300 to reduce the setting of the parameter as the controller increases Youcan store any patches you create with the Effect simply by pressing STORE selecting a register number with the Soft knob and then pressing STORE again Note Be extremely careful when creating patches while a MIDI device is connected If you accidentally send a MIDI Program Change before saving the patches in a register they will be lost To avoid this possibility you may want to set the MIDI Master Channel in Control Mode to OFF or unplug the MIDI cable from the 300 s rear panel MIDI IN connector The 300 provides two different methods for using MIDI Program Change messages These functions are accessed in Control mode selected by pressing CONTROL From Control mode use the PAGE UP DOWN keys to select the MIDI Control page and press the key directly beneath EDIT MIDI Table mode has three s
149. ove and repeat the above steps so that the display looks like this Edit 04 01 00 21 05 PS ALVL gt Off 100Fr Parameter glides which have been programmed into the Event List will be viewed singly as the event happens If you are VIEWing two or more glides which happen to be programmed for the same time code as in the example above only the last entry will be displayed Time Code Operation 6 7 300 V3 0 Owner s Manual 6 8 Lexicon Things to Consider Al parameter glides are based on the effect loaded in the list immediately About Glides preceding the glide For example let s say that Medium Hallis Event Edit 4 and Event Edit 5 specifies PA RTIM moving to a value of 3 8s with a duration of 007 Frames What happens if you change Event 4 from Medium Hall to Vox Chorus 04 00 59 27 00 VoxChorus 05 01 00 21 05 GLD gt Ma4 100Fr A Event 5 is now being driven by an algorithm which does not have RTIM as a selectable parameter and which cannot therefore have a final parameter value New values will be automatically placed there based on the selected algorithm s available parameters The proper thing to do is to delete Event 5 Once you have created an Event List you can also modify it by adding effect changes Select ADD The display will show Add XX Event 00 00 00 00 ert Setup name or No Event The ADD function is used in two different ways To duplicate an
150. ow frequencies Rich Plate Tweaks Page RAND sets the rate of the randomization process Plates should generally use low amounts of randomization SHAP and SPRD work together to control the overall ambience of the reverbera tion created by the 300 SHAP determines the contour of the reverberation envelope With SHAP all the way down reverberation builds explosively and decays quickly As SHAP is advanced reverberation builds up more slowly and sustains for the time set by SPRD With SHAP in the middle the buildup and sustain of the reverberation envelope emulates a large concert hall assuming that SPRD is at least halfway up and that SIZE is suitably large 30 meters or larger SPRD works together with SHAP to control the duration of the initial ambience created by the 300 Low SPRD settings result in a rapid onset of reverberation at the beginning of the envelope with little or no sustain Higher settings spread out both the buildup and sustain DIFF controls the degree to which initial echo density increases over time High settings of DIFF result in high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZE smaller spaces will sound denser To enhance percussion use high settings of DIFF For clearer more natural vocals mixes and music use low or moderate settings When LINK is set the reverb time and spread values scale linearly as the SIZE control is varied For s
151. ows the pitch percentage the musical interval and any fine adjustment in cents Always use this long display when matching Glide to Pitch Interval and Fine Pitch Stereo Pitch Shift Mode Pitch and Effects Stereo Pitch MODE GLDL GLDR Shift Parameters Mono Stereo 2 Oct to M7 48 2 Oct to M7 48 PCHL FINL PCHR FINR 2 Oct to M7 48 100 cents 2 Oct to M7 48 100 cents Stereo Pitch Shift Delay Feedback LFBK RDLY RFBK 0 98 Max 0 510ms 0 98 Max SYNC On Off On Off Shifter pes t eT ene Trace Gor Shifter Sire gt JL ewe eue JR gt 300 V 3 0 Owner s Manual MODE GLDL and GLDR Glide Stereo Left and Right PCHL Pitch Interval Stereo Left and PCHR Pitch Interval R FINL Fine Pitch Stereo Left and FINR Fine Pitch R Lexicon Stereo Pitch Shift Mode Pitch and Effects Page MODE selects stereo or mono mode In stereo the two channels are linked pitch shifting by the same amount and splicing at the same time GLDL affects both channels in stereo mode and the left channel in mono mode GLDR affects the right channel in mono mode These controls change the pitch continuously over a range of 2octaves to 1 octave This allows a glissando to be performed either manually or via MIDI PCHL adjusts the pitch interval of both channels in stereo mode and the left channel in mono mode The exacttuning can be altered by the fine pitch control and the ex
152. pear on the display as long as the Soft knob is being adjusted Pressing the front panel VALUE key will display all of the current parameter values for the selected page in this example pressing VALUE will cause the following display to appear 2 05 37 1 2 9k FULL 3 6k 2X Here again turning the Soft knob will adjust the selected parameter over its entire range the buttons will select other parameters for adjustment The PAGE UP and PAGE DOWN keys are used to access various pages of additional parameters or parameter values which can then be edited via the Soft knob The 300 presents you with an incredible number of choices all of which can be made through the front and rear panel Although you could certainly operate the 300 by setting each I O configuration and effect parameter by hand each time you use it you probably wouldn t enjoy it so we ve tried to organize the 300 so that its considerable flexibility doesn t become an obstacle Before digging into the details of operation presented in this manual you may find this brief overview useful The block diagram shown below illustrates the basic flow of audio through the 300 Analog and or digital audio enters on the left Each is conditioned and translated as required and in the case of digital audio a sample clock is extracted The resultant digital audio streams are sentto effect processing then converted to appropriate analog and digital outputs on the right
153. pin DIN connectors provided for MIDI IN MIDI OUT and MIDI THRU 19 0 W x3 5 H x13 6 D 483x89x346mm 19 rack mount standard 2U high Net weight 18 9 Ibs 8 6 kg Shipping weight 24 5 Ibs 11 1 kg 100 120 220 240 VAC 10 5 50 60 Hz 3 pin IEC power connector 75 VA maximum Operating Temperature 32 to 95 F 0 to 35 C Storage Temperature 22 to 167 F 30 to 75 C Humidity 95 max without condensation Two lines of 20 alphanumeric characters each Soft Knob Numeric Keypad for data entry Edit Keypad Bypass A and B Power Switch Level 8 soft buttons for parameter selection and adjustment CLA approval Specifications subject to change without notice Specifications Analog Input to Analog Output 48kHz sampling rate Frequency Response Crosstalk Signal to Noise Ratio Total Harmonic Distortion SMPTE Intermodulation Distortion Dynamic Range Digital Audio Interfaces AES EBU professional digital audio interface EIAJ CP 340 SPDIF consumer digital audio interface Sample Frequency Control Interfaces Time Code Input MIDI Interface General Dimensions Weight Power Requirements Power Consumption Environment Front Panel Display Front Panel Controls Safety Approvals 10 3
154. put signals of each type of input Analog or Digital In this format patch points are given up The parameters for determining what blend of Left Right is passed to each Machine A and B are A BAL and B BAL located on Page Two of the Setup Edit mode Balance gt A B Balance The determination of Fixed vs Mixed formats is set in Control mode on Page Three the Machine Configuration page Selecting ANALOG or DIGITAL on this page specifies the Fixed format If you want to input both analog and digital audio Mixed format press CTRL to get to Control mode Press PAGE UP or PAGE DOWN to view the Machine Configuration page The leftmost button on the bottom row selects ANALOG or DIGITAL In Dual Mono Setups the selections also include gt D gt R and D L A gt R Turn the Soft knob so that the display reads IET 1 A gt L D gt R O der In this format analog audio feeds the Input to the Left Processor Machine A digital audio feeds the Input to the Right Processor Machine B Machine A audio comes out Analog left and digital left Machine B audio comes out Digital right and analog right All Dual Mono setups have the ABAL and BBAL set to Left CHannel and Right CHannel respectively This assumes a fixed format type of audio configuration If you elect to work in a Fixed format all Dual Mono setups will require individual adjustment of ABAL and BBAL to 50 When working
155. r frequency nodes caused by low frequency input If you want to create your own special Chambers or Halls you should keep RAND set to 90 or 95 Typically SIZEs of 14 24 meters with TDCYs higher than3 4kHz will emulate bright sounding metal plates Remember to set SHAP and SPRD to extremely low values to maintain the explosiveness of the reverb decay Because plates are very diffuse any preset mimicking a plate should have DIFF set relatively high 70 80 while BASS is kept to some value less than 1 2kHz DIFF and PDLY precede the reverberator When Chamber programs are loaded into Dual Mono setups the audio will be Mono In Mono Out When loaded into Cascade setups audio is routed summed Mono In Stereo Out Split Chamber Adjustments Page 1 RTIM SIZE PDLY 09 24 11s 4 0 66 4M 0 1000ms TDCY SHAP SPRD 0 5 21 2kHz 0 255 0 202 Split Chamber Adjustments Page 2 BASS 0 2 4 0x Off 0 98 Up Full XOVR 0 1 26 5kHz Split Chamber 2 pius rris ovr 855 E Split Chamber Adjustments Page 1 RTIM sets the reverb time for mid frequency signals Because low frequency reverb time BASS is a multiplier of RTIM RTIM acts as a master control for the reverb time SIZE sets the rate of buildup of diffusion after the initial period which is controlled by DIFF It also acts as a master control for RTIM and SPRD The SIZE control changes a reverb sound from very large to very small Generally you should set the S
156. r system Effects Send L Installing the 300 Configurations Connection to a mixing console s effects sends Effects Send R Channel Input or Effects Return L Channel Input or Effects Return R TIME CODE IN DO AES EBU pi EIAJ CP340 x Aes 0 aM COMM PORT If you will be using a 300 as your primary effects unit and your system includes a console with one or more auxiliary effects sends connect the 300 as shown above In most applications it is preferable to connect the 300 outputs to two of the console s input channel strips panned full left and right rather than the effects returns This allows the greatest flexibility in routing and equalization In this configuration the console controls are used to set the amount of effect heard the 300 s MIX control should be set for 100 wet If you are using only one effects send connect the left and right inputs of the 300 in parallel The following diagrams give a few examples of various possible configurations for interfacing to digital equipment 300 V 3 0 Owner s Manual Lexicon AES EBU to AES EBU DIGITAL AUDIO or DIGITAL VIDEO MACHINE AES EBU Format Source Machine Analog outputs for monitoring DIGITAL AUDIO n CONSOLE DIGITAL VIDEO MACHINE Analog outputs for monitoring or HEADPHONE AMP Destination Machine S PDIF to S PDIF RDAT MACHINE or CD PLAYER S PDIF Format Analog outputs for
157. rculating predelay Actually the glide pitch parameter GLD is patched to the LFO running in the Setup The LFO causes the GLD to glide between 14c and 7 cents If you move the GLD parameter in Effect Edit to 21c the preset becomes raunchy sounding on beefy guitars 5 6 The Presets P204 DM Rev Comp EA 707 U Chamber EB 901 EZ Comp2 1 This preset utilizes a chamber preset on the left input and a compressor preset on the right input Typically EZ Comp2 1 should be used ata patch point on the console If used on an effect send make sure the fader sends are pre fade or a phase error will occur between the fader signal and the return to the console MchA EA 707 U Chamber This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall MchB EB 901 EZ Comp 2 1 An easy preset to add to an overall stereo mix or mono or stereo submix You might need to adjust Threshold to make it work for the particular signal you feed it Release is set to gently 2 1 fall away after 363ms P205 DM DIy Dly EA 609 Chorus EB 612 Chorus EKOz Think of this preset as the chorus preset for mono sources Left input feeds Machine A right feeds Machine B Both effects have their flange glides attached to the Setup LFO The LFO is set to 1 38Hz with a sine waveform MchA EA 609 Chorus The Chorus preset makes use of a small variation in the glide delay to modulate the soun
158. rtus 3 25 8 diet e men Ca Pe Oe Roe 3 25 Bypass Effect Load Mode 3 26 Copy bete caute decus tote 3 26 Tools uet inte eerte Ret x ng 3 27 Contents Contents cont d 4 The Algorithms and their Parameters Single Setup Algorithms 0 c cee taal iae 4 2 Random Aall i iEn 4 2 Random 4 8 Fuch Plate 225 4 11 Stereo Pitch Shift ctt oett eet e eene 4 15 otereo Ad jUSL eerta tota las teeter anes 4 18 Split Setup Algorithms essesssssesese nee 4 23 Dual ieu Ae Na eA i NES 4 23 hem tei a ectetur 4 26 Mono Pitch 4 29 GOmpressor etit eee aet Dates 4 31 PONS Psychoacoustically Optimized Noise Shaping 4 33 Small Stereo AdjUst iit 4 34 The Presets Single Setup and Effect Presets 5 2 Split Setup Presets and Their Effects 5 6 Split Setup Effect Descriptions 5 20 Effect Preset Parameters 5 25 Effect Presets Using the Random Hall
159. s follows 101 115 Random Hall Presets 201 210 Random Ambience 301 308 Rich Plates 401 409 Stereo Adjust 501 508 Stereo Pitch Shift These can only be loaded into Single Setups 101 150 601 616 Dual Delays 701 720 Split Chambers 801 810 Mono Pitch Shift 901 902 Compressor 001 the PONS Program for Mastering Applications 010 Small Stereo Adjust These can only be loaded into Split Setups 201 325 2 8 Lexicon By far the most important aspect of the 300 is the Setup and its association to the digital effect s that you want to use The 300 has three types of Setups Single Dual Mono and Cascade Each is strikingly different and together they provide incredible audio possibilities Each Setup includes one or more effects along with other items such as machine input s and source balance s the relationship between wet effect and dry input mixing for each machine meter functions LFO rates and shapes anda naming function In addition there are two 2 modulation patches which can link source controllers to two Setup parameters To simplify the choice among the many possible effect and system routings the 300 is shipped with 100 Setup Presets The organization of the Setup Presets is shown to the left These factory presets cannot be overwritten but can be modified and stored as User Setups in any of 50 Setup Registers Audio effects of course are what the 300 is all about and
160. s allow you to select a letter to change the softknob actually changes the character The maximum length of a name is 12 characters When you have made all the necessary changes to a setup and want to save it in aregister press STORE The display will show Src SET DM Rev Rev Dst R Available The top line of the display shows the source Src the currently selected setup name The bottom line shows the destination Dst the register number into which the the setup will be copied Use the Soft knob to select the register number you want then press STORE again The display will return to the last Setup Edit page Note The 300 has amemory protection feature which enables or disables copying into the registers When Copy Tools are disabled all storing functions are inhibited The Control mode Copy Tools page allows this feature to beenabled or disabled For more details see the section describing Control mode at the end of this chapter Page Five INS DEL lt lt Current Setup Name The bottom line of the display shows the name of the current setup with a cursor positioned under the first character The two keys directly above the left and right arrows cause the cursor to move left and right to select other characters Pressing the key directly above INS adds a blank space wherever the cursor is currently positioned in the display Pressing the key directly above DEL removes the underscored character
161. s being controlled SETUP EDIT This mode is used to modify the current setup In this mode you can select the effect for the setup and the name assigned to the setup EFFECT EDIT In this mode you can modify the effect used in the current setup and change the name of the effect The available parameters for each effect are organized onto display pages The algorithms and their parameters are discussed in detail in Chapter 4 MOD EDIT In Modulation Edit you can assign MIDI and Soft knob patches Switching between these various modes is as simple as pressing a button The operation of the 300 in each of these modes is discussed in the following sections System Overview Overview of Front Panel Controls SETUP CONTROL 2 SELECT MACH SETUP LJ EDIT STORE EFFECT EDIT VALUE MOD EDIT 2 5 300 V 3 0 Owner s Manual 2 6 Overview of the 300 Display SETUP CONTROL SELECT EI EDIT STORE EFFECT EDIT VALUE MOD EDIT Lexicon Generally the display will indicate a page of parameters any of which can be selected by pressing the button directly above or below it In the example below the RTIM parameter has been selected and is highlighted by an underscore cursor on the display SIZE ROLL PDLY RLVL TDCY BASS XOVR Once selected parameters can be adjusted over their entire range with the Soft knob The parameter and its current value will ap
162. s not supported lexicon MIDI 48 kHz 44 1 kHz 32 kHz 300 DIGITAL EFFECTS SYSTEM Soft buttons Each of these eight buttons is used to se lect the parameter displayed directly above or below Once selected parameters can be changed incre mentally by additional button pushes orthey can be adjusted by the Soft knob 2 4 Level Used to adjust Analog input and output levels in conjunction with the Soft knob and the Page Up Down keys Levels are shown on the LED bar graphs di rectly above the LEVEL key The lower 6 LEDs are green fol lowed by 2 amber and one red indicating overload Soft knob Used to adjust para meters displayed and selected with the Soft buttons Page Up Down Allow access to dis play pages of adjust able parameters Numerical Keypad Used for numeric entry of program numbers as an alternative to Soft Knob selection and for time code en tries Bypass Enable digital bypass of Machine A or B to provide an unproc essed signal or to mute the effect input SETUP CONTR SELECT A MACH SETUP EDIT B Lexicon Power Power on off BYPASS BYPASS STORE EFFECT EDIT Dedicated function keys Setup Select Used to select and run setups Mach In appropriate configurations allows selection of either of the 300 s two process ing modules Machine A and Machine B for front panel control Store Used to me
163. se of each gain is changed and in between the output is a mixture of each A great effect on a ripping guitar solo Env Phazer Dual Delays This preset makes use of a patch between the envelope detector in the meters and the Flange Glide Delay As signal becomes stronger the glide delay drops in time domain eventually crossing the 5 2 ms base delays As audio signal strength lessens the glide returns to its preset value of 10ms Very good on vocals To make this effect work properly be sure to drive the 300 to within 12dB of full scale dBfs 5 20 The Presets Chorus Dual Delays This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7 and 11 8ms If the LFO is advanced to values near 1 50Hz to 2 0 Hz a nice chorusing effect is achieved There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa Sky Delays Dual Delays This preset combines a bit of giding delay along with all sets of delays Delays 1 and 2 are set short with feedback and tuned diffusion gains Delays 3 and 4 are also set short and crossfeed into 2 and 1 respectively There is a small amount of post delay LDLY and RDLY and these two post echoes are patched to the Soft knob Use the Soft knob parameter to adjust the post delays to match the tempo By itself Sky Delays is sort of a chorused cluster echo Very similar to a bright res
164. shipped with 100 effect presets Sooner or later you will want to alter the sounds of these effects to more perfectly fit your requirements To do this go to Run mode and load a preset setup that uses the effect you want to edit or select and load the effect you want to edit from Page One in Setup Edit mode Once the setup is loaded pressing EFFECT EDIT will put you in Effect Edit mode with the display showing one page of the parameters available for the algorithm driving that effect The algorithms and their parameters are described in detail in Chapter 4 We ve chosen the first page of Random Hall parameters to show here as an example RTIM SIZE ROLL PDLY RLVL TDCY BASS XOVR The buttons directly above and below each display entry will select that parameter Once selected parameters can be adjusted over their entire range with the Soft knob The parameter and its current value will appear on the display as long as the Sof tknob is being adjusted In the example above RTIM has been selected turning the Soft knob will alter the parameter value and cause the display to show Mid Reverb Time XX XX seconds Pressing the front panel VALUE key will display all of the current parameter values for the selected page in this example pressing VALUE will cause the following display to appear XX XS 37 1M 2 9k 22m FULL 3 6k 1 2X 0 5k System Operation Here again turning the Soft knob will adjust the selected parameter ov
165. sing the Stereo Pitch Shift Algorithm P501 Stereo Shift MODE GLDL ster 10096 PCHL FINL PCHR nul 0C nul LDLY LFBK RDLY 32m 0 32m BNPS SYNC on on MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 GLDL 100 P502 Octave Down GLDL 50 FINL PCHR 0C Oct LFBK RDLY 096 30m SYNC On P503 Vox Chorus GLDL 10096 FINL PCHR 7C Nul LFBK RDLY 11 26m SYNC Off P504 Pole Flange GLDL 100 FINL PCHR 7C Nul LFBK RDLY 46 2 5 30 GLDR 100 FINR 0 0 MODE Ster PCHL Ma2 LDLY 150m BNPS On P505 Bulkie Roll GLDL 99 FINL PCHR 14C Nul LFBK RDLY 18 8m SYNC On P506 Heavy Roll GLDL 99 FINL PCHR 14C Nul LFBK RDLY 2096 60m SYNC On P507 Going Going GLDL 11296 FINL PCHR 0C Ma2 LFBK RDLY 60 150m SYNC On MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 LDly 69 2 69 P508 Zorch GLDL 111 FINL PCHR 81C Ma2 LFBK RDLY 57 76m SYNC On Lexicon The Presets Effect Presets using the Dual Delays Algorithm P601 Dual Delays P603 PingoPongo P605 OverTheTop1 CC CC FDY LEBD A WA 0 0m 0 0m 0 0m 0 0m MchA LFLG MchA LFLG E _ 0 95 91 CC DLY1 CC DLY1 CC DLY1 0 0m 0 0m 150m DLY2 DLY2 DLY2 APD1 APD1 APD APD2 APD2 APD2 DLY3 DLY3 DLYA Sd DLY4 DLY4 DLY4 LDLY LDLY LDLY 0 0m 0 0 RDLY RDLY RDLY
166. st entry must be a Setup S Other available types of Automation are Setup changes S Effect changes Mach A EA Effect changes Mach B EB only available if a split setup is running Parameter Glide Mach A PA Parameter Glide Mach B PB only available if a split setup is running Parameter Glide Setup PS Now press the key under P101 You can now use the Soft knob to scroll through the entire list of setups including any Setup registers which you might have stored Remember the first entry must be a Setup Once you decide which Setup you want to start the list press STORE Your first event has all the nessessary elements a time code address the type of automaton change and the event to which it changes To move on to edit 2 press the key directly above 01 then turn the Soft knob one tick Once you ve got the list edited and want to test a portion of it press CNTRL Ths will bring you back to the main time code menu Locate the time code source machine to the top of the production piece Give yourself a 5 second preroll NOTE Your first Event Edit 1 should occur before first picture or music You may have to trim edit the first event to reflect this After all you really don t want the 300 cueing up the first Setup while music or dialog is passing through the box From Edit mode select the 8 digit time code number by pressing either of the two keys above the time code entry Use the Soft knob
167. stance is increased Random Ambience is also useful in matching a closely miked accent microphone to the overall ambience of a recording This allows a soloist to be increased in level without changing the apparent distance Random Ambience can be used in a recording situation any time a close miked sound is undesireable Set the SIZE to the desired room size RLVL adjusts the amplitude of reverbera tion defined by RTIM and can be trimmed to get exactly the effect you need To use the algorithm with a console it is best to use a stereo send to the 300 carefully matching the panning of the various close miked sources to their positions in the mix Leave the MIX control at 100 The apparent distance of each source can be controlled by the level of its feed The Algorithms and their Parameters Random Ambience Basic Sounds Random Ambience RTIM SIZE ROLL Parameters 0 18 47 82s 4 0 39 4M 0 5kHz 21 2kHz RLVL DDLY Off 48to 1dB Up Full 0 99 9ms 0 37 1ms Effect Naming Page P D Delay Ambience Generator SIZE RTIME RLVL gt omen m 7 57 gt ST I a gt T r Delay Random Ambience Basic Sounds Page This control adjusts the reverberation time of the independent reverberator The Reverb Time range of action is limited Be careful both long and short reverb times may sound unnatural If a much longer or shorter reverb time than the preset provides is desired SIZE should be c
168. t then remove the foot itself The 300 measures 19 W x 3 50 H x 13 9 D 483 x 90 x 353 mm It uses two EIA standard rack spaces and can be mounted on any level surface or in a standard 19 inch 483 mm rack Whatever mounting method you use make sure thatthe 300 is securely screwed into the rack adapter If the 300 is mounted in a rack or road case support the rear of the chassis to prevent possible damage from mechanical shock and vibration The 300 is equipped with a 3 pin IEC power connector and detachable cord providing chassis grounding to the AC mains line Plug the female end of the power cord into the 300 and the male end into a wall outlet The 300 is internally wired to operate at 100 120 220 or 240 VAC The operating voltage set at the factory is marked on a label attached to the rear panel Check the label before applying power to the unit If the voltage must be changed refer a qualified technician to the Voltage Changeover procedure in the 300 Service Manual Time Code In 3 pin female XLR con nector for input of SMPTE Drop or Non drop EBU or FILM time code formats Electronically bal anced 100mV p p minimum AC Power Standard 3 pin IEC power connector TIME CODE IN Digital Inputs and Outputs Inputs Three connectors are provided for digital input AES EBU professional format 1 3 pin female XLR S PDIF EIAJ CP 340 consumer format 2 unbalanced coaxial RCA optical fiber optic One of these
169. t and R to the right output Other settings should only be used when correcting some problem created previously in the recording process L R Normal Routing L R Right Channel polarity inverted flipped R L Left and Right Channels swapped R L Right flipped and swapped with Left The Algorithms and their Parameters BAL Balance ROT Rotate DLAY D EM De emphasis On Off 11 usec 1 2 sample RFnS Right Channel Flip n Swap 300 V 3 0 Owner s Manual BASS Bass EQ TREB Treble EQ LTRB and RTRB BXOV Bass Crossover TXOV Stereo Treble Crossover TXLR Independent Treble Crossover SPEQ Spatial EQ Lexicon Stereo Adjust EQ and Spatial Page BASS is a 6dB octave shelving EQ control with a range of 6 dB boost and 18dB cut It moves in 50 dB steps from 6 to 6 dB The crossover point is adjusted with BXOV BASS acts on both stereo channels equally TREB is a 6 dB octave shelving EQ controls with a range of 6 dB boost and 18dB cut It moves in 50 dB steps from 6 to 6 dB The crossover point is adjusted with TXOV TREB acts on both stereo channels equally These controls allow independent adjustment of left and right treble They may be used together with the stereo adjustments to create a 12 dB octave cut or boost Note that the 3 dB frequencies can be different from the stereo set BXOV sets the crossover point for BASS When BASS is set to full cut the level is 3 dB at the
170. t using this control is frequently preferable to simply adjusting balance The display shows the actual channel gains for a continually panned source DLAY controls a 5 second stereo delay line with a resolution of 10 milliseconds Separate mono and fine controls are on the Delay page below This is a post processing full level delay and is always in the circuit When D Em is On the incoming signal is digitally de emphasized This should not be used unless the material has been emphasized in the record process such as a PCM F1 tape Note that the emphasis bit in the incoming signal can be turned off from the 300 front panel See Chapter 2 System Operation Setup Edit When digital de emphasis is applied the CD mastering lab must be informed that the tape is not emphasized and the CD emphasis bit should be manually set to Off Mastering labs are happy to do this but they must be informed When this control is on the left channel is delayed relative to the right by 11sec 1 2 sample This control specifically corrects for the timing error between channels caused by consumer digital systems e g the Sony PCM F1 and its progeny that time share single analog converters Turning on this delay time aligns the left channel audio data for compatibility with professional systems RFnS is used for digitally correcting probelms you used to be able to fix or create by switching analog cables around The normal setting is L to the left outpu
171. termines the contour of the reverberation envelope With SHAP all the way down reverberation builds explosively and decays quickly As SHAP is advanced reverberation builds up more slowly and sustains for the time set by SPRD With SHAP in the middle the buildup and sustain of the reverberation envelope emulates a large concert hall assuming that SPRD is at least halfway up and that SIZE is suitably large 30 meters or larger SPRD works together with SHAP to control the duration of the initial ambience created by the 300 Low SPRD settings result in a rapid onset of reverberation at the beginning of the envelope with little or no sustain Higher settings spread out both the buildup and sustain DIFF controls the degree to which initial echo density increases over time High settings of DIFF result in high initial buildup of echo density and low settings cause low initial buildup Echo density is also affected by SIZE smaller spaces will sound denser To enhance percussion use high settings of diffusion For clearer and more natural vocals mixes and piano music use low or moderate settings of diffusion When LINK is set the reverb time and spread values scale linearly as the SIZE control is varied For some special effects RTIM and SPRD can be unlinked SHLF modifies the low pass characteristic of the rolloff control turning it into a shelving filter SHLF sets the gain of an output path which is mixed with the output of ROLL t
172. ters When Copy Tools are disabled all storing functions are inhibited The Control mode Copy Tools page allows this feature to beenabled or disabled For more details see the section describ ing Control mode atthe end of this chapter In both Dual Mono and Cascade Setups Page One shows the Preset or Register location and the full name of each Effect A and B Whichever Preset or Register number is underscored is available for loading a new program To select the other machine press any of the keys beneath the display The alternate machine s Effect should be underscored Turn the softknob to locate a new program press ENTER to load the program Note The 300 automatically knows what Presets or Registers are loadable in the current Setup Split algorithms such as Mono Shift or Dual Delay will never be displayed if a Single Setup is running In Dual Mono Setups Page Two provides adjustment for Level and Balance in both Machine A and Machine B Ordinarily Machine A and B are loaded Full Level in the factory presets Most of the presets default to Machine A receiving audio from the Left Input and Machine B from the Right Input Cascade Setups have three controls on Page Two INP BAL and FDBK INP Input sets the gain going into Machine A which feeds Machine B BAL Balance adjusts the blend of Left Right information into Machine A FDBK Feedback adjusts the output of Machine B back into the input of Machine A This is a very d
173. the use of 750 RG 59 coaxial cable Use commercially available consumer audio optical cable assemblies Use standard 5 pin DIN MIDI cable asemblies available from your local dealer Below are recommended manufacturer s part numbers for cable and cable assemblies In some cases two types are specified one with an overall braid shield for heavy use and one with a foil shield for permanent installation Analog Audio and Time Code Belden 8412 microphone cable with braided shield Belden 9461 foil shield AES EBU Belden 9271 foil shield Gotham GAC 2 AES FRU Maximum recommended length 100 ft 30M S PDIF EIAJ CP340 Consumer Digital Audio Belden 9259 22 AWG conductor 242 O D Belden 8218 27 AWG conductor 150 O D Maximum recommended length 32 ft 10M S PDIF EIAJ CP340 Consumer Digital Audio Optical Toshiba TOCP174y Sony POC 15 Maximum recommended length 16 ft 5M Installing the 300 Cables Analog Audio I O and Time Code AES EBU Digital Audio I O SPDIF EIAJ CP340 Consumer Digital Audio I O SPDIF EIAJ CP340 Consumer Digital Audio Optical I O MIDI IN OUT and THRU 300 V 3 0 Owner s Manual Setting Analog Audio Levels Level Indicators Red DSP Overload Amber values are dB approximate Lexicon When shipped the 300 is set for the Analog I O configuration Once you have connected the analog inputs and outputs you can set up the analog input and output levels To do this
174. the 300 When no digital signal is present the display will show as above If the incoming audio signal is analog selecting Clk allows Soft knob selection of the system sample rate for analog operation 48kHz or 44 1kHz The appropriate sample rate LEDs on the left side of the display will illuminate to indicate the sample rate selected If the input is digital the system will automatically lock to the sample rate of the incoming data and display Lock Otherwise will be displayed to indicate that the incoming digital signal has not yet been detected Either of the two left buttons on the botton allow selection of AES or SPDIF as output format The two right buttons on the bottom row allow you to specify the connector used for audio input XLR RCA or OPT SCMS Inp XX SCMS Out MULT COPY This page provides control over the SCMS Serial Copy Management System bits embedded in certain digital audio formats The upper line of this page describes the SCMS status of your input source Either of the two right buttons on the botton allow Soft knob selection of the SCMS setting which will be output by the 300 The choices are NO COPY ONE COPY and MULT COPY Emph Inp Emph Out The top line I displays the input status of the incoming digital audio signal if none detected The bottom line O shows your selections for the output data stream The soft buttons act as toggle switches for the
175. to a normal level the unit will reset itself as though it had just been powered on If the unit does not reset itself turn the power OFF then ON to resume normal operation Temperature extremes may cause the 300 to exhibit unpredictable behavior If the unit as been subjected to temperatures below 32 F 0 C or above 95 F 35 C it should be turned off and allowed to return to normal temperature before use The unit may be damaged by exposure to temperatures below 22 F 30 C or above 167 F 75 C or by exposure to humidity in excess of 95 If a unit exposed to such conditions fails to operate after it returns to a normal operating temperature contact your local service representative The 300 doesn t respond to MIDI Program Changes Check the PARAM MIDI channel on the MIDI Control page in Control mode and check the Table Mode setting on the same page The Table Mode should be set to FIX or TABLE Also check MIDI In Out connections between the units The 300 doesn t respond to Controller messages when using Dynamic MIDP Check the PARAM MIDI Channel number on the MIDI Control page in Control mode and check the patches in MOD Edit mode Also check MIDI In Out connections between the units The 300 doesn t respond to SysEx commands Check the SYSTEM MIDI Channel on the MIDI Control page in Control mode The 300 does not send MIDI parameter changes Check the Automation mode on the MIDI Control page in Control mode This should
176. ts using the Small Stereo Adjust Algorithm P010 Small St Ad MSTR BAL OdB 0 SPEQ Flat P802 Guit Shift PCH DLY P810 Vocal Shift Nul PCH DLY GLD Nul 40m 99 GLD FIN 100 7 LTRB 0dB RTRB 0dB Patch GLD 0 Effect Presets using the Compressor Algorithm P803 Up Shift PCH DLY P901 EZ Comp2 1 Nul PDLY ATC GLD 6m 7 100 THRS GAIN 12 3 DLY 3 X TH X GN P011Panola 0 52 7 MSTR BAL OdB L 78 SPEQ Flat P804 Sky Down PCH DLY P902 Drum Comp3 1 Nul 2m CC PDLY ATC GLD FIN 4m 7 100 7 MchA GAIN 17 7 LTRB 0dB RTRB 0dB P805 Env EKOShift X TH X GN PCH DLY 7 Nul 10m GLD FIN 100 7 Effect Presets using the PONS Patch Algorithm DLY 0 P001 PONS FBK DITH PONS 0 P806 Echo Down PCH DLY Nul 258m GLD FIN 99 14c P807 HalfStepsUp PCH DLY mi2 388m GLD FIN 106 0 808 HalfStepsDn DLY mi2 388m MchA GLD FIN 5 36 Time Code Operation 6 6 1 300 V3 0 Owner s Manual 6 2 Using time code SMPTE NON DROP SMPTE DROP FRAME EBU FILM Lexicon The 300 utilizes time code to trigger Setup and Effect changes It can also use time code to trigger parameter glides In order for any ofthe time code functions to work a time code source must be plugged into the Time Code Input on the 300 rear panel Time code is an electronic signal applied to tape or film which identifies each individual video frame The abil
177. ume As with all compressor presets Threshold is the critical parameter P210 DM Comp Comp EA 901 EZ Comp EB 902 DrumComp 3 1 This is a true Dual Mono Setup Any audio analog or digital should be sent pre fade or inserted in a patch point MchA EA 901 EZ Comp 2 1 A nice preset to add to an overall mix You may need to adjust Threshold to make it work for the particular signal you re feeding it The release parameter is set to gently fall away after 363ms MchB EB 902 DrumComp 3 1 This is a bit more agressive with 7dB of boost below the selected threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter P DM STow Spin EA 607 LFO FazeDlys 609 Chorus The LFO is set to 0 90Hz with a Triangle waveform and is attached to both Machine Flange Glide Delays Turning the LFO faster will speed things up but may cause Machine A to pitch too heavily This preset can be used with either mono or stereo sources but discrete echoes will appear at the left output MchA EP 607 LFO FazeDlys Faze Dlys makes use of the LFO to the Flange Glide Delay FDLY The base delays are set in different time domains one side at 1 9ms with a feedforward gain the other at 5 6 with a negative feed gain As the Glide passes over each base delay the phase of each gain is changed In between the output is a mixture of each A great effect on a ripping guitar solo MchB EP609 Chorus This preset ma
178. urns to its preset value of 10ms Very good on vocals To make this effect work properly be sure to drive the 300 to within 12dB of full scale dBfs P323 CC Verb gt Down EA 720 Recital Hall EB 806 Echo Down This cascade preset has the net effect of a stereo reverb field followed by delayed mono pitch shift which recirculates downward in pitch BMIX is set with a relatively low value of 38 This means that most of the effect at the main output is the reverb effect from Machine A If you increase BMIX more of the reverb will pass directly into the mono shift program Bear in mind this will cause the reverb to become more mono MchA EA 720 Recital Hall This medium large 44 5M space opens sound sources beautifully Made for string pads and voice MchB EB 806 Echo Down 14 cents down with a 258ms recirculating delay line In this setup the reverb echoes downward in pitch into the middle of the mix field Very Interesting P324 Sky EA 804 Sky Down EB 610 Sky Delays This setup s got a little bit of everything A downward flanging pitch shifter cascading into a dual delay preset with many re circulating delay clusters The Soft knob parameter is patched to the left and right delays LDL Y and RDLY This Setup also incorporates cascade feedback set to 36 Don t try to add too much more you might take off your head This is definitely aWOWIEE ZOWIEEE effect The Soft knob parameter which is stored with a value of
179. us EA 706 Big amp Short EB 609 Chorus This Setup is a variation of the one above except that it s a shorter close in effect There is also a different twist to this Setup preset L Meter ballistics are patched to the AMIX Setup parameter As the signal becomes stronger AMIX becomes progressively dryer allowing more of the input signal to pass directly into the chorus effect The LFO is set to 1 98Hz with a triangle waveform It controls the speed of the Glide in Machine B MchA EA 706 Big amp Short This reverb effect is short almost gated Big room size set to 54 6M and Rt set to 0 3 seconds This preset really opens up a sparse track MchB EB 609 Chorus This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa P320 CC Over Top EA 605 OverTheTop1 EB 606 OverTheTop2 Use pre fade One flanger feeds the next Very heavy duty The input gain to the Setup is set to 4dB This is to compensate forthe heavy amount of flange gain in both Machines Since the LFO is in the setup domain it drives both flange glide delays in each Machine Remember the outputs of OverThe Top2 are reversed so don t drive yourself crazy trying to find reversed patch
180. usic using the GLDL control it may be better to set SYNC to 0 or Off There is an automatic sync tracking feature which will keep the two channels locked to within 2 samples If precise synchronization is desired the GLDL or PCHL controls should be set SYNC should be set from 0 to 1 and then the pitch should not be changed The two channels will remain precisely synchronized even though both are continually changing the splice length in response to the incoming pitches The Algorithms and their Parameters LDLY and RDLY LFBK and R FBK BNPS SYNC 300 V 3 0 Owner s Manual Lexicon Stereo Adjust General Description The Stereo Adjust algorithm offers fine adjustments of level and equalization during digital mastering Its stereo digital fader permits 0 25dB trimming and provides full fades to digital zero at the end of a track Its two sets of shelving treble EQ can be set for different 3dB points and gains BASS and SPEQ permit adjustment of stereo width enhancing the spaciousness and depth of the recording Stereo Adjust Stereo Adjustments Parameters MSTR BAL ROT DLAY Off 720 to 12dB L 2 9 to R 2 9dB L42 9 to R 2 9dB 0 5000ms D EM 1ius RFnS On Off On Off L R L R R L R L Stereo Adjust EQ and Spatial BASS TREB LTRB RTRB Cut 18dB 6dB Cut 18dB 648 Cut 18dB 6dB Cut 18dB 6dB BXOV TXOV TXLR SPEQ 0 1 26 5kHz 0 1 26 5kHz 0 1 26 5kHz Cut 6 to 6dB Stereo Adjust Delay and Feedback LDLY LFIN RDLY
181. ve Sense X X Reset X X Notes If Channel is set to OFF 300 will not recognize any messages Mode 1 OMNI ON POLY Mode 3 OMNI OFF POLY 9 2 Mode 2 Mode 4 OMNI ON MONO OMNI OFF MONO Yes X No 10 300 Specifications 10 1 300 V 3 0 Owner s Manual 300 Specifications Audio Input and A D Conversion Input Channels 2 Input Impedance Full Scale Input Level Common Mode Rejection Frequency Response Phase Linearity Delay Crosstalk Signal to Noise Ratio Total Harmonic Distortion SMPTE Intermodulation Distortion Dynamic Range Pre emphasis Gain Control D A Conversion and Analog Output Output Channels 2 Output Impedance Full Scale Output Level Frequency Response Phase Linearity Delay Crosstalk Signal to Noise Ratio Total Harmonic Distortion SMPTE Intermodulation Distortion Dynamic Range De emphasis Gain Control 10 2 Lexicon Balanced XLR pin 2 high 50kQ unbalanced 100kQ balanced Gain switch in OdB position 2dBu minimum 20dBu maximum Gain switch in 16dB position 14dBu minimum 4dBu maximum DC to 2kHz 60dB minimum 2kHz to 20kHz 40dB minimum 48kHz sample rate 10Hz to 21 5kHz 0 2dB 44 1kHz sample rate 10Hz to 20kHz 0 2dB 32kHz sample rate 10Hz to 14 5kHz 0 2dB 5 degrees 10Hz to 20kHz Frequency Independent From Analog Input to Digital Output 0 75mS 80dB maximum 10Hz to 20kHz 90dB minimum A weighted 0 019
182. ve which sounds decay at a progressively faster rate Itfilters allthe sound exceptthe pre echoes When setrelatively low it gives a darker tone to the reverberation simulating the effect of air absorption in a real hall TDCY also helps keep the ambience generated by the program from muddying the direct sound SHAP and SPRD work together to control the overall ambience of the reverbera tion created by the 300 SHAP determines the contour of the reverberation envelope With SHAP all the way down reverberation builds explosively and decays quickly As SHAP is advanced reverberation builds up more slowly and sustains for the time set by SPRD With SHAP in the middle the buildup and sustain of the reverberation envelope emulates a large concert hall assuming that SPRD is at least halfway up and that SIZE is suitably large 30 meters or larger The Algorithms and their Parameters RTIM Mid Frequency Reverb Time SIZE PDLY Pre Delay TDCY Treble Decay SHAP Shape 300 V 3 0 Owner s Manual SPRD Spread BASS Bass Multiply DIFF Diffusion RAND Randomization XOVR Bass Crossover LINK Lexicon SPRD works together with SHAP to control the duration of the initial ambience created by the 300 Low SPRD settings result in a rapid onset of reverberation at the beginning of the envelope with little or no sustain Higher settings spread out both the buildup and sustain Split Chamber Adjustments Page 2
183. vel This effect can be compensated for by raising the overall bass level with BASS Since both controls use the same BXOV setting this compensation will be quite accurate as long as SPEQ is set to less than 3 dB boost The Algorithms and their Parameters Stereo Adjust Delay and Feedback Page These controls give individual channel control over the 5 second post equaliza tion delay line 5 second 10 milliseconds per step mono control for the left channel LDLY Left Channel Coarse DLAY LDLY must not total more than 5 000 milliseconds 5 second 10 milliseconds per step mono control for the right channel RDLY Right Channel Coarse DLAY RDLY must not total more than 5 000 milliseconds Fine Sample Accurate Delays These can be used for subtle time alignment adjustments The 300 will correctly display the resulting time shift as a function of the sampling rate As many as 500 samples can be added to any stereo coarse delay setting for a maximum possible delay per channel of 5 seconds 500 samples 48 kHz 20 833 microseconds per sample 44 1 kHz 22 676 microseconds per sample 32 kHz 31 25 microseconds per sample 500 sample 1 sample per step mono fine adjust for the left channel LFIN Left Channel Fine 500 sample 1 sample per step mono fine adjust for the right channel RFIN Right Channel Fine Two feedback paths are available per channel overall and fine Overall feedback is the total delay of DLAY L R DL
184. ws front panel selection of either Machine A or Machine B Pages Because effects and other modes of operation have more parameters than can be displayed atone time parameters are grouped into several pages You move between pages by pressing the dedicated function keys labeled PAGE UP and PAGE DOWN Parameter Each algorithm has a set of parameters controls that uniquely characterize it The settings of the parameters can be changed to create radically different sounds from a single algorithm Patch A patch is a routing assignment that allows one of the 300 s parameters to be driven by a source controller LFO footswitch mod wheel etc Register Preset Registers are simply memory locations where you can store your own setups and effects Presets are factory installed setups and effects The presets cannot be overwritten but they can be modified and stored as custom setups in the registers Registers and presets are differentiated on the 300 display by the initial R Register or P Preset before their number System Overview Effect presets 100 effect presets are installed in the 300 to give you a wide variety of sounds to use as is or to use as a Starting point when creating your own sounds 50 effect registers are provided for storage Setup presets 100 setup presets provide a convenient starting point for selection of effect combinations 50 setup registers are provided for storage Setup A setup consists of

Lexicon 300 - Freeverb3 Reverb Impulse Response Processor

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