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Lexicon 480L - HARMAN Professional

1. Algorithm The 480L contains several algorithms Analgorithm is a set of instructions that tells the 480L s microprocessors how to process the input signal One algorithm produces effects another reverberation an other sampling etc Each Machine in the 480L can process an algorithm independently from the other machine Parameter Each algorithm has 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 Program A group of specific parameter settings permanently stored as separate programs in the 480L Preset A group of specific parameter settings you create by editing presets and storing the new set of values Register Nonvolatile RAM memory locations in the mainframe or in a removable nonvolatile memory cartridge for storing presets Bank A bank is a collection of as many as ten programs or registers Program banks contain a collec tion of similar programs derived from one or more algorithm For example the Halls bank contains rever beration programs that simulate large spaces while the Mastering bank contains programs for level adjust ment and digital equalization Pages The LARC can display and provide slider control for six parameters at a time Because most algorithms have more than six parameters they are grouped in blocks of six called pages The PAGE button provides access
2. Write Protect On Off Write Protect Switch Storing and Naming Prorams After you have made the changes you want to a program s parameters you can store the changed version in a register When you store a register the edited program still has the same name as the original program To avoid confusion you can assign names to registers To rename a register 1 Press CTRL to enter the control mode 2 Press PAGE then press 3 to go to page three 3 Press the key under the slider marked SEL to activate the select function The current name of the program appears in the lower display 4 Move the SEL slider Note that different charac ters within the name are selected by a pair of brackets lt gt as you move the slider Select the first character in the program name 5 Use the CHG slider to change the character Note that a blank space is available at the bottom of the slider s range as are several symbols 6 Repeatsteps 4 and 5 until all the characters in the new name have been entered successfully To store your newly named program in a register 1 Press REG once to exit Control mode and enter the register mode 2 Press BANK repeatedly to locate the bank you wish to store the register in Banks 1 through 5 are internal registers and banks 6 through 10 are stored in the nonvolatile memory cartridge Note If you have difficulty using a cartridge it may not have been formatted Also cartridges f
3. INT or CART selections are made preset will be sent to the first register in the selected bank The 480L will attempt to place subsequent pre sets sequentially into the next registers in the bank selected This should only be used to restore dumped banks Restore Individual Presets Loading a previously dumped preset will replace the preset at the location with the MIDI SysEx version when the RCV slider is setto ORIGINAL SRC Other settings inthe RCV slider cause other actions to occur ACTIVE A or ACTIVE B sends the preset to the appropriate machine as a running program Selecting one of the banks loads the preset into the first register of the bank or into a subsequent register if it was dumped in sequence with a previously restored preset Any attempt to restore a program to its original source will be ignored The error message PROG RCVD will be displayed When presets are successfully restored the LARC will display an approrpiate message for each type ACT A LOADED or ACT B LOADED indicates that an active algorithm was restored If a preset was received as an Internal Register 1 REG LOADED is displayed If a preset is received as a Cartridge register REG LOADED is displayed Restore Banks A dumped register bank will be restored to its original location if ORIGINAL SRC is selected If the bank was a program bank restoring to original source will
4. SNC Play Sync Normally the channels are in sync but if PCH FIN or GL are moved frequently they can get out of sync They can be resynchronized by pressing SNC A small click may be heard when the button is pressed PCH Pitch Interval Stereo Left PCH 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 exact 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 Bank 8 the Pitch Change and Doppler Programs FIN PCH FIN Fine Pitch L Pitch R Fine Pitch R FBR MIX R Feedback Wet Dry Mix MIR GLL SPL Pitch Mirror Glide L Splice Time MIR GLR Pitch Mirror Glide R PCH Pitch Interval R This control performs the same functions as the other PCH control except that itis only active in Mono mode in which it adjusts the right channel FIN Fine Pitch R This control performs the same functions as the other FIN control exceptthat it is only active in Mono mode in which it adjusts the right channel Page Two PDL Predelay L PDL adjusts the length of a delay line in series with the left input The range is zero to over 800 ms with a fine scale available when the button is pushed Pre delay also affects the delay of any feedback which is applied In stereo mode the two predelays must be set to the same
5. the dynamic range becomes noticeably restricted 4 Transfer Very linear compressor designed for mastering appli cations 5 Vox Easy A compressor expander that is a good starting point for a vocal track use it on a mixer s patch point Peaks remain intact and the loudness of the vocalist s in the mix is increased 6 FM Gain below threshold ramps rapidly and hits a brick wall feed program material in and compare it with your favorite station 7 Nailed Provides a compressor expander that affords little dy namic range on output true to its name 8 Noise Gate Compressor is inactive and the expander time con stants have been optimized for gating 9 2 Slp Mach A 0 2 SIp Mach B These programs are designed to be used with the 480L in Cascade configuration Load the programs as their names describe them in Machine A load 2 Slp Mach A In Machine B load 2 Slp Mach B These programs provide a compressor that has a nonlinear gain slope Machine A provides a slow rise in gain from 18dB up to 12dB Machine B provides a more aggressive gain slope from 12dB forward Re ally sounds great on dynamic pop program material 110 Banks 11 12 the Random Halls and Spaces Program This chapter describes the Random Hall programs located in Bank 11 and the Ran dom Spaces programs located in Bank 12 SPR Reverb Time Spread BAS XOV Bass Multiply Crossover Page Three Page Four PRE Del
6. Bank 7 Samplers There are three types of non SME samplers They all record in multiples of 1 36 seconds at 48 kHz 1 48 seconds at 44 1 kHz The presets provide level trig gered capturing from the left input only referenced to 24 dB on the LARC level indicators MARK is set to save five ms of pre trigger audio for a fast fade up except for the Drum percussion samplers where it is set to 0 or MARK THE HEAD Stereo 3S Bank 7 Program 1 This progam records and overdubs 2 7 seconds of phase locked stereo at 48 kHz It features overdubbing of the entire sample The first capture may use any record mode The overdub always uses the IMMEDI ATE mode This program must be run in the 480L s SINGLE configuration Mono 6S Bank 7 Program 2 This program records and overdubs 5 4 seconds at 48 kHz from the left input only It features overdubbing of the entire sample The first capture may use any record mode The overdub always uses the IMMEDIATE mode This program must be run in the 480L s SINGLE configuration Mono 3S Bank 7 Program 3 This is similar to program 2 except that it is small enough to run in any of the 480L s configurations not just SINGLE Dual Rate Change Bank 7 Program 4 This program features two independent rate changing samplers You may vary the pitch while playing but avoid trying to cross the pitch up pitch down boundary There are two independent editing pages to design the samples and pl
7. 3 4 Program Controls Machine A and Machine B 5 6 Patch Controls Machine A and Machine B 7 8 Process Controls Machine A and Machine B 9 A Table Controls Machine A and Machine B B C Name Controls Machine A and Machine B Event Number Index within Control Class 0 127 Nibblized Most Significant 4 bits out of 20 bits 4 bits 4 bits 4 bits Nibblized Least Significant 4 bits out of 20 bits End of System Exclusive Stored Bulk Data Format FO 06 01 in Osss 0000 0n 0n 0n 0c 0c 0c 0c 0x 0x 0b 09 06 0d 0b 06 09 0d Ommmmmmm F7 480 System Exclusive Header Parameter Data Message Class Sysex Channel Device ID Subclass Setup Class 30 Internal Register 50 Preset 70 External Cartridge Register Nibblized Setup Index Most Significant Bits Nibblized Setup Index Least Significant Bits Nibblized Data Byte Count Number of Nibblized Pairs 4 Most Significant Bits Least Significant Bits Nibblized Data Byte Pairs Most Significant Bits Least Significant Bits Bulk Data Flags 4 bits out of 12 4 bits out of 12 4 bits out of 12 4 bits out of 16 4 bits out of 16 4 bits out of 16 4 bits out of 16 4 bits out of 8 4 bits out of 8 4 bits 4 bits 4 bits 4 bits 4 bits 4 bits 4 bits 4 bits out of 32 out of 32 out of 32 out of 32 out of 32 out of 32 out of 32 out of 32 aN a pem ami mi rt Data Check
8. HFC 7 818 DCO RO 12 dB 164 ms PDL 24 ms MIX All Fx 14 dB 52ms PDL 30 ms MIX All Fx Off 0 ms PDL 0 ms MIX All Fx Off PDL 0 ms MIX All Fx Off 0 ms PDL 24 ms MIX All Fx 12 dB 136ms Program Descriptions The programs in the Halls bank are reverberation programs designed to emulate real concert halls While the Halls are useful for a wide variety of tasks they are especially good with traditional and classical music For popular music they can be used to give multitrack recordings the sense of belonging to the same performance by putting the whole mix in the context of a real sounding acoustic space 1 Large Hall Large Hall provides the sense of space and ambience of alarge concert hall to music which has already been mixed Acoustically the sound of this program resembles a large relatively square concert hall The musicians are not placed in a stage area at one end in the middle of the hall away from nearby walls and other surfaces that produce reflections The reverberant pickups are located between the sound source and the walls and are directed away from the musicians so they pick up little or no direct energy The resulting reverberation has the space and am bience of a large hall but does not color or muddy the direct sound of the recording Because of the large SPREAD value used the sound of the Large Hall is most effective
9. SUS 21 ATC XOM 64 SUS ATC XOM 64 SUS ATC DGN 106 DHP 304Hz RTC DGN 255 DHP 4 6k RTC DGN 57 DHP 90 RTC DGN DHP 212Hz RTC DGN 66 DHP 30Hz RTC Program Descriptions 6 Carbon Mic The sound from 1938 This preset sends a soft amount of treble gain into the distressor The treble component starts at 181Hz Crossover XOM mix is set to all treble EXM is also set to max at 63 DHP Distression High Pass rolls off the bottom end If you reduce XOM more of the low frequency component will be audible Use this to obtain an old scratchy sort of sound 7 Saxophone This presetis designed as an alternative to reaching for the EQ knobs There is a reasonable amount of low frequency compressed energy Take the result and send into a Plate program in the Cascade mode ma chine B Mix the Plate program to something other than 100 8 Horn Blast This agressive preset is designed to enhance your horn section If you want to tone it down reduce HFC High Frequency Cut for distression component and or reduce TSL treble slope 9 Softener Very soft edge on anything Try it on a vox track Subtle effect 0 Some Fuzz If you need More Fuzz increase DGN Distression Gain lower XOV and increase XOM 14 Bank 17 the Test amp Reference Programs This chapter describes the Test amp Reference programs located in Bank 17 These are The Oscillator Programs
10. TBL TBR Rotate Treble Left Treble R BAS BAS FLP Bass Left Bass Right Flip amp Swap SHUF Shuffler BAL Balance BAL implements a sine cosine balance adjustment Balance is smoothly adjusted 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 left instead of simply being attenuated as BAL would do it 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 microphones 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 fre quently preferable to simply adjusting balance The display shows the actual channel gains for a continu ally panned source TBL TBL is a 6dB octave high shelving EQ that operates on the left channel It moves in 5dB increments from 6 to 6dB and in 1dB increments below 6dB to Full Cu
11. 1 8 Pink Noise 9 Binaural Simulator 0 Page One DEC FRQ Decade Frequency Bank 17 the Test amp Reference Programs WAV ACC Wave Form Accuracy Input Level The Oscillator Program Unlike standard 480L programs the Oscillator reconfigures the mainframe so that signal no longer passes from inputs to outputs This allows the main frame outputs to be fed to the mainframe inputs to calibrate analog signal levels Likewise an external signal generator from for instance a console can be used to calibrate the mainframe for a studio s design center About the Parameters LVL Output Level LVL controls the oscillator output for both digital and analog signal paths DEC Decade DEC multiplies divides the selected frequency in x10 x100 or x1000 increments The preset value is 2 Decade Example Frequency 20 Hz 0 2 1 2 2 Norm 20 10 200 4 100 2000 5 x 1000 20000 As you can see when the oscillator is set for high resolution 01 Hz increments can be selected with a combination of frequency and decade For example If the desired frequency is 1 02 Hz move DEC to 3 set FRQ to 1020 Hz then move DEC to 0 FRQ Frequency Sets the frequency of the oscillator and displays the actual oscillator frequency in Hz and 01Hz incre ments WAV Wave Form WAV changes the oscillaotr waveform as follows 0 Sine Wave 1 Triangle Wave 2 Square Wave ACC Accuracy ACC adju
12. 2 6 98 6 dB S dec HEADROOM 4 _ 18dB 6 dB 5 _ 24dB 12 dB 6 30dB 18 dB 7 36 24 dB 8 42dB 48 dB 84 dB Dynamic Range 78 dB Dynamic Range 9 48 18 dB Headroom 12 dB Headroom 10 54dB 11 60dB 102 dB Theoretical Dynamic Range 90 dB Theoretical Dynamic Range 12 66 13 72dB 14 _ 84dB m 9005 16 Bit Dither Noise 16 96 17 102 dB 18 108dB 18 Bit Dither Noise Dynamic Range of Digital Signal Path Using Digital Signals Several programs in the 480L allow you to increase the level of the digital signal beyond dBFS For example if the Parametric EQ program is loaded and a low shelf filter is boosted 6dB at 250Hz the potential headroom to dBFS is reduced accordingly See the figure below Basic Operation If the audio material fed through this program contains a large amount of energy in the region of the shelf boost an overload in the digital domain may occur When this happens the last segments of the LARC display will illuminate Many programs such as Parametric EQ have a mas ter level control which can offset the overall gain to prevent this situation If you consistently encounter such situations contact Lexicon Customer Service 20 Hz 200 Hz 2kHz 20 kHz 480L Parametric EQ Low Shelf 6dB at 250 Hz 20 Hz 200 Hz 2kHz 20 kHz 2 13 Lexicon 480L Owner s Manual How to Edit Parameters The sounds of t
13. 6 dB PDL PDL 14 ms 18 ms 5 Fat Plate RTM SHP SPR SIZ 1 98 5 97 130 34m BAS XOV RTC DIF 1 0x 1 586Hz 21 181 75 PDE PDE 6 dB 9 dB PDL PDL 30ms ms HFC 8 513 DCO RO HFC Full R DCO RO HFC 15 886 DCO RO HFC Full R DCO RO HFC 9 278 DCO RO PDL 0 ms MIX All Fx PDL 60 ms MIX All Fx PDL 2 ms MIX All Fx PDL 0 ms MIX All Fx PDL 2ms MIX All Fx Program Descriptions The Plate programs mimic the sounds of metal plates with high initial diffusion and a relatively bright colored sound For this reason they are good choices for percussion They are designed to be heard as part of the music mellowing and thickening the initial sound itself The Plate sound is what most people associate with the word reverb and it is useful for all popular music Programs for additional plates are found in the Classic Cart software option 1 A Plate A Plateis abasic plate program with a very clear sound you ll find it useful for everything from vocals to percus sion 2 Snare Plate Snare Plate has its HFC and RT HFC parameters set to full range resulting in a rapid buildup in high fre quency information As its name implies it has been tuned for optimal results with snare drum 3 Small Plate Another plate variation As its name implies this pro gram produces the sound of a smaller plate 4 Thin Plate Another variation on the plate theme 5 Fat Plate Fat Plate produces the sound
14. DLY4 SIZ 24M DIF 98 LVL4 Off DLY4 SIZ 39M DIF 98 LVL4 12dB DLY4 48ms HFC 4611Hz MOD REV SPN 43 SHL 0 HFC 2523Hz MOD REV SPN 43 SHL 0 HFC 3784Hz MOD REV SPN 43 SHL 0 HFC 12788Hz MOD REV SPN 38 SHL 0 HFC 7181Hz MOD REV SPN 34 SHL 0 PDL 0 MIX All Fx WAN 6762us RLV 160 PDL 36ms MIX All Fx WAN 10ms RLV 160 PDL 16ms MIX All Fx WAN 6762us RLV 160 PDL 0 MIX All Fx WAN 6762us RLV 160 PDL 24ms MIX All Fx WAN 9114us RLV 160 10 5 The Random Halls Program Like the programs in Bank 1 480L Hall the Random Hall programs in Bank 11 are designed to emulate real concert halls The random elements in these programs provide smoother decay particularly where values of Size and Reverb Time are high 1 Large RHall Large RHall provides the sense of space and am bience of a large concert hall to music which has already been mixed Acoustically the sound of this program resembles a large relatively square concert hall The musicians are not placed in a stage area at one end but in the middle of the hall away from nearby walls and other surfaces that produce reflections The reverberant pickups are located between the sound source and the walls and are directed away from the musicians so they pick up little or no direct energy The resulting reverberation has the space and am bience of a large hall but does not
15. FIN Fine Level FIN is identical to LVL but has a range of 3 5 dB in reference to the LVL setting This allows fine adjust ment of the level while the mix is proceeding without fear of over or undershooting the desired setting Note LVL and FIN provide proper scaling for the filters For example if you set a 12 dB boost at some fre quency it is possible to exceed the dynamic range of the 480 if a high level signal comes in at the center frequency you have chosen to boost You can reduce the drive to the filter with the level controls to prevent overload FIN FIN FREQ 1 and 2 provide fine frequency adjustment of the Page Two filters by adding a small amount to their respective frequency settings They set the fre quency only for the Page Two filters These settings are particularly useful for fine tuning of notch filters Page Two FR 1 LF This control sets the frequency to be adjusted for the Low Frequency band Frequency settings fall between 30 Hz and 17 kHz Q Q adjusts the amountof bandwidth affected by the level control The Q is determined by dividing the center frequency by the bandwidth to be affected in Hz For example if a frequency of 1000 Hz is selected and the bandwidth to be boosted or cut is 500 Hz the 2 The Page Two filters provide a Q adjustment from shelf to Bank 9 the Mastering Programs FIN __ FIN Fine Freq 1 Fine Freq 2 FR LM Low Mid Freq FR HF High Freq Notch Q 16
16. The 480L is now recording audio to memory All sam pling presets will CAPTURE and preserve the sound when the left channel audio exceeds 24dB on the LARC You may also at any time trigger capturing manually with the CAP key When triggered the label switches to CAPTURING and the indicate the remaining recording time When the last is gone press CHK to audition the sample If you don t like the sample record again as many times as necessary Editing 4 When you have a satisfactory sample use PAGE to go to the editing page 5 Use HEAD TRIM to remove excess material from the beginning of the sample Removing all silence from the beginning of a sound is absolutely necessary for accurate triggering with the audio play trigger Always trim only a little bit at a time and use CUE EDIT frequently to audition the results 6 Use FORWARD TIME TAIL TRIM to remove excess material from the end of the sample 7 Use FADE TYPE to select a hard cut for percus sive material or the normal 5 ms fast fade up 6 4 Playing 8 When you have trimmed your sample go to the play page to select multiple play and triggering options The sampler s PLAY key is preset just like the CUE key press PLAY to manually trigger one play of the edited sample Press PLAY before the sample finishes to manually retrigger the sample 9 Use the RP repeat slider for more than one play per trigger The value is not used until the next time
17. XOM Crossover Mix sine cosine XOM controls the mix of low frequency and high frequency signals It is the final mix control in the program DGN Distortion Gain DGN controls the amount of distortion gain up to Page 2 TSL Treble Slope TSL defines the ratio of the high frequency compres sor A LARC value of 128 equals a 2 1 compression ratio TBR Treble rotate threshold TBR control determines the point at which compres sion starts to occur TBM Treble Maximum Gain TBM controls the amount of gain introduced below the Rotate value ie If Rotate is set to 14 and gain is set at 10 when signals go below 14dB average then the signal will be boosted by 1088 EXP Expansion Slope EXP determines the amount of expansion after the distortion DSP SUS Sustain SUS works in conjunction with the expander to provide additional sustain throughout dynamic transitions DHP High Pass on Distortion DHP controls a 6dB octave filter which is conceptually placed after the distortion module but before the Ex pander Bank 16 the Freq Stuff Programs Page 3 DLY Front Delay DLY determines the amount audio delay before the compressor modules This effectively allows the 480L to perform a look ahead function to the compressors LSL Low frequency Compression Ratio LSLdefines the ratio of the low frequency compressor A LARC value of 128 equals a 2 1 compression ratio LFR Low Frequency Rotati
18. but to maintain polarity when transferring data to the digital domain pin 2 should be high Pin 1 and either pin 2 or pin 3 of each output must be grounded for unbalanced operation Output imped ance is 33 ohms and levels up to 24 dBm are possible LARC 1 Connector This DE9 connector connects the mainframe to the Lexicon Alphanumeric Remote Control LARC via a flexible 50 ft cable supplied Aux Ouputs L amp R The left and right aux outputs are identical to the Main Outputs except that they are used as second ary outputs when split or cascade modes are selected Important Reversing polarity on either input or output connectors can produce audible phase inversion effects Improper phasing in the stereo path can create a weak or thin mix Ensure that inputs and outputs are wired consistently Automation Connector The Automation Connector is provided for future computer control and automation features Important Never connect a LARC to this connector LARC 2 Thru Connector This DE9 connector allows connection of a second LARC It also allows the 480L to be connected to a 224XL with both units under control of a single LARC A 10 ft cable is available from Lexicon for this application MIDI Connectors MIDI IN receives MIDI information from other MIDI equipped devices MIDI THRU retransmits MIDI information received at the MIDI In connector without any change MIDI OUT
19. density increases over time High settings of DIFFU SION result in high initial buildup of echo density and low settings cause low initial buildup After the initial period in which echo buildup is controlled by DIFFU SION density continues to change at a rate deter mined by SIZE 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 10 3 MODE Selects between linked and unlinked modes of opera tion for RT MID SHP SPR and SIZ parameters The Reverb mode maintains optimum relational values between these controllers as settings are changed Effects mode permits independent parameter control WET DRY MIX WET DRY MIX controls the ratio of direct vs effect signal in the output from a program When the 480L is patched into a console this control should almost always be set to 100 wet When an instrument is plugged directly into a 480L or when the Cascade configuration is in use a setting between 45 and 60 is a good starting point for experimentation with this parameter WET DRY MIX is a sine cosine fade Practically speaking this means that MIX can be adjusted over its range with little or no change in output level When you control mix at the console adding effect to the dry signal increases overall level Page Three PREECHO LEVEL Preechoes can best be understood by visualizing a stage where the early reflection
20. envelope is typical of many of the popular digital reverberators of the last few years As SHAPE is raised to 32 about 1 8th of the way up 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 RTMID SPREAD has little or no effect on this shape When SHAPE is at 64 1 4 of the way up 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 sustain 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 at a SHAPE value of about 128 1 2 way up 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 a inverse sound Note that none of these shape effects are audible unless RTMID is set short enough Generally RTMID should be set to a value of about 1 2 seconds for small rooms and up to 2 4 seconds or so
21. la load Program Press button Press Numeric buttons 1 0 to load Register PIOS button equal to Hashing display to load Register currently displayed Press the VAR button or move a slider or press a button under a slider to return to MACHINE RUN MODE tes ects load Program currently in Delays displayed Press the VAR Sampling button or move a slider or Pitch Doppler press a button under a slider to return to MACHINE RUN MODE equal to flashing display to 21 Control Mode Indicates You are in Control Mode wali CONTROL Press to enter or exit CONTROL MODE PAGE 1 Page of Control Mode Parameters Page Page Desc Slider 1 Slider 2 Slider 3 Slider 4 Slider 5 Slider 6 nm MIDI Patching Select Patch Srce Controller Parameter Dest MIDI Pgm Change SysEx Auto SysEc Channel Change Reg Table MIDI Channel EE oW SysEx Function Transmit Destination Checking Your System s Status Press CTRL to enter Control Mode Press PAGE then press 1 Move slider one on page one of the control program for a quick display of the following information e Configuration e Sampling rate selected e Clock source internal or external e Input source analog or digital e External Word Clock present not present Register protection status Cartridge Status formatted or unformatted present or not present 480L Power Up State Normally if power is lost or turned o
22. large values of PREDELAY can effectively give the impression of large size if early reflections are used to fillin the spaces between input and the delayed reverberation Much of the effect of PREDELAY can be better achieved by using medium values of SHAPE and setting the desired apparent predelay with SPREAD Setting these parameters should be done by ear since the values don t relate directly to ms Note Very high values of PREDELAY limit the amount of SPREAD available The display does not reflect this however Lexicon 480L Owner s Manual Page Two BASS MULTIPLY BASS MULTIPLY sets the reverb time for low fre quency signals as a multiplier of the RT MID parame ter For example if BASS MULTIPLY is set to 2X and RT MID 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 CROSSOVER CROSSOVER sets the frequency at which the transi tion from LF RT to RT MID takes place CROSSOVER 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 the CROSSOVER to 400 Hz This setting works well for classical music CROSSOVER works best around 500 for boosting low frequencies and around 1 5 kHz for cutting low frequencies RT HF CUT RT HF CUT sets the frequency above which sounds decay at a progressively faster rate It filters all the sound except t
23. or coincident and semi coinci dent microphone technique When most of the bass in a recording is in the sum mono channel raising SPC may reduce the bass level This effect canbe compensated for by raising the overall bass level with BAS Since both controls use the same XOV seting this compensation will be quite accurate as long as SPC is set to less than 3 dB boost BAS Bass Left and Right The BAS controls are 6dB per octave low shelving EQs which operate on the left and right channels Each moves in 5dB increments from 6 to 6dB and in 1dB increments below 6dB to full cut Flip amp Swap Right Channel Phase Invert Enables either a change of audio channels or a polar ity inversion in one or both channels This change is made in the digital domain The available settings are Channel Position Polarity L R NORM NORM L R NORM INV R L INV NORM R L INV INV Page Three DIT Dither Enables or disables dither noise set with the PONS control as follows 0 Dither OFF 1 Dither ON PONS Dither is a low level pseudo random signal which is added to digital audio to reduce quantization noise in effect by replacing it with a nicer sounding noise Itis 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 opti mized noise shaping PONS because it t
24. the HOLDOFF time as long as possible The Bank 7 Dual Rate Change sampler has a fixed retrigger HOLDOFF of about 100 milliseconds The forward reverse sampler cannot perform level retrig gering it can only be retriggered manually or via MIDI Bank 7 the Sampler Programs Using Rate Change Samplers 1 Both SME samplers and the Bank 7 sampler Dual Rate Change permit you to adjust the playback RATE Starting with Version 3 00 software the display now shows percent of normal speed and over a certain range musical interval from unison The pitch interval display corresponds to that of the pitch changer Bank 8 programs 1 through 6 and shows the range over which you may correct the sampler s pitch You can cascade these programs for simple time compression 2 The non SME Dual Rate Change sampler allows you to record edit and playback two independent samples Use the VX RECORD VOICE slider to select a voice for the Page 1 Record controls Record and check a sample as above 3 There are two independent editing pages and independent play controls for each voice Voice 1 comes out the left side Voice 2 out the right Using the non SME FORWARD REVERSE Samplers 1 The sampler is preset to play only the forward voice To activate the reverse voice adjust REV TIME slider 5 to some large number and adjust TAIL TRIM to tighten the beginning of the backwards play 2 To turn off either voice move its TIME slider to 0
25. 01 480 ID Occc nnnn Message Class and Sysex Device ID ccc Message Class 0 7 nnnn Channel Device ID 0 15 Osssssss Message Subclass sssssss Subclass 0 7F OXXXXXXX Data Characters xxxxxxx Data 0 7F F7 End of System Exclusive Many messages have checksums associated with them These checksums are calculated by simply adding all of the bytes of the checksummed data together and truncating to 7 bits The message formats describe which data bytes are checksummed Automation Format Automation data is used to transmit and receive sysex automation data Parameter Data Format 480 System Exclusive Header 06 01 2n Parameter Data Message Class Sysex Channel Device ID 0d Subclass Control Class 2 Global Controls 3 4 Program Controls Machine A and Machine B 5 6 Patch Controls Machine A and Machine B 7 8 Process Controls Machine A and Machine B 9 A Table Controls Machine A and Machine B B C Name Controls Machine A and Machine B Onnnnnnn Parameter Number Index within Control Class 0 127 0v Nibblized Most Significant 4 bits out of 20 bits 0v 4 bits 0v 4 bits 0v 4 bits 0v Nibblized Least Significant 4 bits out of 20 bits F7 End of System Exclusive Event Data Format FO 06 01 3n 0d Onnnnnnn 0v 0v 0v 0v 0v F7 480 System Exclusive Header Appendix A MIDI and the 480L Parameter Data Message Class Sysex Channel Device ID Subclass Control Class 2 Global Controls
26. 096 DLY3 LV3 FB3 300 0ms 2dB 30 FIN FIN MST 0 0 1 00 4 Pitter Patter DRY DRY ROL Off Off 1158Hz DLY1 LV1 FB1 112 07ms 6dB 096 DLY3 LV3 FB3 300 00ms 15dB 73 FIN FIN MST 0 0 1 00 5 X Pan Double DRY DRY ROL Off Off Full DLY1 LV1 FB1 30 08m s _ 048 0 DLY3 LV3 FB3 Oms Off 0 FIN FIN MST 0 0 1 00 ROL Full DLY2 21 04ms DLY4 42 09ms ROL Full DLY2 32 03ms DLY4 600ms ROL Full DLY2 200ms DLY4 400 0ms ROL 7181Hz DLY2 198 04ms DLY4 954 0ms ROL Full DLY2 60 01ms DLY4 Oms PAN Left LV2 LV4 Left LV2 OdB LV4 4dB PAN Left LV2 OdB LV4 2dB PAN Left LV2 6dB LV4 15dB PAN Right LV2 0dB LV4 Off PAN Right FB2 096 FB4 0 PAN Right FB2 25 FB4 30 PAN Right FB2 0 FB4 30 PAN Right FB2 0 FB4 75 PAN Left FB2 0 FB4 0 6 Delay Cave DRY DRY ROL Off Off 8158 2 DLY1 LV1 FB1 21 00ms 0dB 096 DLY3 LV3 FB3 100 0ms 0dB 37 FIN MST 0 0 1 00 7 Circles DRY DRY ROL Off Off Full DLY1 LV1 FB1 Oms Off 0 DLY3 LV3 FB3 300 10ms 40 FIN FIN MST 0 0 50 8 There amp Back DRY DRY ROL Off Off 9691Hz DLY1 LV1 FB1 102 0ms 6dB 096 DLY3 LV3 FB3 300 1ms 15dB 73 FIN FIN MST 0 0 1 00 9 Soft Roller DRY DRY ROL Off Off 6882 2 DLY1 LV1 FB1 300 1ms 26 DLY3 LV3 FB3 310 8ms 4dB 16 FIN FIN MST 0 0 1 00 0 On and On DRY DRY ROL Off Off 5 788 2 DLY1 LV1 FB1 600
27. 278 DCO E7 HFC 10 591 DCO E7 HFC 14 986 DCO E7 Off HFC 12 177 DCO E7 Off PDL 14 ms MIX All Fx 20 dB 276 PDL 24 ms MIX All Fx PDL 22 ms MIX All Fx PDL 18 ms MIX All Fx Off PDL 0 ms MIX All Fx Off Program Descriptions The programs in the Wild Spaces bank can best be described as reverberation effects They produce rev erberation but their sounds bear little resemblance to anything found in nature These programs are specifi cally intended for use in popular music production and have no known applications in traditional or classical music 1 Brick Wall Brick Wall as in running into rather than sounding similar to This program can best be described as a subtle gated inverse room but it s really much more Unlike most gated reverb effects this one s usefulness extends well beyond drum sounds Try it on a wide variety of material 2 Buckram Buckram is a variation of Brick Wall The difference is that Buckram doesn t sound as dense as the Brick Wall and has a longer reverb tail 3 Big Bottom Big Bottom has a relatively short RT MID and a much longer bass reverb time This produces a big boom from low frequency material while leaving the high end more or less untouched This is useful for adding a big bass and tom drum sound to an existing mix or to a drum machine with premixed stereo outputs 4 10W 40 10W 40 emulates the sound of an oil drum If your facili
28. 3 PRE Echo Delay 1 Echo Delay 2 About the Reverberation Parameters Page One RTM Mid Frequency Reverb Time RTM sets the reverb time for mid frequency signals when the signal stops Because low frequency reverb time BASS MULT is a multiplier of RTM RTM acts as a master control for the stopped reverb time When DECAY OPT is set to Reverb mode the actual value set for RTM varies with the setting of SIZE SIZE should be adjusted before RTM This interaction is deacti vated when DECAY OPT is set to EFFECTS mode SHAPE SHAPE and SPREAD work together to control the overall ambience of the reverberation created by the 480L SHAPE determines the contour of the reverb eration envelope With SHAPE all the way down reverberation builds explosively and decays quickly RTC RT Hi Freq Cutoff ECHO LEV Echo Level 3 R gt L Echo Level 4 L gt R Note SPREAD only functions when SHAPE is set higher than eight As SHAPE is advanced reverberation builds up more slowly and sustains for the time set by SPREAD With SHAPE in the middle the buildup and sustain of the reverberation envelope emulates a large concert hall assuming that SPREAD is at least halfway up and that SIZE is suitably large 30 meters or larger PDL HFC High Freq Cutoff Predelay DIF DCO MIX Diffusion Decay Optimization Wet Dry Mix ELS Echo Level 5 L L Echo Level 6 R gt R DEL AY5 Echo Delay 4 Echo Delay 5 Echo Delay 6
29. 395 RTC DIF DCO 3 982 99 R7 Preecho Levels 10 dB 10dB 12dB Preecho Delays 44 ms 38 ms 80 ms SPR SIZ HFC 50 25m 4 395 RTC DIF DCO 3 784 99 R7 Preecho Levels Off Off Off Preecho Delays 0 ms 0 ms 0 ms PDL 24 ms MIX All Fx Off 0 ms PDL 24 ms MIX All Fx 9 dB 102ms PDL 24 ms MIX All Fx Off 0 ms PDL 24 ms MIX All Fx 12 dB 76ms PDL 24 ms MIX All Fx Off 0 ms 6 Small Stage RTM SHP 1 13 s 96 BAS XOV 10x 752Hz 12dB 12dB 12 ms 18 ms 7 Large Church RTM SHP 4 04 5 85 BAS XOV 15x 1 02 Hz Off Off 0 5 0 5 8 Small Church RTM SHP 2 425 65 BAS XOV 10x 752Hz Off Off 0 ms 0 ms 9 Jazz Hall RTM SHP 1 26 5 34 BAS XOV 12x 752Hz Off Off 0 ms 0 ms 0 Auto Park RTM SHP 5 295 149 BAS XOV 10x 752Hz 6 dB 6 dB 22 ms 12 ms SPR SIZ 50 25m RTC DIF 3 784 99 Preecho Levels 10 dB 10 dB Preecho Delays 44 ms 36 ms SPR SIZ 247 38m RTC DIF 2 691 80 Preecho Levels Off Off Preecho Delays 0 ms 0 ms SPR SIZ 106 31m RTC DIF 3 591 70 Preecho Levels Off Off Preecho Delays 0 ms 0 ms SPR SIZ 98 23m RTC DIF 5 538 80 Preecho Levels Off Off Preecho Delays 0 ms 0 ms SPR SIZ 247 38m RTC DIF 5 538 99 Preecho Levels 9 dB 9 dB Preecho Delays 44 ms 66 ms HFC 4 395 DCO R7 14 dB 72 ms HFC 2 523 DCO R7 Off 0 ms HFC 3 402 DCO R7 Off 0 ms HFC 12 177 DCO R7 Off 0 ms
30. Chamber R 12 8 Small amp Bright R 12 9 Chorus Room 12 0 Wet amp Tacky Bank 13 Ambience 13 1 Very Large Ambience 13 2 Large Ambience 13 3 Medium Ambience 13 4 Small Ambience 13 5 Strong Ambience 13 6 Heavy Ambience 13 7 Ambient Hall 13 8 Announcer 13 9 Closet 13 0 Gated Ambience Bank 14 Post Ambience 14 1 Car Interior 14 2 Living Room 14 3 Bathroom 14 4 Kitchen Ambience 14 5 Kellars Cell 14 6 Small Foley 14 7 Warehouse 14 8 Airhead 14 9 Dial It Up 14 0 Reverb Tail Bank 15 Prime Time Ill 15 1 Prime Chorus 15 2 Slap Chorus 15 3 Bounce Glide 15 4 Swirls 15 5 Heavy Detune 15 6 Shake It Up 15 7 Wowza 15 8 Wowza 2 15 9 Vocalz 15 0 XFlange Bank 16 Freq Stuff 16 1 Mix Finish 16 2 BG Vocals 16 3 Drums 16 4 AC Guitars 16 5 Bass Thump 16 6 Carbon Mic 16 7 Saxophone 16 8 Horn Blast 16 9 Softener 16 0 Some Fuzz Bank 17 Test amp Reference 17 1 100 Hz 12dB 172 500 Hz 17dB 17 3 500 Hz 12dB 17 4 1 kHz 17dB Program Directory 480L Classic Cart Ban Concert Hall Concert Hall Medium Hall Small Hall 17 5 1 kHz 12dB Guitar Hall 17 6 10 kHz 12dB Reggae Hall 17 7 30 Hz Slate Reflex Hall 17 8 A 440 Tuner 17 9 Pink Noise 17 0 Binaural Simula
31. Circles 6 8 There amp Back 6 9 Soft Roller Bank 7 Samplers 7 1 Stereo 3 Sec 7 2 Mono 6 Sec 7 3 Mono 3 Sec 7 4 Dual Rate Change 7 5 Mono Fwd amp Rev 7 6 Stereo 3S Drum 7 7 Dual Rate Chg Drum 7 8 Mono Fwd Rev Drum 7 9 Stereo 10S Rate Chg 7 0 Mono 20S Rate Chg Bank 8 Pitch Doppler 8 1 Pitch Change 8 2 Pitch Chorus 8 3 1 Up 1 Down 8 4 Barber Pole 8 5 Half Steps 8 6 Stair Case 8 7 XPres Subway 8 8 Indy Corner 8 9 Airport Land 8 0 Airport Tkof Bank 9 Mastering 9 1 The In Out 9 2 Stereo Adjust 9 3 PONS Adjust 9 4 M S Decode 9 5 Invert L R 9 6 Channel Swap 9 7 Stereo Param EQ 9 8 Stereo 60Hz Ntch 9 9 Mono Param EQ 9 0 Panorama Bank 10 Compressor 10 1 2 1 Comp 10 2 6 24 1 Comp 10 3 18 28 1 Comp 10 4 Transfer 10 5 Vox Easy 10 6 FM 10 7 Nailed 10 8 Noise Gate 10 9 2 Slp Mach A 10 0 2 Slp Mach B Bank 11 Random Hall 11 1 Large R Hall 11 2 Large R Stage 11 3 Medium R Hall 11 4 Medium R Stage 11 5 Small R Hall 11 6 Small R Stage 11 7 Large R Church 11 8 Small R Church 11 9 Jazz R Hall 11 0 Auto Park R Bank 12 Random Spaces 12 1 Music Club R 122 Large Room R 12 3 Medium Room R 12 4 Small Room R 125 Very Small R 12 6 Large CHamber R 12 7 Small
32. DIF 68 LVL4 Off DLY4 SIZ 30M DIF 65 LVL4 7dB DLY4 48ms SIZ 25M DIF 65 LVL4 Off DLY4 0 HFC 3402Hz MOD REV SPN 43 SHL 0 HFC 3402Hz MOD REV SPN 43 SHL 0 HFC 3402Hz MOD REV SPN 43 SHL 0 HFC 3402Hz MOD REV SPN 43 SHL 0 HFC 4611Hz MOD REV SPN 43 SHL 0 PDL Oms MIX All Fx WAN 10ms RLV 160 PDL Oms MIX All Fx WAN 10ms RLV 160 PDL Oms MIX All Fx WAN 10ms RLV 160 PDL Oms MIX All Fx WAN 10ms RLV 160 PDL Oms MIX All Fx WAN 10ms RLV 160 Banks 11 12 the Random Halls and Spaces Program 6 Sm RHall amp Stage RTM 1 12s BAS x1 0 LVL1 9dB DLY1 8ms 7 Large RChurch RTM 4 07s BAS x1 5 LVL1 Off DLY1 0 8 Small RChurch SHP 92 XOV 493Hz LVL2 9dB DLY2 12ms SHP 82 XOV 885Hz LVL2 Off DLY2 0 RTM SHP 2 42s 72 BAS XOV x1 0 493Hz LVL1 LVL2 Off Off DLY1 DLY2 0 0 9 Jazz RHall RTM SHP 1 32s 34 BAS XOV x1 2 752Hz LVL1 LVL2 Off Off DLY1 DLY2 0 0 0 Auto Park R RTM 5 33s BAS x1 0 LVL1 8dB DLY1 22ms SHP 149 XOV 752Hz LVL2 8dB DLY2 16ms SPR 51 HFC 3591Hz LVL3 DLY3 44ms SPR 228 HFC 2862Hz LVL3 Off DLY3 0 SPR 107 HFC 3591Hz LVL3 Off DLY3 0 SPR 103 HFC 5538Hz LVL3 Off DLY3 0 SPR 248 HFC 5538Hz LVL3 12dB DLY3 40ms SIZ 25M DIF 65 LVL4 8dB DLY4 36ms SIZ 39M DIF 70 LVL4 Off DLY4 SIZ 31M DIF 65 LVL4 Off
33. Find the extremes where the PLL goes out of lock and then set the pot for the center of this range If this fails to correct the problem but the status slider indicates that external word clock is present you may have excessive noise in the digital interface This problem should be referred to a qualified service tech nician for diagnosis and correction LARC Diagnostic Programs Toenter the LARC diagnostic test mode after the 480L has powered up and resumed normal operation press PAGE and while holding it down press PROG To scroll through the menu press PAGE to load a dis played program press PROG The following table shows how the diagnostic program is organized how it is loaded and how each of the programs function To enter any diagnostic program press PROG To exit press PROG again EXIT SLIDER BUTTON DISPLAY TAPEOUT DROPOUT SERIAL VOLTAGE MAINFRAME Returns to normal operation Tests slider action through all posi tions each slider should pass without interruption through 256 positions 0 to 255 Tests button functionality position of last button pushed and last button released is displayed Lights all LED s pressing PAGE steps through three displays Does not affect the 480L Does not affect the 480L Inactive Displays LARC power supply voltage should be stable between 4 8 and 5 2 048 052 Low voltage could indi cate excessive cable power drop and need for remote po
34. IND MIX 0 ms 0 122 ms 64 SGN 0 LNG WAN NUM PDL 80 ms 35 ms 8 80 ms FBD DIF IND MIX 44 ms 59 0 5 All Fx SGN 1 LNG WAN NUM PDL 216 37 ms 40 52 ms FBD DIF IND MIX 48 ms 99 0 ms All Fx SGN 0 LNG WAN NUM PDL 500 ms 13 ms 40 0 5 FBD DIF IND MIX 0 ms 87 504 ms 5296 SGN 0 LNG WAN NUM PDL 0 ms 0 us 4 0 ms FBD DIF IND MIX 0 ms 0 0 ms All Fx SGN 0 Lexicon 480L Owner s Manual Program Descriptions The effects produced by these programs can be very difficult to describe They range from subtle to out rageous depending largely on the type of source material used and how much of the effect is added to the mix These effects are powerful and complex and we encourage you to spend a great deal of time listening to them 1 Illusion Illusion when added to the mix in relatively small amounts is a subtle effect that can enhance a sound without a listener even knowing it is there One often doesn t notice that it is in use until it is taken away Illusion is also useful for stereo synthesis Illusion is effective on complete mixes and on single tracks When greater amounts of Illusion are added to the mix the effect becomes more obvious and some interest ing phasing and panning are audible The phasing is strong enough that spatial panning results with some of the sound swirling around and even behind the listener 2 Surfin Surfin produces flanging when fed with percussive material Try iton everything from g
35. Inputs L R Machine B L R L R Main Outputs Aux Outputs Selecting a Machine Once a configuration has been selected press CTRL to exit Control Mode Now pressing MACH switches LARC control from one machine to the other The Single Configuration A few programs like Stereo Sampler require all of the 480L s processing power and cannot be run at the same time as other programs The Single configuration is provided for these programs In the Single configu ration the outputs of the program are available at both the Main and Aux Outputs Inputs L R I L R L R Main Outputs Aux Outputs MACHINE A HSP 1 MACHINE A Press Press MACH MACHINE B HSP 2 MACHINE B Using Two LARCs to Control a Single 480L If you frequently use your 480L in the Split or Cascade modes you may wish to consider pur chasing a second LARC Having two LARCs allows you to control two programs simultaneously without switching back and forth with MACH Two LARCs are also useful if the 480L is to be shared between two different rooms In addition to controlling two programs at once the second LARC can be used to display two pages of parameters for a single program The second LARC should be connected to the LARC 2 Thru connector on the rear panel of the 480L Refer to Chapter 1 for details Controlling a 224XL from a 480L and LARC In facilities equipped with both a 480L and a 224XL it may
36. Page Two PLAY Play Trigger Identical to PLAY on page one TRIGGER Trigger Mode TRIGGER sets the level of the audio trigger At the maximum setting the effect is triggered manually with PLAY or MIDI When level has been selected PLAY arms the effect It then waits for a signal at the selected level to run It must be rearmed before running again the continuous setting has no meaning When audio level exceeds the trigger level the 480L waits for the memory preload and then starts the effect Programs Bank 8 Doppler 7 Xpres Subway PLAY IRAR FG SPD TIME DST Zoom 89 122 6 2 35 9 PLAY TRIG 8 Indy Corner PLAY R FG SPD TIME DST Zoom 226 339 1 2 5 3 PLAY TRIG 9 Airport Land PLAY TYP FG SPD TIME DST Norm 153 70 12 0 119 2 PLAY TRIG 0 Airport Tkof PLAY TYP FG SPD TIME DST Norm 213 184 6 8 268 1 PLAY TRIG Bank 8 the Pitch Change and Doppler Programs Program Descriptions 7 Xpres Subway Imagine standing at the back of the station platform as the express rushes by 8 Indy Corner With Speed set at over 300 k p h this is a very high speed turn High amplitude and pitch change near center create a pronounced whoosh If distance is increased things get tamer as though you had a seat on the straightaway 9 Airport Land A long and gradual Doppler shift with a mild amplitude change 0 Airport Tkof Takeoff is shorter with a gradual pitch change and a more aggressive amplitude change Bank 9 the Maste
37. REAR VIEW E BNC JACKS X Sa Aq ey D 0 EXTERNAL WORD CLOCK INPUT RIGHT CHANNEL 1 INPUT eS I apod ee NE 1 1 l T S 0 LEFT CHANNEL INPUT CHASSIS GND RIGHT CHANNEL OUTPUT LEFT CHANNEL OUTPUT 0 WORD CLOCK NE Pop o OUTPUT 1 TWISTED PAIR 6 __ bord OVERALL FOIL SHIELD USE BELDEN 5 9682 9506 OR EQUIVALENT SHIELDED LOW CAPACITANCE CABLE WITH 6 TWISTED PAIRS Suggested interface for Digital I O Connector Lexicon 480L Owner s Manual PROCESSOR IN OLIT 1610 1630 RECORD Typical 1610 1630 Connection selected as output form at Converting Digital Signals to AES EBU Format 1 12 Basic Operation This chapter describes the operations necessary to properly calibrate the 480L in your facility These include Learning the operating modes Selecting machine configuration Switching machines from the LARC Selecting analog or digital inputs Loading programs Calibrating levels Lexicon 480L Owner s Manual Glossary Mainframe Mainframe refers to a functional 480L operating with one or more machines Machine Each 480L HSP board is addressed in the mainframe as an independent machine or signal pro cessing engine In addition the 480L can recognize the Lexicon 224XL and address it as another machine
38. SPD MAX MAX WIN WIN 121 158 2 3 3ismp 1255 PDL PDL IND IND TRB MIX 93 79ms 80 35ms 22 79ms 22 79ms 6 5kHz All Fx FBK FBK CFB CFB PAN PAN 24 24 27 27 Left Right 3 Bounce Glide SPD SPD MAX MAX WIN WIN 67 28 2 2 59smp 62smp PDL PDL IND IND TRB MIX 325 0ms 661 29ms 22 79ms 22 79ms 6 0kHz All Fx FBK FBK CFB CFB PAN PAN 6 6 70 35 Right Left 4 Swirls SPD SPD MAX MAX WIN WIN 3 5 2 3 5ismp 435 PDL PDL IND IND TRB MIX 0 0ms 0 0ms 8 30ms 5 62ms 5 62kHz All Fx FBK FBK CFB CFB PAN PAN 39 39 24 24 Left Right 5 Heavy Chorus SPD SPD MAX MAX WIN WIN 110 85 4 5 78smp 74smp PDL PDL IND IND TRB MIX 13 34ms 8 89ms 5 62ms 5 62 5 6 5kHz All Fx FBK FBK CFB CFB PAN PAN 38 15 15 38 Left Right 12 3 6 Shake It Up SPD SPD MAX MAX WIN WIN 204 192 5 7 23smp 31smp PDL PDL IND IND TRB MIX 98 24ms 107 2ms 5 62ms 5 62 5 5 53kHz _ All Fx FBK FBK CFB CFB PAN PAN 0 0 20 20 Right Left 7 Wowza SPD SPD MAX MAX WIN WIN 182 260 4 5 78smp 39smp PDL PDL IND IND TRB MIX 0 0ms 0 00 18 30ms 5 62ms 5 5kHz All Fx FBK FBK CFB CFB PAN PAN 36 40 40 29 Left Right 8 Wowza 2 SPD SPD MAX MAX WIN WIN 115 115 4 5 59smp 122smp PDL PDL IND IND TRB MIX 10 6ms 9 44ms 5 62ms 5 6275 7 8kHz All Fx FBK FBK CFB CFB PAN PAN 38 21 38 21 70 30 9 Vocalz SPD SPD MAX MAX WIN WIN 39 49 3 4 771smp 850smp PDL PDL IND IND TRB MIX 4 44ms 4 44ms 48 57ms 48 57ms 4 18kHz 80 Fx FBK FBK CFB CFB PAN PAN 21 21 25 25 Left Right 0 X Flange SPD SPD MAX MAX
39. SPREAD SPREAD works together with SHAPE to control the contour of the overall ambience of the sound created by the 480L SPREAD controls the duration of the initial contour of the reverberation envelope SHAPE con trols the envelope Low SPREAD 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 SPREAD and SHAPE control the rate at which reverb eration builds up and how the reverberation sustains as it begins to decay When DECAY OPT is in Reverb mode SPREAD is linked to SIZE and the actual value for SPREAD depends on the selected SIZE SIZE SIZE sets the rate of buildup of diffusion after the initial period which is controlled by DIFFUSION It also acts as a master control for RT MID and SPREAD For this reason the SIZE control can be used to vary 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 The size in meters is roughly equal to the longest dimension of the space Moving SIZE while a signal is present mom entarily mutes the reverb signal 0 dB 30 dB Time SHAPE Set All the Way Down 0 dB 30 dB Time SHAPE at 64 1 4 of the Way Up 0 dB 30 dB Time SHAPE at 128 1 2 of the Way Up 0 dB 30 dB Time SHAPE at 255 All the Way Up Short RT MID Setting B
40. bank Select a Program Once a bank has been selected you can view the programs in that bank without loading them To do this press PROG The bank display on the LARC will stop flashing and the program display will begin flashing The current program name and number will be dis played Press PROG repeatedly The LARC will scroll through the programs in the selected bank Load a Program 480L programs are loaded by pressing the numeric button that matches the flashing LARC display Press PROG and then press a numeric button 1 0 The LARC will flash the message SETUP LOADED You will find that you can navigate between programs very quickly with this method For example enter the following keystrokes PROG BANK 1 PROG 1 Large Hall PROG BANK 9 PROG 7 Stereo Parametric EQ PROG BANK 7 PROG 4 Dual Rate Chg Sampler PROG BANK 8 PROG 8 Indy Corner PROG BANK 3 PROG 1 Brick Wall Once a program is loaded the 480L will switch from Program Preview Mode to Machine Operation Mode The new program name will be displayed and the first page of variable parameters will appear on the LARC Detailed information on program parameters is found in later chapters of this manual Level Calibration Analog Input and Output levels should be set with care to obtain the best possible performance from the 480L The diagram below illustrates the signal flow through the mainframe In addition several programs are avail able in Bank 1
41. between analog audio input via the main inputs and digital audio input via the digital I O port Page Two Page 2 contains controls related to copying and mov ing registers It is sometimes referred to as the register transporter page FUN Function Setup The FUN slider has eight functions e COPY SETUP e INT TO CART e CART TO INT MOVE SETUP e CLR SETUP e CLR ALL INT e CLR ALL CART FORMAT CART e DUMP COPY SETUP copies a program or register to a speci fied register location INT TO CART copies all the registers in internal memory to the cartridge CART TOINT copies all the registers in the cartridge to internal memory MOVE SETUP copies a register to a specified register location and deletes the original CLR SETUP deletes the specified register CLR ALL INT clears all internal registers CLR ALL CART clears all registers in the cartridge FORMAT CART formats the cartridge DUMP allows MIDI tranmission of Automation data Toperform any of these functions hold down STO and press REG SRC Source SRC selects the source register or program for clear ing moves or copies DST Destination DST selects the destination register for copies or moves PRO Register Protect PRO has four options OFF no protection INTERNAL internal registers are protected e CARTRIDGE cartridge registers are protected INT amp CART both internal and cartridge registers are protected When re
42. color or muddy the direct sound of the recording Because of the large SPREAD value used the sound of the Large Hall is most effective when relatively small amounts of it are mixed with the direct signal Ifthe reverberation sounds obtrusive or tends to reduce clarity you are using too much of it BASS MULT RT HF CUT and HF CUTOFF have been set to values typical of good concert halls SIZE is set at maximum to provide reverberation with medium density and low color If higher density is required for material such as closely miked percussion try reduc ing SIZE to about 25 Banks 11 12 the Random Halls and Spaces Program 2 Lg RHall Stage Lg RHall Stage is similar to Large RHall except that the musicians are located at one end of the hall and several preechoes simulate the effects of a procenium arch 3 Medium RHall Medium RHall is very similar to Large RHall but smaller 4 Med RHall Stage Med RHall Stage is very similar to Lg RHall Stage but smaller 5 Small RHall Small RHall is a smaller version of Medium RHall 6 Sm RHall Stage Sm RHall Stage is a smaller version of Med RHall Stage 7 Large RChurch Large RChurch is a big space with the musicians centrally located and a comparatively long RT MID 8 Small RChurch Small RChurch is a smaller version of program 7 9 Jazz RHall Jazz RHall is a relatively small space with hard bright walls and a short RT MID It emulates a hall full of people wi
43. events like last note played last velocity and aftertouch can also be used To use Dynamic MIDI you patch a parameter to a MIDI controller or event using the patch parameters found on page 3 of the control mode There are ten patches for each register allowing you to control up to 10 parameters remotely at the same time Because each register has its own unique set of patches each register can respond to MIDI in a different way To get an idea of what patching can do for you try the following example 1 Connect the 480L as shown and set the 480L and the keyboard to the same MIDI channel 2 Load one of the sampler programs in Bank 6 or 7 3 Press CTRL to enter the control mode 4 Press PAGE 4 to go to page 4 of the control mode 5 Use SEL to select the number of the patch you will create 6 Use SRC to select the MIDI controller or event which will be used to control the 480L For this ex ample set SRC to MOD WHEEL Notice that as the slider is moved up past PATCH OFF two additional controls become available SCL and PRM These controls are discussed below 7 Use DST to select 480L parameter which will be controlled via MIDI For this example set DST to FWD TIME 8 Use SCL to set the scaling for the controller SCL sets the range of effectiveness for the MIDI controller Scaling can be set from 200 to 200 When SCL is set to 100 the full range of the MIDI controller will apply to the 480L paramete
44. 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 480L to produce superior ambience a sound which is spa cious and has great depth without the long RT60 of a church Creating a Realistic Ambient Sound When you set out to create an ambient sound the first and most important decision is how big a space you want The best way to startis 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 RTMID to fine tune the amount of time the reverberation takes to die away at the end of musical phrases Actual halls vary a great dealin their actual RT MID values The setting of the BASS MULTIPLY is also critical in matching the sound of an existing hall An ideal concert hall would have a BASS MULTIPLY setting of 1 2 It is rare when actual physical spaces exceed 1 5 Many if not most good recording environ ments have values of BASS MULTIPLY of 1 0 or less and a value of 0 8 should be tried when attempting to match an existing hall There are two additional 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 ef
45. increments Below 60 dB the calibration comes in larger steps finally dropping to zero output at 72 dB ROT BAS TRB Rotate Bass EQ Treble EQ SPC TBL TBR Spatial EQ Treble L Treble R SHUF Shuffler FIN Fine Level FIN is identical to the LVL but has a range of 3 5 dB the setting of LVL This allows fine adjustment of level while the mix is proceeding without fear of over or undershooting the desired setting If in a mix you want to make a level increase at some point of 4 5 dB and then drop back to zero you can set the FIN to the bottom of its range beforehand Then readjust LVL so that the attenuation is once again zero Now the FIN control will have a range of 0 to 7 dB of boost BAL Balance BAL implements a sine cosine balance adjustment Balance is smoothly adjusted 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 left instead of simply being attenuated as BAL would do it 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 c
46. ment low and high frequency shelving EQ and preci sion stereo balance controls Additional parameters include precision binaural rotation spatial EQ L R shelving boost or cut and Blumlein shuffler PONS Adjust incorporates psychoacoustically opti mized noise shaping that can increase the signal to noise performance of a 16 bit digital recording me dium This performance increase is attained by pro cessing a digital recording made at 18 bit or higher bitwidth through PONS then transferring digitally to a 16 bit medium and converting back to analog through an 18 bit converter About the PONS Parameters Page One LVL Level LVLis a stereo level control with both channels equally attenuated or boosted From 12 to 12 the slider 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 FIN Fine Level FIN is identical to the LVL but has a range of 3 5 dB the setting of LVL This allows fine adjustment of level while the mix is proceeding without fear of over or undershooting the desired setting If in a mix you want to make a level increase at some point of 4 5 dB and then drop back to zero you can set the FIN to the bottom of its range beforehand Then readjust LVL so that the attenuation is once again zero Now the FIN control will have a range of 0 to 7 dB of boost Bank 9 the Mastering Programs ROT
47. of SPREAD with low values of SIZE These settings can result in some interesting but unnatural sounds Note On certain types of program material Such as soft low frequency tones from a synthesizer side effects may be audible during level changes If these are heard set DECAY OPT to REVERB 0 or FECTS 0 WET DRY MIX WET DRY MIX controls the ratio of direct vs effect signal in the output from a program When the 480L is patched into a console this control should almost always be set to 100 wet When an instrument is plugged directly into a 480L or when the Cascade configuration is in use a setting between 45 and 60 is a good starting point for experimentation with this parameter WET DRY MIX is a sine cosine fade Practically speaking this means that MIX can be adjusted over its range with little or no change in output level When you control mix at the console adding effect to the dry signal increases overall level Page Three PREECHO LEVEL Preechoes can best be understood by visualizing a stage where the early reflections are the sounds ema nating 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 preechoes are actually clusters of echoes with the density of the cluster set by DIFFU SION The preecho reflection parameters change the per ceived locations of reflecting surf
48. of a very large highly colored plate 4 Bank 5 the Effects Programs This chapter describes the Effects pro grams and their parameters The Effects programs are located in Bank 5 Lexicon 480L Owner s Manual LNG Length MON FBL FBD Input Blend Feedback Level Feedback Delay Page Three HPL HPR High Pass L High Pass R About the Effects Program The effects in the 480L are based on randomly varying time delays Within this general class a great variety of sounds are possible Of greatest interest are the natu ral acoustical effects such as the effect of a forest on sound a drum cage or reflections from audiences walls and rooms Most of these natural effects are quite complex and are difficult or impossible to obtain using a delay line with fixed taps The effects of slightly moving sources or several musicians cannot be ach ieved with fixed time delays and only one input Simple clusters of delays which produce an interesting sound when first heard become annoying when the timbre they create applies in exactly the same way to every sound run through the box In the 480L the delay pattern and the resulting timbre is never constant long enough to become boring Making the taps randomly vary in time solves many of these problems and allows the creation of more inter esting sounds Perhaps the oldest time varing effect is simple chor using where a single input is delayed with a number
49. of the two voices to record Bank 7 the Sampler Programs 6 11 Bank 8 the Pitch Change and Doppler Programs The Pitch Change program is a true stereo pitch shifter which displays pitch change in musical intervals It can also operate as two independent mono programs in each chan nel In addition a delay line with indepen dent feedback paths is available to create useful effects Pitch parameters can be quickly linked to MIDI Note values a mirror feature is also provided The Doppler program realistically separates the sound of a large object passing at high speed past a stationary listener It is de signed primarily for use in film and video post production environments MOD SNC PCH Stero Mono Play Sync Pitch L PDL PDR FBL L Predelay R Predelay L Feedback Page Three MIDI REF MIDI Pitch L MIDI Ref Note Page Four REF MIDI Ref Note MIDI MIDI Pitch R Figure 7 1 Pitch Change Parameters The Pitch Change Programs The Pitch Change program located in Bank 8 is a stereo or two channel mono pitch shifter with several useful effects including predelay feedback and glide These are independently adjustable for each channel About the Pitch Change Parameters Page One MOD Stereo Mono Mode MOD selects stereo or mono mode Move the slider all the way up to select mono and down to select stereo In stereo the two channels are linked pitch shifting by the same amount and splicing at the same time
50. or Q 32 The Shelf SL on Page Two filters is a low frequency shelf This means that with a frequency of 500 Hz a level of 12 dB and Shelf SL selected frequencies below approximately 300 Hz will be boosted by 12 dB and 500 Hz will be boosted approximately 9 dB The Notch feature is found only on the Page Two filters and is optimized for low frequencies LEV LEV provides level boost or cut at the defined fre quency and Q settings LVL is adjustable between 12 to 12 db when the Q setting falls between shelf and Q 7 When a Notch Q is selected Q 16 or Q 32 LVL is adjustable between 36 and 36 dB This only applies to the Page Two filters FR LM This control sets the frequency to be adjusted for the Low Mid Frequency band Frequency settings fall be tween 30 Hz and 17 kHz Page Three FR HM This control sets the frequency to be adjusted for the High Mid Frequency band Frequency settings fall between 30 Hz and 17 kHz Q The Page Three filters provide a Q adjustment from shelf to Q 7 The filters on Page Three have a high frequency shelf that boosts all frequencies above the set frequency This is identified by SH in the Q display LEV LEV provides level boost or cut at the defined fre quency and Q settings LVL is adjustable between 12 to 12 db FR HI This control sets the frequency to be adjusted for the High Frequency band Frequency settings fall be tween 30 Hz and 17 kHz 8 9 Lexicon 48
51. pitch intervals On the same LARC page are two parameters that control the MIDI PLAY interaction with RATE Reference MIDI Note and Pitch Mirror They are fully described in the next section Bank 7 the Sampler Programs Typically two patches are needed to control a sampler assuming that you will handle recording and preliminary editing manually You will need to patch MIDI source NOTE EVENT over some range of note values to a 480L sampler event usually a PLAY key so that playing a synthesizer key will trigger the edited sample Having done this there are several interesting parame ters you can vary including FORWARD TIME TAIL TRIM in the SME REPEATS and RATE These may be patched to MIDI sources such as PITCH WL MOD WL and other controllers To patch a MIDI controller to a sampler parameter 1 Press CTRL to enter Control Mode Go to page 4 2 Use SEL to select the patch to create there are 10 possible patches 3 Use SRC to select the MIDI controller for the patch 4 Use DST to select the parameter you will control 5 Use SCL to set the scaling of the MIDI controller to the sampler parameter 6 Use PRM to set the base setting for the parameter and audition the effect of the controller 7 After setting up your patches be sure to save the new settings in a register To patch a MIDI note event to trigger a sampler event 1 Press CTRL to enter Control Mode Go to page 4 2 Use SEL to select the
52. presets 1 210 are available Indexes between the range of 924 and 973 are internal registers and 974 through 1023 These numbers are used in all automation or bulk dump sysex messages when referring to a stored or preset 480 setup The following equations define the locations in the array Presets index bankNumber 1 10 programNumber 1 where PGMO represents programNumber 10 Internal Registers index registerBankNumber 1 10 registerNumber 1 924 where REGO represents registerNumber 10 Cartridge Registers index cartridgeBankNumber 1 10 registerNumber 1 974 where REGO represents registerNumber 10 A 13 Solving Problems This section describes some common problems and their solutions Lexicon 480L Owner s Manual Solving Problems When try to use a cartridge the 4801 tells me that the cartridge is not formatted Before a cartridge is used for the first time it must be formatted While this is generally done at the Lexicon factory or by your dealer it is possible that you have obtained an unformatted cartridge To format a cartridge 1 Press CTRL to enter the control mode 2 Press PAGE 2 to go to page 2 3 Usethe FUN slider to select the format function 4 Hold down STO and press REG to format the cartridge Important A cartridge cannot be formatted if the register protect function is activated or if the cartridge s memory protect switc
53. select a preset on the synthesizer MIDI program changes from 0 to 49 will load the 480L internal registers 0 0 to 4 9 MIDI program changes from 50 to 99 will load 480L cartridge registers 5 0 to 9 9 Note Some synthesizers and controllers start num bering their presets at one instead of zero Selecting preset 1 sends MIDI program change 0 few synthesizers organize their presets into banks of eight Appendix A MIDI and the 480L MIDI Out Sequencer MIDI In lexicon numbered from 1 1 to 1 8 2 1 to 2 8 and so forth If you experiment a bit the relationship between the MIDI controllers preset numbers and the MIDI program changes it actually sends will become clear Using Corresponding Registers You will quickly discover that a fixed relationship be tween MIDI program changes and the 480L register numbers is not very convenient Changing the presets in a synth or the register contents in the 480L is not easy since you have to arrange everything so that MIDI program changes have the desired effect To solve this problem the 480L has a corresponding register table which lets you assign any register or programto any MIDI program change number Dealing with MIDI program changes becomes much easier since you can completely rearrange the relationship of MIDI program change numbers to 480L registers and programs in minutes The corresponding register table also lets you make more economical use of registers since se
54. slider all the way up to NOTE EVENT 4 Use DST to select the event you will control 5 If you want to use a single key to trigger an event set LOW NOTE and HIGH NOTE to the same value 6 If you want a range of keys to trigger an event use LOW NOTE to set the low end of the range and HIGH NOTE to set the high end of the range 7 After setting up your patches be sure to save the new settings in a register Creating Custom Master Controls Control over a single parameter at a time is useful but things really begin to get exciting as you experiment with controlling several parameters simultaneously from a single MIDI controller In effect you can create acustom master control for a unique set of parameters Using this custom master in real time can produce stunning effects never heard before The ability to choose different settings of SCALING for two or more parameters controlled by the same con troller also raises some interesting possibilities Don t forgetthat using negative SCALING for one parameter and positive SCALING for another will cause the first parameter to decrease while the other increases A word of caution not all parameters respond well to real time control Due to the current limitations of digital technology it is simply impossible to alter certain parameters in realtime without audible artifacts This is Appendix A MIDI and the 480L the case whether you are controlling the parameter remotely via
55. the REG button Press the BANK button to view register banks Press the REG button to view programs in the bank This mode allows you to Select store and recall programs from registers Address a cartridge in the mainframe cartridge slot Control Mode Press the CTRL button To exit press CTRL then press PROG then press REG This mode allows you to View system status Setmachine and input configuration Alter input and set digital operation Address the register transporter Name programs Create Dynamic MIDI patches Transmit MIDI Program Change messages Enable MIDI SysEx Automation Transmit MIDI Bulk Dumps Lexicon 480L Owner s Manual Mach rat on Mode On power up 480L restores the configuration routing and programs loaded before power was shut off The LARC will display the last machine selected Y Machine Under LARC Control Y Program Currently Running MACHINE A van LARGE HALL e LARGE HALL _ 1 Program Currently Running Page of Parameters Under Control Program Preview Mode Register Preview Mode 1 1 Na A NI 1 P1 MA B1 LARC Display Po MA JB R1 MA B1 A LARC Display Preview Program Preview Programs y Preview Register Preview Registers gt Banks Program 1 Program 2 Banks Register 1 Register 2 Large Hall Large Stage Wild Spaces Press Numeric buttons 1 0 to
56. three glide parameters interact with each other Speed is the rate of climb acceleration slope to maximum pitch shift MAX is maximum amount of pitch shift WIN is the time event length WIN defines the amount of time over which the entire glide event takes place The actual time that it takes a cycle of modula tion to complete is determined by speed and the MAX pitch shift The delay will always speed up to MAX and then back down again which takes a certain amount of time This time can be lengthened by setting WIN large This allows long flanges with low pitch shifts to be achieved Window is specified in samples a unit of time Feedback paths are routed outputs to inputs and x feedbacks are routed outputs to opposite inputs An input delay is provided to match the pre delay for over the top type flanges while mixing internally the box The treble filter is functionally placed at the output of the algorithm About the Parameters Page 1 SPD Speed SPD controls the acceleration rate to reach maximum pitch shift There are two controls for SPD one for the left and one for the right MAX Maximum Pitch Shift MAX sets the maximum amount of equivalent pitch shift Each step is equivalent to 6 cents of pitch shift The total maximum pitch shift can be set for 180 cents almost a full tone There are two independent controls for left and right WIN Window Left and Right WIN controls define the minimum amount
57. two 1 5 A 20 mm Slo blo fuses for 220 240 V To change the fuses over to 220 240 V remove the small Phillips head screw on the cartridge and turn over the board Reinstall the screw The European 20 mm fuses should now be visible Reverse the process to change from 220 240 V to 100 120 V operation 7 Reinstall the fuseholder cartridge Check the pin indicator to verify that you selected the correct voltage If none of the holes in the fuseholder line up with the pin on the voltage changeover board you installed the board upside down Reinstall it correctly and try the fuseholder again 8 This completes the voltage changeover D 2 Installing the Optional Transformers Some applications require that the 480L operate under adverse electrical conditions In these situations it may be beneficial to transformer couple the 480L s audio inputs and outputs The 480L allows easy instal lation of audio transformers inside the unit Please note that transformers are not available from Lexicon They can be purchased directly from their manufacturer or a pro audio dealer If you choose to install transformers follow these instructions carefully For the 480L inputs we recommend Jensen JE 11P 1 transformers 1 Onthe main circuit board component side of the 480L cut the etch between E4 and E7 E5 and E8 E10 and E13 E11 and E14 2 Install a 510 pF 2 5 polypropylene capacitor at C143 3 Install a 510 pF 2 596 polypropyl
58. 000 SEC 3 To adjust the relative start times of two active voices use the lt gt slider PLAY ORDER For a different kind of inverse effect try sliding the forward voice so that it starts just as the reverse is finishing 4 Adjust the relative gains and panning of each voice on Page 3 6 5 Lexicon 480L Owner s Manual Time Variant Recording The original and still available IMMEDIATE record mode allows control over the start time only Recording starts when the REC button is pressed and continues until all audio memory is used We now use the term capturing to describe a sampler that records until a triggering event stops it Time Variant Recording pro vides controls that determine exactly what audio is captured the MARK slider and how it is captured the MOD slider REC key and CAP key The recording side of the sampler has three states READY RECORDING and CAPTURING In the READY state all recording is complete and the 480L is ready for playback or to record again Tap REC to begin recording To determine which of the three states the sampler is currently in tap CHK or CUE Ifthe sampler is READY the LARC displays the name of the key and plays the sample If the sampler is recording but not yet trig gered the LARC displays RECORDING kkkkkkkkkkkk The asterisks indicate that the sampler is armed and ready to record If the sampler has been triggered manually by pressing CAP by level or IMMEDIA
59. 066us RLV 160 6 Large Chamber R RTM SHP SPR 0 90s 3 0 BAS XOV HFC x1 0 1158Hz 5538Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 7 Small Chamber R RTM SHP SPR 0 37s 16 0 BAS XOV HFC x1 0 1158Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 8 Small amp Bright R RTM SHP SPR 0 68s 40 41 BAS XOV HFC x0 8 1158Hz 7493Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 9 Chorus Room RTM SHP SPR 0 12s 255 12 BAS XOV HFC x1 5 2 198Hz 21 18Hz LVL1 LVL2 LVL3 4dB 4dB Off DLY1 DLY2 DLY3 22ms 12ms 0 0 Wet amp Tacky RTM SHP SPR 1 39s 23 36 BAS XOV HFC x0 8 1158 2 4395Hz LVL1 LVL2 LVL3 1488 14dB 14dB DLY1 DLY2 DLYS 14ms 18ms 28ms SIZ 21M DIF 99 LVL4 Off DLY4 SIZ 11M DIF 70 LVL4 Off DLY4 SIZ 10M DIF 70 LVL4 Off DLY4 SIZ 2M DIF LVL4 Off DLY4 SIZ 24M DIF 70 LVL4 14dB DLY4 34ms HFC 7181Hz MOD REV SPN 43 SHL 0 HFC 7181Hz MOD REV SPN 43 SHL 0 HFC 10127Hz MOD REVO SPN 43 SHL 0 HFC Full MOD REV SPN 48 SHL 0 HFC 7493Hz MOD REV SPN 48 SHL 0 Banks 11 12 the Random Halls and Spaces Program PDL 0 MIX All Fx WAN 3066us RLV 160 PDL 0 MIX All Fx WAN 3066us RLV 160 PDL 0 MIX All Fx WAN 3066us RLV 160 PDL 16 MIX All Fx WAN 1302us RLV 160 PDL 0 MIX All Fx WAN 9618 RLV 160 10 7 Program Descriptions The Random Spaces presets are simila
60. 0L The LARC displays DUMPING MAP A DUMPING MAP B or DUMPING MAPS depend ing on selection When the dump is complete the LARC displays MAP A B or A B DUMPED Dump Controls The SRC slider is not needed for this function After moving the slider to CONTROLS and pushing STO REG a copy of the current parameters available in Control Mode are dumped The following is a list of the controls dumped e Configuration Sample Rate e Clock Source e nput Source Audio Mute Reg Protect e Sysex Channel Device ID e Sysex Automation Mode e Sysex Receive Mode When dumping is activated the LARC displays DUMPING CTRLS When complete the LARC dis plays CTRLS DUMPED SysEx Restore Bulk Dump Slider 3 on Page 6 labeled RCV selects the destina tion of MIDI bulk dumps loaded back into the 480L The simplest destination is the default ORIGINAL SRC This function restores presets to wherever they origi nated An internal register is written back over the current register at that location See the message format documentation to discover the source for each register Programs or presets can also be restored to the active Machines If the configuration is SINGLE then only Machine A can be restored Otherwise any program or register loaded to the 480L can be sent to either Machine A or Machine B with ACTIVE A or ACTIVE B selected under RCV The bank modes are more complicated If any of the
61. 0L Owner s Manual EFF Effect CH2 Right Channel In CH1 Left Channel In ANG LFB MIX Speaker Angle L R Boost Dry Input The Panorama Binauaral Program Panorama is a crosstalk elimination program It in creases the apparent width of stereo sounds by elimi nating the crosstalk around the ears of the listener One of the major uses of this program in the 480L is to spread the sound of a reverb or effect outside the bounds of the loudspeakers This is easily done with a mixing board by putting the 480L in cascade mode with Ambience or a reverb program in machine A and Panorama in machine B The mix control in machine A should be ALL EFFECTS In machine B the Effect control and the Low frequency width are used to increase the width of the reverb and the Dry Input Mix control or an external mixer can be used to add the unexpanded original sound back into the expanded reverb In making expanded recordings the listener is as sumed to be exactly between the two loudspeakers and the speakers should be at the angle set in the program For this reason this expansion is best done at the time of playback using a home processor However there may be good reasons for doing some expansion in a recording Low frequencies are spread by the program through the whole listening room they do not require precise adjustment Even under non ideal playback conditions some improvement may be noted Recordings made with ORTF or closely spa
62. 1 Table of Contents Bank 5 the Effects Programs About the Effects Algorithm About the Effects Parameters Bank 5 Effects Bank 6 the Twin Delays Programs About the Twin Delays Parameters Bank 6 Twin Delays Bank 7 the Sampler Programs Introduction Bank 7 Samplers Bank 7 Samplers SME Only How to Use the Samplers About the Sampling Parameters Bank 8 the Pitch and Doppler Programs About the Pitch Shift Parameters Bank 8 Pitch Shift About the Doppler Parameters Bank 8 Doppler Bank 9 the Mastering Programs About the Stereo Adjust Parameters PONS Adjust Digital Parametric EQ Panorama Binaural Bank 10 the Compressor Programs About the Compressor Parameters Bank 10 Compressor Expander Banks 11 12 the Random Halls and Spaces Programs About the Random Reverb Parameters Bank 11 Random Hall Bank 12 Random Rooms Banks 13 14 the Ambience Programs About the Ambience Parameters Bank 13 Ambience Bank 14 Post Ambience 4 1 4 2 4 3 4 5 5 1 5 4 6 2 6 3 6 4 6 9 7 1 7 2 7 4 7 5 7 6 8 2 8 5 8 10 9 2 9 3 10 1 10 2 10 5 10 7 Lexicon 480L Owner s Manual 12 13 14 Bank 15 the Prime Time Ill Programs About the Prime Time 111 Parameters Bank 12 Prime Time 111 Bank 16 the Freq Stuff Programs About the Frequency Dynamics Parameters Bank 16 Frequency Dynamics About the Distression Parameters Bank 16 Distression Bank 17 t
63. 180 W maximum 70 W typical Protection All secondaries fused voltage transient suppression overvoltage and short circuit protection on logic supply 100 120 Vac 3AG 3 A SLO BLO 220 240 Vac 5x20 mm 1 6 A SLO BLO dual fused Mains Fuse Connector Standard 3 pin IEC power connector with rear panel accessible mains fuse and voltage selector LARC 10 to 24 Vdc or 10 to18 Vac 6 25 W Normally powered by 480L mainframe miniature jack accepts optional remote power supply for operation at distances greater than 100 feet from mainframe Appendix C Specifications Miscellaneous Nonvolatile Memory Cartridge CMOS static RAM with built in lithium battery provides storage for registers write protect switch prevents accidental erasure of contents Serviceability Each major assembly is modular and can be replaced in the field hinged front panel allows access to plug in boards fan filter and LARC fuse Diagnostic Programs Control and display with LARC Muting Audio outputs are muted during power failure or power supply failure RFI Shielding AC power connector audio connectors and LARC cables are RFI shielded unit complies with FCC Class Acomputer equipment requirements Environment Operating Range to 40 C 32 to 104 F Max Storage 30 to 70 C 22 to 158 F 95 maximum without condensation Humidity Cooling Filtered forced air with ultra quiet fan filter removable for cleaning Dimensions Mainfram
64. 4 0A Midi Program Map Machine B Nibblized Index Most Significant Bits 4 bits out of 16 4 bits out of 16 4 bits out of 16 Least Significant Bits 4 bits out of 16 End of System Exclusive 11 Lexicon 480L Owner s Manual Understanding Events and Parameters The system of events and parameters used by the 480 is directly accessible using the automation mode These events and parameters have a direct relationship to the events and parameters available from the LARC Every parameter and event seen on the LARC can be changed using automation The order and relative offset of the parameters and events do not correspond with the parameters displayed on the LARC To determine which parameter number is associated with which LARC parameter experiment with different parameters and events record the output with SysEx automation and examine the results As example the mono sampling preset has several parameters and events The LARC displays the following MONO 3S Page 1 REC MARK MODE CAP CHK Page 2 DUB REC FAD MODE CAP CHK Page 3 HED TIM FAD CUE Page 4 PLAY RP TLV HOLD CUE Parameters and Events are in separate lists from the automation viewpoint The parameter list for Mono 3S is voice Larc NA Automation Parameter 0 mark Larc Page 1 Slider 3 Automation Parameter 1 C_trig Larc Page 1 Slider 4 Automation Parameter 2 shift Larc NA Automation Parameter 3 ftime Larc Pag
65. 7 Test amp Reference to help you optimize the performance of your system Set Test Configuration Use the Single Machine configuration 1 Press CTRL press PAGE then press 1 2 Move Slider 2 to select SINGLE 3 Press CTRL or PROG to exit Control Mode and enter Machine Operation Mode IMPORTANT MUTE CONTROL ROOM MONITORS BEFORE PROCEEDING Left Channel A D Converter LEFT 44 1 kHz Analog Input 48 kHz Gain Stage RIGHT Internal Sampling Frequncy Right Channel A D Converter an SDIF DIGITAL AUDIO WORD CLOCK LEFT CH DATA EXT Word Clock Switch za CH ANALOG RIGHT CH DATA n LEFT CH DIGITAL pod CH ANALOG RIGHT CH DIGITAL Input Selector Switch SIGNAL PROCESSING WORD CLOCK LEFT CH DATA RIGHT CH DATA Left MAIN D A Converter Right MAIN Signal Flow through the 480L Mainframe D A Converter Left AUX D A Converter Right AUX D A Converter Basic Operation SDIF DIGITAL AUDIO INTERFACE LEFT MAIN RIGHT MAIN LEFT AUX RIGHT AUX Analog Output Gain Stage Lexicon 480L Owner s Manual Setting Analog Output Levels The 480L has digital oscillator programs to aid in setting system output levels Set nominal output level to design center of receiving equipment as follows 1 Lo
66. 8ms 24 DLY3 LV3 FB3 1200ms 6dB 33 FIN FIN MST 0 0 1 00 ROL 8158Hz DLY2 42 84ms DLY4 80 03ms ROL Full DLY2 Oms DLY4 150ms ROL 9691Hz DLY2 198 0ms DLY4 1000ms ROL 6882Hz DLY2 300 1ms DLY4 310 8ms ROL 5 788Hz DLY2 600 8ms DLY4 1200ms PAN 42 LV2 0dB LV4 0dB PAN Left LV2 Off LV4 Oms PAN Left LV2 6dB LV4 15dB PAN Left LV2 LV4 4dB PAN Left LV2 OdB LV4 PAN 58 FB2 0 FB4 37 PAN Right FB2 0 FB4 40 PAN Right FB2 0 FB4 75 PAN Right FB2 26 FB4 16 PAN Right FB2 24 FB4 33 Bank 7 the Sampler Programs The Sampler programs located in Bank 7 include a variety of useful features for recording and production work The pro grams allow slip syncing copying and time shifting of segments Accurate triggering response time is under 300 microseconds allows replacement of drum or cymbal sounds with full decay times when track ing or overdubbing Capture mode and editing features allow precise manipulation of sampled data The samplers can also be triggered and controlled via MIDI The variety of samplers available in the 480L can be a bit overwhelming to the uninitiated To get started we recommend loading each sampler and experimenting with the controls If you are uncertain about the effect of a parameter look up its de scription at the end of this chapter Lexicon 480L Owner s Manual
67. ARC Program Select Key Press to enter Program mode Press repeatedly to scroll through programs in a bank Register Select Key Press to enter Register mode Press repeatedly to scroll through registers in a bank Slider Display Line Shows abbreviated names of the parameters currently under the control of the sliders Full name appears in the Main Display Conirol Sliders Adjust parameter values The LARC Main Display Shows names and values for all selections Slider Display Keys Show parameter name and value in main display Press twice to engage vernier fine adjustment mode when available Also used to trigger record and play events in Doppler and Sampler programs Installation and Audio Connections Headroom Indicator 12 dBm indicates analog or digital clipping Proper input level is with 12 dB and LEDs unlit r Numeric Keypad Press one of these keys to load a program selected with PROG or REG Also used to select pages Function Keys Bank scrolls through groups of programs or registers VAR displays the running program or register name and the machine that the LARC is controlling Pressing VAR again displays the current program and the page number of currently displayed parameters STO stores edited parameter settings in registers when REG is pressed at the same time CTRL toggles in and out of the control mode MACH toggles between machines when Split or Ca
68. ARC will display input level over a 90dB range from dBFS 3 Adjust analog input gain controls until the LARC LED display level reads OdB 4 Move the WAVE slider until 2 is displayed 5 Press the button below ILEV to display input level 6 Fine trim analog input gain controls until 78 0dB is displayed for both left and right channels Analog signals are calibrated for Unity Gain L Signal Audio Processor Signal Input R Input Level Display Signal Processor Outputs Signal Flow of Oscillator Program Single Configuration Basic Operation Main Outputs Aux Outputs Digital Outputs 2 11 Lexicon 480L Owner s Manual Levels in the Digital Domain Analog signals by nature have an infinite range of level During conversion to digital levels are quantized to absolute values and expressed as anumber of bits The 480L provides 18 bit resolution in both the analog and digital paths In the digital domain it is important to provide adequate headroom so that peak amplitude does not exceed dBFS The difference between the headroom provided and the dither noise or least significant bit is the usable dynamic range of the system As you can see in the figure below the 480L provides signal to noise and dynamic range that exceed many popular digital recording media Bits Dynamic Range LARC Meters Use of Dynamic Range Use of Dynamic Range in dB in an 18 bit system in a 16 bit system dBFS 412 dB
69. C SPC Spatial EQ SPC sets the amount of a crossfeed between chan nels The signal first goes through a 6 dB octave low pass filter whose frequency is set with XOV When SPC is set positive above 0 the crossfeed has a negative sign When SPC 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 cicuit is unity Bank 9 the Mastering Programs 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 rais ing SPC is to increase the sense of spaciousness and depth of the sound It is particularly useful on material recorded with panpots or coincident and semi coinci dent microphone technique When most of the bass in a recording is in the sum mono channel raising SPC may reduce the bass level This effect canbe compensated for by raising the overall bass level with BAS Since both controls use the same XOV seting this compensation will be quite accurate as long as SPC is set to less than dB boost TBL
70. CONSOLE SOURCE About the Parameters Page 1 TSL Treble Slope TSL defines the ratio of the high frequency compres sor A LARC value of 128 equals a 2 1 compression ratio TBR Treble Rotate threshold TBR determines the point at which treble compression starts to occur TBM Treble Maximum Gain TBM controls the amount of gain introduced below the Rotate value ie If Rotate is set to 14 and gain is set at 10 when signals go below 14dB average then the signal will be boosted by 1088 XOV Crossover Frequency XOV is a6dB octave low frequency 12dB octave high frequency sliding filter which determines what frequen cies are low frequency and high frequency 13 2 XOM Xover Mix HFC Xover Frequency High Freq Cut RTC DLY ATC Attack Time Const Release Time Const Front Delay HFC High Frequency Cut HFC controls the roll off characteristics of the treble compressed content of the signal XOM Crossover Mix sine cosine XOM controls the mix of low frequency and high frequency signals It is the final mix control in the program Page 2 LSL Low Frequency Compression Ratio LSLdefines the ratio of the low frequency compressor A LARC value of 128 equals a 2 1 compression ratio LFR Low Frequency Rotation Point LFR determines the point at which low frequency com pression starts to occur LMG Low Frequency Maximum Gain LMG controls the amount of low frequency gain intro duced
71. Count Most Significant Bits Number of Nibblized Parameters Least Significant Bits Nibblized Data Bytes Most Significant Bits Least Significant Bits 4 bits 4 bits 4 bits 4 bits out of 16 out of 16 out of 16 out of 16 ee ee 4 bits 4 bits 4 bits 4 bits out of 16 out of 16 out of 16 out of 16 pU p Data Checksum Calculated by adding each data character to previous sum starting with Nibblized Data Byte Count End of System Exclusive Appendix A MIDI and the 480L MIDI Program Table Map Format FO 06 01 7n 0p 0x 0x 0x 480 System Exclusive Header Parameter Data Message Class Sysex Channel Device ID Subclass Machine p 0 Machine A p 1 Machine B Nibblized Data Bytes Most Significant Bits 4 bits out of 12 4 bits out of 12 Least Significant Bits 4 bits out of 12 128 total 12 bit words 384 data byte characters Ommmmmmm F7 Request Data Format 06 01 4n Osssssss Onnnnnnn 0x 0x 0x 0x F7 Data Checksum Calculated by adding each data character to previous sum starting with Nibblized Data Bytes End of System Exclusive 480 System Exclusive Header Parameter Data Message Class Sysex Channel Device ID Subclass Request Opcode 00 03 All Registers Internal and External 00 05 Preset Setup 00 07 Register Setup 00 09 Global Controls 03 09 Machine A 04 09 Machine B 03 0A Midi Program Map Machine A 0
72. FIN null MIX All Fx SPL 16 FIN 6 All Fx SPL 16 FIN 10c MIX All Fx SPL 16 Bank 8 the Pitch Change and Doppler Programs 4 Barber Pole MOD SNC PCH FIN PCH FIN Stereo 3c 3c PDL PDR FBL FBR MIX 0 0ms 0 0 ms 41 41 All Fx MIDI REF MIR GLL SPL 48 2 Off 3c 16 MIDI REF MIR GLR 3c 72 4 Off 3c 5 Half Steps MOD SNC PCH FIN PCH FIN Stereo m2nd0c m2nd0c m2nd0c m2ndOc PDL PDR FBL FBR MIX 600 03ms600 03ms 44 44 All Fx MIDI REF MIR GLL SPL m2ndOc 48c2 Off m2ndOc 16 MIDI REF MIR GLR m2ndOc 72 Off m2ndOc 6 Stair Case MOD SNC PCH FIN PCH FIN Mono m3rd 47c m3rd 47c M3rd 2c M3rd 2c PDL PDR FBL FBR MIX 29 03 30 95 55 60 20 Fx MIDI REF MIR GLL SPL m3rd 2c 48c2 Off m3rd 47c 16 MIDI REF MIR GLR M3rd 2c 72c4 Off M3rd 2c PLAY TYP Play Trigger Play Type FG Amp Q Pch Q PLAY Play Doppler The Doppler Program Everyone is familiar with the Doppler effect heard when atrain or truck goes zooming by The Doppler program recreates this effect with startling realism by reprod ucing the panning amplitude and pitch variations heard as a sound source moves past the listener These programs were designed specifically for film and video applications An audio trigger allows the Doppler to be cued into a mix The Cascade mode allows audio to be captured and looped in a sampling program in Machine A and a Doppler program to be loaded into Machine B that will tri
73. In addition by using the INPUT DELAY control the effect can be made to precede the sound which created it thus a high frequency brilliant edge can be added to acymbal crash before the crash is struck and the amount of the edge and its tone quality will be different every strike All these sounds are made available through a few simple controls About the Effects Parameters Page One SPIN SPIN sets the rate of WANDER SPIN is a log control with a period of 8 In English this means that if you increase SPIN by eight units the amount of audible spin increases by a factor of two There is always some spin even with SPIN at 0 There is a trade off between NUMBER and SPIN lower NUMBERs increase spin speed Note After changing SPIN or LENGTH the voices take a while to stabilize Faster SPIN settings stabil ize faster SLOPE SLOPE controls the amplitude of the delays over time Figure 4 2 shows the decay characteristic with SLOPE all the way down The variation in level is linear on alog scale as shown Overall level is adjusted to keep the loudness constant Figure 4 3 shows the decay char acteristic with SLOPE midway up Figure 4 4 shows the decay characteristic with SLOPE all the way up LENGTH The delay of each voice is equal to the LENGTH setting divided by the number of voices set with NUMBER WANDER With WANDER setto 0 the voices are absolutely fixed to their constant ratio apart An impulse put i
74. Introduction The 480L has a number of sampling programs each with different features and capabilities The optional Sampling Memory Expander SME board can be inserted into the fourth card slot in the 480L providing 10 9 seconds of true phase locked stereo sampling time or 21 8 seconds of mono sampling time at a 48kHz sampling rate As with all 480L programs any sampling program can be loaded into either machine This leaves the other machine free to process signals independently or in conjunction with the sampling program as in the fol lowing illustrations Dual Mono After capturing Doppler in Sampler program can be changed and used independently of Sampler with recorded effect Mach B Dual Rate Change Drum Mach A Dual Rate Change Drum MIDI Trigger 4 Voice Drum Replace with MIDI playback trigger Note value changes playback rate and pitch 6 2 Programs 1 8 in Bank 7 do not require the SME option They are Program Sampling Time Name 48kHz 1 Stereo 3S 2 7 Sec 2 Mono 6S 5 4 Sec 3 Mono 3S 2 7 Sec 4 Dual Rate Change 2x 1 4 Sec 5 Mono Fwd amp Rev 1 4 Sec 6 Stereo 3Sec Drum 2 7 Sec 7 Dual Rate Change Drum 2x 1 4 Sec 8 Mono Fwd Rev Drum 1 4 Sec Programs 9 and 0 in Bank 7 require the SME card 9 Stereo Rate Change 10S 0 Mono Rate Change 20S 10 9 Sec 21 8 Sec Note All samplers record slightly longer times when the 480L sampling rate is set to 44 1 kHz
75. K is on only the left channel sliders on Page Two and Page Three are active When LNK is turned off independent control of left and right channel settings is established This is particularly useful in mastering applications FIN FIN FREQ L FINE FREQ R provide fine frequency adjustment of the Page Two filters by adding a small amount to their respective frequency settings They setthe frequency onlyfor the Page Two filters These settings are particularly useful for fine tuning of notch filters Lexicon 480L Owner s Manual Page Two FR 1 L and FR 1R These controls allow frequency settings to be adjusted independently on either the left or the right channel Frequency settings fall between 30 Hz and 17 kHz Q Q adjusts the amount of bandwidth affected by the level control The Q is determined by dividing the center frequency by the bandwidth to be affected in Hz For example if a frequency of 1000 Hz is selected and the bandwidth to be boosted or cut is 500 Hz the Q 2 The Page Two filters provide a Q adjustment from shelf to Notch Q 216 or Q 232 The Shelf SL on Page Two filters is a low frequency shelf This means that with a frequency of 500 Hz a level of 12 dB and Shelf SL selected frequencies below approximately 300 Hz will be boosted by 12 dB and 500 Hz will be boosted approximately 9 dB The Notch feature is found only on the Page Two filters and is optimized for low frequencies LEV LEV prov
76. L Owner s Manual Programs Bank 2 Rooms 1 Music Club RTM SHP 1 03 s 40 BAS XOV 10x 752 Hz PDE PDE Off Off PDL PDL 0 5 0 5 2 Large Room RTM SHP 0 70s 52 BAS XOV 1 0x 752 Hz PDE PDE Off Off PDL PDL 0 ms 0 ms 3 Medium Room RTM SHP 0 50 s 22 BAS XOV 10x 752 Hz PDE PDE Off Off PDL PDL 0 ms 0 5 4 Small Room RTM SHP 0 31 5 16 BAS XOV 1 0x 752Hz Off Off 0 5 0 5 5 Very Small RTM SHP 0 13s 8 BAS XOV 10x 752Hz Off Off 0 ms 0 ms SPR SIZ 55 25m RTC DIF 3 784 78 SPR SIZ 82 19m RTC DIF 3 784 65 SPR SIZ 10 19m RTC DIF 3 784 65 SPR SIZ 0 10m RTC DIF 3 784 60 Preecho Levels Off Off Preecho Delays 0 ms 0 ms SPR SIZ 0 4m RTC DIF 3 784 55 Preecho Levels Off Off Preecho Delays 0 ms 0 ms HFC 7 181 DCO R7 HFC 6 593 DCO R7 HFC 7 181 DCO R7 HFC 7 181 DCO R6 Off 0 ms HFC 7 181 DCO RO Off 0 ms PDL 0 ms MIX All Fx PDL 0 ms MIX All Fx PDL 0 ms MIX All Fx PDL 0 ms MIX All Fx Off 0 ms PDL 0 ms MIX All Fx Off 0 ms 6 Lg Wood Rm RTM SHP 1 33 s 73 BAS KOV 0 8x 1 158 Hz PDE PDE Off Off PDL PDL 0 ms 0 ms Sm Wood Rm RTM SHP 0 71 5 45 BAS XOV 0 8x 1 158 Hz PDE PDE Off Off PDL PDL 0 ms 0 ms 8 Lg Chamber RTM SHP 0 88 5 3 BAS XOV 1 0x 752 Hz PDE PDE Off Off PDL PDL 0 ms 0 ms 9 Sm Chamber RTM SHP 0 36 s 16 BAS XOV 1 0x 752Hz Off Off 0 5 0 5 0 Small am
77. MIDI or from the unit s front panel We considered locking out these parameters but after careful thought we included them since what is not acceptable in one application may not be a problem in another Some Notes On Controllers Many MIDI synths and keyboards have a very limited number of controllers Sometimes the pitch and mod ulation wheels or levers are the only options available for remotely controlling the 480L However you may not wish to produce modulation or pitch bending at the same time that you are controlling the 480L All is not lost Most synths allow you to shut off the effect of these controllers So for example moving the pitch bender doesn t actually bend pitch This is where things get interesting Usually when the synth is set to ignore its controllers controller data is still sent out the MIDI port We have found this to be the case with a variety of different brands and models of synthesizers Just set the synth to ignore its mod wheel and pitch bender and then use them to control the 480L As long as you don t wish to control the 480L and bend pitch or add modulation at the same time these controllers can easily do double duty Synthesizers which memorize ranges for the mod wheels and pitch benders for each preset program are the best choices for use with the 480L By using the corresponding register table you could have some programs use the pitch bender to bend pitch and not affect the 480L and other p
78. O connector on the rear panel The digital audio outputs receive the same material as the Main Outputs The Aux Outputs are not available at the Digital 1 0 connector Assignment Chassis Ground Right Channel Output Left Channel Input Word Clock Input Digital Ground Word Clock Output Left Channel Output Right Channel Input Digital Ground 1 2 5 4 5 6 8 9 The digital audio inputs cannot be used at the same time as the analog inputs When the digital inputs are in use the analog inputs are disabled Important Do not power up with external word clock present at 480L s digital I O port Doing so may prevent the unit from finishing its power up sequence If you encounter problems with distortion or loss of signal the PLL circuitry may have become misaligned in shipment See Appendix B Solving Problems for details Note A digital audio I O interface box which can greatly simplify interfacing the 480L is available as an option Contact your Lexicon Representative for details Conversion to AES EBU The 480L s 1610 1630 compatible signal can be trans lated to AES EBU to allow interfacing with devices using this digital 1 0 format To accomplish this an external format converter such as Lexicon s LFI 10 is required The following figure details digital intercon nection using a format converter Installation and Audio Connections 9 PIN MALE D SUB CABLE CONNECTOR CHASSIS MOUNT
79. Owner s Manual 480L Digital Effects System lexicon Unpacking and Inspection After unpacking the 480L and LARC save all packing materials in case you ever need to ship the unit Thoroughly inspect the 480L LARC and packing materials for signs of damage in shipment Report any damage to the carrier at once Precautions The Lexicon 480L is a rugged device with extensive electronic protection However reasonable precautions applicable to any piece of audio equipment should be observed Always use the correct AC line voltage Refer to Chapter 1 of this manual for power requirements Do not install the 480L in an unventilated rack or directly above heat producing equipment Maximum ambient operating temperature is 35 C 95 F Never attach audio power amplifier outputs or other power sources directly to any of the 480L s connectors To prevent fire or shock hazard do not expose the 480L to rain or moisture Notices In the interest of continued product development Lexicon reserves the right to make improvements in this manual and the product it describes at any time and without notice or obligation Copyright 1993 Lexicon Inc 3 Oak Park Bedford MA 01730 USA Tel 781 280 0300 Fax 781 280 0490 All Rights Reserved This publication is protected by copyright and all rights are reserved No part of it may be reproduced or transmitted by any means or in any form without prior consent in writing from Lex
80. R 88 E7 Preecho Levels Off Off Off Preecho Delays 0 ms 0 ms 0 ms SPR SIZ HFC 61 24m 6 882 RTC DIF DCO Full R 98 E7 SPR SIZ HFC 210 31m 11 084 RTC DIF DCO Full R 88 E7 Preecho Levels Off Off Off Preecho Delays 0 ms 0 ms 0 ms SPR SIZ HFC 88 19m Full R RTC DIF DCO 1 886 99 E7 Preecho Levels 5 dB 3 dB Off Preecho Delays 26 ms 46 ms 0 5 SPR SIZ HFC 94 23m 11 084 RTC DIF DCO 621 99 E7 Preecho Levels 5 dB 3 dB Off Preecho Delays 50 ms 64 ms 0 5 PDL 0 ms MIX All Fx Off 0 ms PDL 0 ms MIX All Fx PDL 0 ms MIX All Fx Off 0 ms PDL 4 ms MIX All Fx Off 0 ms PDL 4 ms MIX All Fx Off 0 ms 6 Metallica RTM SHP 0 97 5 57 BAS XOV 1 5x 1 020 Hz 7 dB 7 dB 70ms 88 7 Silica Beads RTM SHP 5 465 126 BAS XOV 0 2x 4 395 Hz PDE PDE Off Off PDL PDL 64ms 40 8 Inside Out RTM SHP 1 36 5 243 BAS XOV 12x 752Hz PDE PDE 14 48 14dB PDL PDL 20 ms 22 ms 9 Ricochet RTM SHP 1 56s 0 BAS XOV 0 6x 1 735 Hz PDE PDE 12 48 10dB PDL PDL 378 ms 322 ms 0 Varoom RTM SHP 0 78 s 255 BAS XOV 20 621 Hz PDE PDE Off Off PDL PDL 14 ms 18 ms SPR SIZ 187 28 m RTC DIF 7 493 90 Preecho Levels 18 dB 12 dB Preecho Delays 136 ms 156 ms SPR SIZ 252 37m RTC DIF Full R 80 SPR SIZ 112 20m RTC DIF 4 611 99 SPR SIZ 0 34m RTC DIF 10 127 90 Off Off SPR SIZ 216 28m RTC DIF 12 177 98 Off Off HFC 14 986 DCO E7 18 dB 284 ms HFC 9
81. R 2L Q LEV FR 2R Q LEV 1 0 1 5 0 1 0 1 5 0 0 Panorama CH1 CH2 EFF ANG LFB MIX 254 254 254 56 deg 0 All Fx 8 11 Lexicon 480L Owner s Manual Program Descriptions 1 The In Out A bypass program that feeds an input signal unaltered through the processors This program has no adjust able parameters 2 Stereo Adjust A digital mixing program designed for mastering appli cations The program loads with parameters nulled 3 PONS Adjust A variation of Stereo Adjust which incorporates psychoacousticaly optimized noise shaping PONS dither 4 MS Decode A variation of Stereo Adjust that is preset to decode MS recordings The mid signal is fed to the left input and side is fed to the right The Flip amp Swap parameter can reverse the channels if a digital source is used The BAL control provicdes the mix ratio of M and S signals 5 Invert L R A variation of Stereo Adjust that has the Flip amp Swap parameter presetwith a digital phase inversion 6 Channel Swap A variation of Stereo Adjust that has the Flip amp Swap parameter preset to swap left and right channel input signals 7 Stereo Parametric EQ 2 Band stereo parametric EQ and mixer with param eters nulled 8 60Hz Notch A variation of Stereo Parametric EQ preset with a G0 Hz cut 9 Mono Parametric EQ 4 Band mono parametric EQ and mixer with param eters nulled 0 Panorama Integral crosstalk cancellation program adds width to stereo image Use in cascade
82. RDLY2 voices Values for Rolloff are adjustable between 120Hz and full range L PAN Left Channel Pan L PAN sets the panning of the DL1 and FB1 signal to the left and right outputs R PAN Right Channel Pan R PAN sets the panning of the DL2 and FB2 signal to the left and right outputs L DLY1 Feedback ROL PAN PAN R DLY1 Rolloff L Channel Pan R Channel Pan DL2 LV2 FB2 R DLY2 Value R DLY 2 Level R DLY2 Feedback LV4 FB4 R DLY4 Level R DLY4 Feedback Page Two DL1 LDLY1 Val Sets the delay time for the first left channel delay voice LV1 LDLY1 Lvl Adjusts the level amplitude of DL1 FB1 LDL1 Fbk Adjusts the amount of feedback positive or negative around DL1 DL2 RDLY2 Val Sets the delay time for the second right channel delay voice LV2 RDLY2 Lvl Adjusts the level amplitude of level for DL2 FB2 RDL2 Fbk Adjusts the amount of feedback positive or negative around DL2 Page Three DL3 Sets the delay time for the third left channel delay voice LV3 Adjusts the level amplitude of DL3 FB3 Adjusts the level of a cross panned L R feedback line Feedback can be positive or negative DL4 Sets the delay time for the fourth right channel delay voice LV4 Adjusts the level amplitude of DL4 FB4 Adjusts the level of a cross panned R L feedback line Feedback can be positive or negative Page Four FIN L Sets the delay value of the left channel fine delay in samp
83. ROL 2862Hz IND 0 ROL 3591Hz IND 0 DIF 75 DIF 75 DIF 75 DIF 75 DIF 56 MIX All Fx MIX All Fx MIX All Fx MIX All Fx MIX All Fx MIX All Fx MIX All Fx MIX All Fx MIX All Fx MIX All Fx Banks 13 14 the Ambience Programs 6 Heavy Ambience RTM RTL SIZ ROL DIF MIX 1 68s 100 23M 3591Hz 99 All Fx SPN WAN PDL IND MIX 34 7098us 19 96ms 0 All Fx 7 Ambient Hall RTM RTL SIZ ROL DIF MIX 3 0s 106 36M 2198Hz 94 All Fx SPN WAN PDL IND MIX 29 25 5 27 04ms 0 All Fx 8 Announcer RTM RTL SIZ ROL DIF MIX 0 69s 48 10M 2862Hz 88 All Fx SPN WAN PDL IND MIX 16 1218s 0 0 All Fx 9 Closet RTM RTL SIZ ROL DIF MIX 0 51s 106 7M 1586Hz 99 All Fx SPN WAN PDL IND MIX 0 0 0 0 All Fx 0 Gated Ambience RTM RTL SIZ ROL DIF MIX 0 29s 29 20M 6315Hz 51 All Fx SPN WAN PDL IND MIX 33 7098yus 0 0 All Fx Program Descriptions The prrograms listed above for the AMBIENCE pro gram were designed to emulate the real spaces typi cally required for music jingle and post production work 1 Very Large Ambience Resembles a very large ambient space large shop ping mall parking garage warehouse that has far more clutter than a concert hall or performance environment Lowering the RT LEVEL reduces the clutter while maintaining the sense of a very large ambient space 2 Large Ambience Similar to Very Large Ambience but less spacious Provides the ambience of a large symmetrical room 3 Medium Amb
84. Reverb Tail RTM SHP SPR 32 24s 101 246 BAS XOV RTC 1 2 243 6 315 Preecho Levels Off Off Off Preecho Delays Oms Oms Oms ROL 6 315k IND 19 65 ROL 3 591k IND Oms SIZ DIF 29 Off Oms HFC 4 395Hx EXP 14 LMG 10dB SIZ 39M DIF 51 SPN Off Oms DIF 17 DIF 40 HFC 9 278k MOD Reverb SPN 37 SHL 0 XOM All Fx SUS 14dB ATC 1 HFC 4 611k MOD Effects WAN 44 SHL 128 MIX Al Fx MIX All Fx MIX All Fx MIX All Fx PDL Oms MIX All Fx WAN Ous LEV 160 DGN 224 DHP 461Hz RTC PDL Oms MIX All Fx 19ms LEV 160 Program Descriptions 1 Car Interior Random Hall It s a 4 door Raise the value of Shape to make it a station wagon Raise pre echo levels to close the windows 2 Living Room Random Hall The average suburban type 3 Bathroom 480 Hall Larger than average 4 Kitchen Ambience Ambience Can you find your disposal sound effect 5 Kellars Cell Random Hall No it s not the padded cell Small deep and the surfaces are hard Banks 13 14 the Ambience Programs 6 Small Foley Ambience This program uses the Ambience algorithm for foley applications Moving Size from its 1 5M setting will cause the ambience bloom to open up Varying MIX from 100 wet will present the 19ms dry delay into the audio path 7 Warehouse Ambience It s big real big 8 Airhead Random Hall Take a pair of headphones remove the elements and rep
85. TE the LARC displays CAPTURING and the asterisks disappear one by one until completion Pressing CHK or CUE will not disturb recording MARK may be adjusted from the HEAD of the sample to the TAIL If MARK is 0 everything after the trigger is saved If MARK is TAIL everything before the trigger is saved The most obvious application for the Capture mode is level triggered capture with MARK time set for zero or just above zero The response is extremely fast so the capture will really nail a percussive sound Set FADE TYPE to PERCUSSION and set the Trigger Level as low as possible Some useful applications are described below 1 To obtain the original simple form of recording MOD IMMEDIATE 6 6 2 Percussion capturing Triggers on first audio trimmed exactly Everything after the trigger is saved MOD Appropriate dB level MARK HEAD 3 Stop when finished Triggered by user when sound is ended Everything prior to the trigger is saved MOD USE CAP KEY MARK TAIL 4 Reaction time manual capturing User taps REC to arm the 480L waits for sound to start and then taps CAP Sound for the period of time set with MARK prior to tapping CAP is saved MOD USE CAP KEY MARK An appropriate period of time 5 Level triggered capturing Same as reaction time manual capturing but level triggered instead Useful for sounds that build more slowly than percussion MOD An appropriate level MARK An appropriate
86. The most likely cause is dead batteries on the Host card Contact Lexicon Customer Service for infor mation Another possibility is a blown fuse The LARC fuse is accessed by removing all of the cards There are two fuses on the backplane The lower fuse is the automation fuse and the upper fuse is the LARC fuse The automation fuse is currently unused and can be used as a spare LARC fuse The power supply fuses are inside the unit and can only be accessed by removing the top cover The 5V power supply fuse is on the left side of unit and the 15V power supply fuses are near the rear My 480L cannot run more than one program at a time Whenever l try to control Machine B the message Not enough HSPs appears There are four possibilities Your machine is missing one HSP board two are required to run two programs simultaneously one of the two HSP boards is not seated correctly or one of the two HSP boards is malfunctioning Finally you may be attempting to run a program such as the stereo sampler which can only run when the 480L is in the SINGLE configuration tried to use Digital I O and it is extremely noisy and distorted Sometimes it doesn t work at all In the course of shipment the phase locked loop PLL may have become misaligned With external word clock connected and selected use a small insulated screwdriver to adjust the trimmer capacitor on the far right hand side of the Host Card until undistorted audio passes
87. WIN WIN 50 25 1 1 200smp 500smp PDL PDL IND IND TRB MIX 0 0ms 0 0ms 24 21ms 24 21ms 19 4kHz FBK FBK CFB CFB PAN PAN 30 30 45 45 Right Left Program Descriptions 1 Prime Chorus This is abasic preset which independently wobbles the left and right audio sources Each channel runs asyn chronously different soeeds and windows However there is a small amount of cross feedback which runs the output of each channel back into the opposite input Bank 15 the Prime Time III Programs 2 Slap Chorus Similar to Prime Chorus except a longer predelay is utilized Great for chunky electric guitar rhythm pads Reduce feedbacks and cross feedbacks for less de cay 3 Bounce Glide This preset bounces back and forth The outputs are panned reversed so don t drive yourself crazy if you feed a discrete stereo source The delay returns are slowly modulated Pushing MAX to a greater value will result in a heavy heavy unearthly effect 4 Swirls This preset is a fast moving modulating effect Each predelay is set to Oms and all feedbacks and cross feedbacks are used with one of each phase inverted Any use of this effect which winds up passing through a surround decoder will swirl all around you 5 Heavy Detune Use with caution Strong effect for an aggressive Idol type lead vocal 6 Shake It Up Strong slap fast vibrato effect For more intensity increse the values of FBL and FBR to 50 If you slow it down with the s
88. aces surrounding the source PREECHOLEVEL adjusts the loudness of the reflection Note Some of the presets use an algorithm with six preechoes and others only have two If you need more than two when creating a sound be sure to start with a preset that has six Page Four PREECHO DELAY TIME For each of the PREECHO LEVEL parameters there is a corresponding PREECHO DELAY TIME parame ter PREECHO DELAY TIME sets the delay time in ms for one of the preechoes PREECHO DELAY TIME is not affected by PREDELAY so preechoes can be placed to occur before the reverberation starts Banks 1 4 the Reverb Programs Lexicon 480L Owner s Manual Programs Bank 1 Halls 1 Large Hall RTM SHP 2 19s 126 BAS XOV 1 2x 752Hz Off Off 0 ms 0 ms 2 Large Stage RTM SHP 2 195 126 BAS XOV 1 2x 752 Hz 12 88 10dB 16 ms 22 ms 3 Medium Hall RTM SHP 1 74 5 126 BAS XOV 1 2x 752 Hz Off Off 0 5 0 5 4 Medium Stage RTM SHP 1 74 5 126 BAS XOV 1 2x 752 Hz 14dB 12dB 16 ms 22 ms 5 Small Hall RTM SHP 1 18 s 96 BAS XOV 1 0x 752Hz Off Off 0 ms 0 ms SPR SIZ HFC 179 37m 2 862 RTC DIF DCO 4 186 99 R7 Preecho Levels Off Off Off Preecho Delays 0 ms 0 ms 0 ms SPR SIZ HFC 179 37m 2 862 RTC DIF DCO 4 186 99 R7 Preecho Levels 8 dB 8 dB 9 dB Preecho Delays 64 ms 56 ms 112 ms SPR SIZ HFC 128 25m 4 395 RTC DIF DCO 3 982 99 R7 Preecho Levels Off Off Off Preecho Delays 0 ms 0 ms 0 ms SPR SIZ HFC 128 25m 4
89. ad program 17 5 1kHz 12dB as follows Press PROG Press BANK Press 1 then press 7 Press PROG Press 5 If additional headroom is desired load program 17 4 1kHz 17dB HEADROOM HEADROOM 2 A digitally generated 1kHz should appear at all outputs both analog and digital Set the analog output level controls for both Main and Aux Out to register nominal operating level on the device receiving this signal OVU or Design Center Nominal Operating Level 8 dBv 1 95 volts 4 dBv 1 95 volts 10 dBv 0 245 volts 12 dB headroom for Pop recordings 18 dB headroom for live recordings Classical Jazz Bits Dynamic Range LARC Meters in dB 1 dBFS 12 dB 2 6 dB 6 dB 12dB 0 dB 4 18 6 dB 5 24dB 12 dB 6 30dB 18 dB 7 36 24 dB 8 42dB 9 48dB 10 _ 54dB 11 _ 60dB 12 _ 66dB 13 72dB 14 84dB 15 90dB 16 96dB 17 102 dB 18 108 dB Dynamic Range and Headroom Calibration Setting Analog Input Levels Once output levels have been calibrated as directed in the previous section you can proceed to the input levels Before proceeding make sure that the Oscillator program is loaded Severe feedback can occur if any other program is running 1 Connect Main outputs L amp R to the main inputs L amp R as shown below 2 Press the button below the ILVL slider The L
90. advanced reverberation builds up more slowly and sustains for the time set by SPREAD With SHAPE in the middle the buildup and sustain of the reverberation envelope emulates a large concert hall assuming that SPREAD is at least halfway up and that SIZE is suitably large 30 meters or larger 10 2 SPREAD SPREAD works together with SHAPE to control the contour of the overall ambience of the sound created by the 480L SPREAD controls the duration of the initial contour of the reverberation envelope SHAPE con trols the envelope Low SPREAD 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 SPREAD and SHAPE control the rate at which rever beration builds up and how the reverberation sustains as it begins to decay When DECAY OPT is in Reverb mode SPREAD is linked to SIZE and the actual value for SPREAD depends on the selected SIZE Parame ters are unlinked in Effect mode SIZE SIZE sets the rate of buildup of diffusion after the initial period which is controlled by DIFFUSION It also acts as a master control for RT MID and SPREAD For this reason the SIZE control can be used to vary 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 The size in meters is roughly equal to the longest dimension of the
91. akes advan tage of the vraiations in the ear s sensitivity to noise within the 20 Hz 30 kHz range This control has been optimized Do not adjust Shelf Adjusts the 3dB frequency of the Shuffler shelf Shuffler Shuffler is designed to be used with Binaural record ings or with any recording technique involving only omnidirectional microphones placed at close dis tances such as true Binaural It adds a significant amount of L R low frequency information If widely spaced omnidirectional microphones or accent micro phones are mixed with the Binaural pair Shuffler should be used before the microphone signals are mixed to avoid a severe boost in L R information LEV FIN BAL Stereo Level Fine Level LDB Balance R FR1L LEV Filter 1 Left Filter Level Page Three FR2L LEV Filter 2 Left Fliter Level The Parametric EQ Programs Two Parametric EQ programs are located in Bank 9 The Stereo Parametric EQ program provides a two band stereo or dual mono parametric equalizer The Mono Parametric EQ program provides a 4 Band mon aural parametric equalizer Both programs provide frequency adjustment on each band between 30 Hz and 17 kHz boost cut 12 dB and Q adjustable between Shelf and 7 In addition the low frequency filters provide a Notch Q 32 with a boost cut of 36 dB Coarse and fine level control panning stereo only and fine frequency adjustment are also provided Both programs operate entirely in the digital do
92. al angle between the speak ers Lower settings of the speaker angle control 40 or SO are more effective when the actual speaker posi tions to be used by the listener are unknown This is because most listeners tend to use smaller speaker angles and because the effective listening area is greater when ANG is low LFB LF LR BOOST LFB is a L R bass boost with a maximum boost of 20dB Itis similar to the Spatial Eq control in Stereo Adjust but works differently It is a pure boost in the difference channel only It does not affect the mono channel If Panorama is being used to process a binaural record ing for loudspeaker reproduction LFB should be at least half way up This control is independent of EFF so the low frequency width can be increased without changing the mid frequency width LFB may also be useful in film mixing in a matrixed surround system It will tend to send low frequencies into the surround For this application be sure to set EFF to 0 MIX Dry Input MIX Dry Input Mix is not like the other mix controls in the 480 It mixes the stereo input to the 480L into the output of Panorama regardless of the configuration selected for the 480L In Single mode this is equivalent to the usual MIX In Split modes the results will be not useful In Cascade however when Panorama is in machine B this control allows you put a reverb or effect in machine A spread the reverb only and then mix the dry input with the spread o
93. al hall every instrument has a different set of early reflections and each inst rument will have its timbre altered in a different way Some engineers find any type of early reflection undes ireable In classical music many recordings are now made with the orchestra in the middle of the hall with the specific intention of avoiding early reflections Too much early reflected energy makes the sound muddy and does not add to richness or spaciousness This is in part because reflections and reverberation also exist in the playback room The 480L reverberation algorithm still offers the option of adding early reflections preechoes but we have made them diffused clusters of preechoes The density of the cluster is set by the DIFFUSION control We recommend that these preechoes be used with cau tion unless you are trying to match the sound of the reverberation to a particular location where such re flections are strong When creating new reverberation sounds of your own don t forget that an Effects program can be putin series with the reverberation using the Cascade con figuration described in Chapter 2 The result can be extremely interesting Also try using the Effects pro gram to give high frequencies a different envelope from low frequencies Lexicon 480L Owner s Manual SPR RTM Mid Reverb Time Spread BAS XOV Bass Multiply Crossover Page Three PRE Echo Level 1 L gt L Echo Level 2 R gt R ECHO Echo Delay
94. all Roomis much smaller and less reverberant than the Large and Medium Rooms It resembles a typical American living room Banks 1 4 the Reverb Programs 5 Very Small Room Very Small Room has the intimate close feel of a bedroom or den 6 Large Wood Room Large Wood Room is similar to Large Room but has a lower BASS MULT simulating aroom with thin wooden paneling or a cheaply made warehouse or auditorium 7 Small Wood Room Small Wood Room is a smaller version of program 6 8 Large Chamber Large Chamber has few size cues It produces a sound similar to a good live chamber with nonparallel walls and hard surfaces Large Chamber can be used wher ever a plate would normally be used but with a more subtle acoustic sound 9 Small Chamber Small Chamber is a smaller version of program 8 0 Small and Bright Small and Bright adds presence to a sound without adding a lot of obvious reverberation 1 k Lexicon 480L Owner s Manual Programs Bank 3 Wild Spaces 1 Brick Wall RTM SHP 0 24 5 0 BAS XOV 1 5x 1 886 Hz Off Off 0 ms 0 ms 2 Buckram RTM SHP 0 24 s 94 BAS XOV 1 5 1 886 Hz PDE PDE 6 dB 6 dB PDL PDL 64 5 40ms 3 Big Bottom RTM SHP 0 89 s 66 BAS XOV 40x 243Hz Off Off 0 ms 0 ms 4 10W 40 RTM SHP 0 78 5 10 BAS XOV 40x 885 Hz Full Up Full Up 0 ms 0 5 5 20W 50 RTM SHP 1 01 s 152 BAS XOV 40x 621 Hz Full Up Full Up 0 ms 0 ms SPR SIZ HFC 254 26m 10 591 RTC DIF DCO Full
95. am The Binaural Simulator is designed to alter stereo recordings for binaural presentation using headphone monitoring It includes the ability to add controlled amounts of early reflections and reverberation as well as the ability to independently alter the binaural width and level of direct sound reflections and reverbera tion Although it can be used in all machine configurations this program is intended for use in a cascade configu ration with it loaded into Machine B and a reverb or ambinence program loaded into Machine A The synthesis is based on asimple model of the human head Information normally fed to one channel is de layed low pass filtered and cross fed to the opposite channel By adjusting delay time and frequency of low pass filters apparent binaural width is realistically varied The Binaural Simulator has three independent synthe sis circuits one of direct sound one for early reflec tions and one for reverberation Reverberation gener ated in Machine A is fed directly to the rteverberation simulator Direct sound feeding 480L inputs is fed to the direct sound simulator The program includes six independent echo delays each with variable time and level control parameters Their outputs are fed to the early reflections simulator A precision mixer provides level adjustment for each simulator 14 3 About the Parameters Page One DRY Dry Level Controls the level of the direct sound The output of
96. and TBR Independent L and R Treble These controls allow independent adjustment of right and left 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 Page Three DLY 11 usec Correction On Off When this control is on the left channel is delayed relative to the right by 11 usec This allows a PCM F1 tape to be corrected for compact disc EMP De emphasis On Off When EMP is On the incoming signal is digitally de emphasized This should not be used unless the mate rialhas been emphasized in the record process such as aPCM F1 tape Note that the automatic sensing bit is not turned off at the same time 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 Lexicon 480L Owner s Manual Shuffler Shuffler is designed to be used with Binaural record ings or with any recording technique involving only omnidirectional microphones placed at close dis tances such as true Binaural or directional micro phones spaced to equal ear to ear distance and aimed forward It adds a significant amount of L R low fre quency information If widely spaced omnidirectional microphones or accent microphones are mixed with the Binaural pair Shuffler should be used before the mi
97. anks 1 4 the Reverb Programs The apparent size of the space created is actually a combination of the settings of the SIZE SHAPE and SPREAD controls Small acoustic spaces are charac terized by a rapid buildup of diffusion However both small and large spaces frequently have an uneven buildup of initial reverberation This uneven buildup is what is controlled by the SPREAD and SHAPE con trols HF CUTOFF HF CUTOFF sets the frequency above which a 6 dB octave low pass filter attenuates the processed signal It attenuates both preechoes and reverberant sound High frequencies are often rolled off with this parame ter resulting in more natural sounding reverberation PREDELAY PREDELAY sets the amount of time which elapses between input of signal and the onset of reverberation Under natural conditions the amount of predelay de pends on the size and construction of the acoustic space andthe relative position of the sound source and the listener s PREDELAY attempts to duplicate this phenomenon and is used to create a sense of distance and volume within an acoustic space Relatively long PREDELAY settings place the reverberant field behind rather than on top of the input material Extremely long PREDELAY settings produce unnatural sounds that often prove interesting A sense of continuity between source and reverb is maintained up to around 40 ms of predelay after which the sound begins to separate into distinct patterns however
98. arameter availability CAP Key CAP interacts with the MARK and CAPTURE MODE parameters When CAP MODE is set all the way up CAP triggers the capture event described by MARK In the SME samplers CAP may also be used to switch monitoring from playback to source Capture MODE Capture MODE selects the capture mode and trigger level When the slider is at the bottom of its range MODE is setto IMMEDIATE which means that captur ing is triggered as soon as recording starts Moving the slider up selects the audio level for level triggering When incoming audio exceeds this preset level cap turing begins With Capture MODE all the way up at USE CAP KEY Only the CAP key triggers capturing CHK Key CHK is used to audition the entire sample immediately after it is recorded The effects of the editing controls HEAD TRIM TAIL TRIM etc are not heard when CHK is pressed CUE Key CUE is used to audition edits as they are made Bank 7 the Sampler Programs MODE CHK Capture Mode Manual Trigger Check Sample FAD CUE Fade Type Cue Sample CUE Cue Sample HOLD Retrigger Hold CUE MIR Pitch Mirror Cue Sample DUB Key DUB is essentially a CHK play key that also switches on recording when it starts permitting overdub sound on sound recording EDIT Key Making minute adjustments of HEAD TRIM and FOR WARD TIME to get a sample sounding just right can be tedious This is especially true with the longer samples p
99. ay 1 ECHO DEL Delay 2 Delay 3 The Random Halls and Spaces Program RHALL is similar to the standard Hall program in the 480L with the addition of random delay elements These elements have several effects First there is a reduction of long lived modes in the reverberant de cay which makes the decay less metallic and reduces the apparent reverb time The apparent reverb time of RHALL is much closer to the value indicated by the display than the standard Hall For this reason decay optimization is not needed in this program However the controller has been left in place to enable switching between the REVERB and EFFECTS modes of opera tion The random elements also improve the steady state timbre of the program The amount of coloration has been substantially re duced from that in the standard Reverb programs especially at small settings of the spread control In addition the steepness of the filter in the TREBLE DECAY control has been increased Don t be sur prised if you need to set this control higher in this program than in the standard Reverb programs The Random Hall and Ambience programs are particu larly useful in sound reinforcement where it can im prove the existing acoustics of a hall by adding lateral reflections and possibly also delayed dry signal from speakers hidden around the listening space The fact that many of the reflections are time varying is impor tant to increasing gain before feedback in
100. ay pages that permit you to trigger both samples simultaneously Level retriggering is always active after a short fixed holdoff Mono Forward Reverse Bank 7 Program 5 This program can play asample reversed either alone or with forward play It records and triggers from the left input only but pans the two playback voices between left and right The playback timing relationship may be shifted so that either voice precedes the other or they may play simulaneously Level retriggering is not avail able in this program Bank 7 the Sampler Programs Drum Samplers Programs 6 7 and 8 in Bank 7 are identical to the samplers described above except that MARK and FADE TYPE have been set for percussion instead of FAST FADE UP This ensures that the initial attack of a percussive sample is not dulled in a fade up Bank 7 Samplers SME Only Stereo Rate Change Overdub Bank 7 Program 9 The Stereo SME sampler records and overdubs 10 9 seconds of phase locked stereo audio at 48 kHz from the left and right inputs and plays back through the corresponding output channels It provides level trig gered capturing from the left input only referenced to the LARC level indicators MARK is setto save two ms of pre trigger audio for a fast fade up Playback can be varied continuously from 100 X1 reverse through 0 stopped to 199 just under X2 forward The rate can be varied continuously during playback Due to computational lim
101. be useful to control both systems from a single LARC To do this connect the LARC 2 Thru con nector to the 224XL LARC connector as shown in Chapter 1 Use the MACH key on the LARC to switch the LARC between the 224XL and the 480L If you are running two programs on the 480L at the same time there will be three choices to step through each time you press MACH Connecting a 480L and a 224XL together simply allows you to control the 224XL as you always have none of the 480L s new capabilities are added to it For ex ample the 224XL cannot access the register mover or other 480L control mode functions Also the 224XL cannot be accessed by the LARC while the 480L is in the control mode If you press MACH while in the control mode the 224XL will not appear in the display As soon as you exit the control mode the 224XL can be selected Basic Operation Selecting Input Type Slider 6 on Page 1 of Control Mode allows selection of either analog or digital input Both analog and digital outputs are always active Before selecting digital input be sure that proper connections have been made to the 480L Digital I O See Chapter 1 Use the Clock slider on Page 1 of Control Mode to select EXTERNAL CLOCK Set digital clock and sam pling rate to match your application according to the table below Analog Digital Clock Internal Clock External Sampling Rate 44 1 or Sampling Rate to match Digital 48kHz Input Rate Input Analog In
102. below the Rotate value ie If Rotate is set to 24 and gain is set at 6 when signals go below 24dB average then the signal will be boosted by as much as ATC Attack Time Constant Sets the attack time RTC Release Time Constant Sets the relase time DLY Front Delay DLY determines the amount audio delay before the compressor modules This effectively allows the 480L to perform a look ahead function to the compressors Page 3 GATE Noise Gate GATE sets a value at which the noise gate starts to occur Units are described in dB below 0 These values should typically be set very high Programs Bank 16 Frequency Dynamics 1 Mix Finish TSL TBR 144 20 LSL LFR 140 21 94 2 Big Vocals TSL TBR 141 20 LSL LFR 180 26 GATE 99 3 Drums TSL TBR 255 20 LSL LFR 123 30 GATE 87 4 AC Guitars TSL TBR 96 20 LSL LFR 128 21 94 5 Bass Thump TSL TBR 166 15 LSL LFR 248 25 GATE 90 TBM 2798 LMG 6dB TBM 12 LMG TBM 17 LMG TBM 27 LMG TBM 5dB LMG 14dB XOV 7 4K ATC XOV 654Hz ATC XOV 5 5K ATC XOV 3 0k ATC XOV 90 ATC HFC FULL RTC HFC full RTC HFC 12 7K RTC HFC full RTC HFC 6 04k RTC XOM 60 DLY 8 23 XOM 54 DLY 5 15ms XOM 43 DLY 6 07 XOM 60 DLY 8 23ms XOM 30 DLY 23 2 Bank 16 the Freq Stuff Programs Program Descriptions 1 Mix Finish This preset adds a nice com
103. c or program material It should be the first control that you adjust to tailor the desired space SIZ also affects the reverb time in a similar way to the standard reverb programs ROL Rolloff ROL controls the 3dB point of a 6dB octave filter on the output It sets the effective bandwidth of both the early reflections and the reverberance DIF Diffusion DIF controls the degree to which initial echo density increases over time High settings of DIF result in high initial buildup of echo density low settings cause low initial buildup After the initial period controlled by DIF density continues to change at a rate determined by SIZ To enhance percussion use high settings of DIF For clearer more natural vocals mixes and music use low or moderate settings Page 2 SPN Spin SPN is identical to the spin control in the EFFECTS algorithm It affects the movement of several early reflections The object of SPN and WAN is to continu ously alter the timbre of the early reflection parts of the ambient sound This makes the result more natural It is not intended to make the position of instruments unstable WAN Wander WAN is also identical to the wander control in the EFFECTS algorithm It sets the distance in time that the early reflections will move PDL Predelay PDL adds an additional delay to the reflections and to the reverberation Normally PDL should be set to 0 since the delays in the program will have a
104. carefully As THR is lowered the compressor maintains unity gain until the inputlevel drops lower If you are listening to the output the gain will appear to decrease as this control is raised Typically you want to set THR to get the maximum gain possible without overload ATC Attack Time Constant ATC adjusts the speed with which the compressor responds to an increase in input level The nominal value is about 30ms The times on the slider move in factors of 2 from 7ms to about 1 second Both 7ms and 15ms will cause some distortion and are not recom mended unless delay through the program cannot be tolerated High values of ATC can be used with large delays in a program leveling application The filter used for ATC is a non linear filter The number of dB second depends on the rate at which the input is changing Fast changes will make a quicker attack causing the gain to decrease quickly RTC Release Time Constant RTC adjusts the release time constant This filter maintains a constant number of dBs per second re gardless of the size of the change Thus the rate of increase gain is constant The value displayed for the release time is something of an approximation since the ordinary meaning of time constant does not apply to this type of control Page Two EXS Expand Slope EXS adjusts the slope of the expansion It behaves similarly to the compression ratio but it is important to keep in mind that the expa
105. ced omni microphone techniques will probably greatly benefit from some LF L R boost which can be adjusted independently from the crosstalk cancellation controlled by the EFFECT control This program may also be of use to professionals using Binaural recordings to study acoustic or noise environ ments Binaural recordings played with Panorama through a carefully set up loudspeaker system give nearly ideal reproduction of the original recorded sound field at least in the front hemisphere Setting up the program for this application is best done with a noise source atthe input Use CH1 to turn off the left input level and move your head to find a position which gives a sharp null in the left ear Now raise CH1 and lower CH2 The null should now be in the right ear If itis not adjust ANG and the listening position until a sharp null occurs for each ear About the parameters CH1 CH2 Left In Right In These controls are simple linear attenuators on the left and right inputs They can be used to set up the program or they can be used as input balance con trols They can also be used to trim the balance into the L R boost control EFF Effect EFF sets the amount of crosstalk cancellation in the mid frequencies and acts as a width control If EFF is setto 0 and L R boostis also setto 0 the program has no effect on the sound ANG Speaker Angle ANG sets the speaker angle expected in the listening environment This is thetot
106. configurations with re verb or ambience in Machine A and Panorama in Machine B 9 Bank 10 the Compressor Programs This chapter describes the Compressor programs located in Bank 10 GAIN DLY Front Delay Maximum Gain EXG EXT EXS Expander Slope Expander Gain Expander Thresh The Compressor Expander Program Compressor is a stereo compressor program with a user interface similar to several mastering compres sors The important thing to keep in mind as you use this program is t always has unity gain at high levels The compression is achieved by adding gain as the input level decreases If you are accustomed to standard compressors the following may be helpful Many compressors currently available allow you to set the threshold the level above which the output level will be decreased The threshold in the 480L s com pressor defines the level below which the output level is increased Signal level that is above this threshold setting remains at unity gain This allows you to leave peak values intact while increasing the overall program loudness dBFS 10 dB 20 dB 30 dB 40 dB 3 90 co co 50 dB 60 dB 30 dB 20 dB 10 dB dBFS Input Gain 50 dB 40 dB Compressor with a 2 00 1 ratio with threshold set at 10dB Bank 10 the Compressor Programs ATC RTC Attack Time Const Release Time Const THR Threshold Down About the para
107. crophone signals are mixed to avoid a severe boost in L R information Shelf Adjusts the 3dB frequency of the Shuffler shelf Flip amp Swap Right Channel Phase Invert Enables either a change of audio channels or a polar ity inversion in one or both channels This change is made in the digital domain The available settings are Channel Position Polarity L R NORM NORM L R NORM INV R L INV NORM R L INV INV AUTO Automatic DC Cut Enables routines for correcting DC offset from material recorded through analog to digital converters that are not properly trimmed for DC RESET RESET disables all DC adjustment HOLD HOLD freezes automatic nulling and enables DCL and DCR for manual individual channel adjustment AUTO NULL AUTO NULL automatically reduces 4 bits of DC error to gt 48dB down for each channel It maintains a slight positive offset near zero to avoid toggling theMSB D A converters downstream DC errors greater than 24dB will not be nulled DCL DC Offset Left and DCR DC Offset Right Replaces any previously obtained value with the slider value The display indicates the percent of the correc tion relative to the 24dB maximum BAL LDB Balance R FIN Fine Level XOV HFC SPC Bass Xover Treble Xover Spatial EQ Page Three DIT PONS Dither Noise Shaping The PONS Adjust Program PONS Adjust is similarto the Stereo Adjust Program A two channel digital mixer with precision level adjust
108. domain Two 480Ls can be connected through their digital I O ports for even wider creative horizons The 480L can even be connected to a 224XL and both units operated from a single LARC And that s just the beginning of what you ll discover when you read this manual vii Installation and Audio Connections This chapter contains overviews of all of the 480L controls as well as information on mounting installation and audio connection Lexicon 480L Owner s Manual About the Rear Panel Main Inputs L amp R The left and right Inputs accept 3 pin male XLR connectors They are electronically balanced and optionally trans former isolated Either pin 2 or pin 3 can be used as high but to maintain polarity when transferring data to the digital domain pin 2 should be high Pin 1 and either pin 2 or pin 3 of each input must be grounded for unbalanced operation Input imped ance is 30 kilohms in parallel with 100 pF Inputs accept input levels from 6 to 24 dBm Lexicon Digital Audio I O Connector This DE9 connector provides PCM 1610 compatible digital I O It has 18 bit word length capability and can be slaved to a 48 kHz 44 1 kHz or 44 056 kHz external word clock 480L Rear Panel 1 2 Main Outputs 4 R The left and right Main Outputs accept 3 pin female XLR connectors They are electronically balanced and optionally transformer isolated Either pin 2 or pin 3 can be used as high
109. e 3 Slider 2 Automation Parameter 4 head Larc Page 3 Slider 1 Automation Parameter 5 rtime Larc NA Automation Parameter 6 tail Larc NA Automation Parameter 7 play Larc Page 2 Slider 3 Automation Parameter 8 repeat Larc Page 4 Slider 2 Automation Parameter 9 P_trig Larc Page 4 Slider 3 Automation Parameter 10 holdoff Larc Page 4 Slider 4 Automation Parameter 12 Some of the parameters are repeated on multiple pages This list represents just one instance of each parameter Events are very similar As far as the automation is concerned the events are ordered based on an internal representation The Larc representation is not predictable The event list for Mono 35 is rec Larc Page 1 Button 2 Automation Event 1 stop Larc Page 1 Button 5 Automation Event 2 rcue Larc Page 1 Button 6 Automation Event 3 overdub Larc Page 2 Button 1 Automation Event 4 repro Larc Page 4 Button 1 Automation Event 5 cue Larc Page 3 Button 6 Automation Event 6 Some of the events are repeated in several places This list is represents just one instance of each parameter In the case of Mono 35 all of the events available from the Larc are available from the Automation mode Appendix A MIDI and the 480L Understanding Preset and Register Indexes Presets and Registers share a range of indexes to represent locations within the 480 software All indexes are in the range of 1 1023 The range 1 923 is reserved for presets Currently
110. e Standard 19 rack mount 19 w x 5 25 h x 14 5 d 483 x 133 x 368 mm LARC5 9 w x 9 5 h x 3 2 d 150 x 242 x 82 mm Weight Mainframe 24 165 10 89 kg LARC 1 9 lbs 0 9 kg C 3 D Voltage Changeover and Optional Transformers This section describes voltage changeover and installation of optional transformers Lexicon 480L Owner s Manual Voltage Changeover Voltage changeover is a fast and easy process 1 Remove the power cable from the 480L 2 Insert a small flat bladed screwdriver or an IC puller into the slot next to the fuseholder cartridge which is located just to the right of the power connector Pry the cartridge out so that it drops out of the chassis Set the fuseholder cartridge aside 3 The voltage changeover board is mounted ver tically in a small compartment which is normally cov ered by the fuseholder cartridge which you removed in step 2 Remove the board with a pair of needle nosed pliers or tweezers 4 Thefoursides ofthe board are marked with the four voltages at which the 480L can be operated 100 120 200 240 Slide the voltage changeover pin around until itfits in the notch opposite the side marked with the operating voltage you require 5 With the pin facing out replace the board in the chassis Press it until it snaps into place or fits firmly in its socket 6 fuseholder cartridge is supplied with two sets of fuses a single A Slo blo fuse for 100 120 V and
111. eld of early reflections but the ERL parameter must be raised in order to turn them on Likewise the WET parameter must be raised in order to hear the reverb in Machine A 14 4 A MIDI and the 480L This section describes the use of MIDI with the 480L Lexicon 480L Owner s Manual Introduction Most uses of MIDI with the 480L fall into one of four basic categories Automatic selection of a 480L program or register when a program is selected on any other MIDI device Realtime control of 480L parameters from a remote keyboard or controller using the 480L s Dynamic MIDIS Real time triggering of LARC events from a remote keyboard or controller using the 480L s Dynamic MIDIS Automatic program selection and parameter control from a MIDI digital sequence recorder We ll discuss each ofthese applications in this chapter but first let s cover some typical MIDI installations MIDI Connections All MIDI connections described in this chapter use the MIDI IN THRU and OUT connectors located on the rear panel of the 480L As with any MIDI connection use only standard MIDI cables and keep them as short as possible to avoid possible data errors 15 meters is generally accepted as the longest that should be used if absolute data integrity is important Connecting a Keyboard and the 4801 480L DIGITAL EFFECTS SYSTEM MIDI Out Basic MIDI Setup 1 Press CTRL to enter the control mode 2 Pre
112. elow the value to confirm your selection Matching Room Size Approximating the ambient build of the space requires adjustment of the SIZE control Use the same tech nique as that described for establishing a value for HF CUT Set the MIX value to 90 or listen to the DRY signal from time to time to hear where you are Note The SIZE control does not update in real time To simplify the listening process start at the highest setting of SIZE and decrease the value by 5 meter increments listening for an extraneous delay when the value is too high or a cramping of the program material when the value is too low Use low frequency information to Zero in on the correct value Once you have found a value you think is correct move SIZE two values above and below your selection to confirm your choice Creating Depth The MIX control in the Ambience programs emulates the movement of a coincident pair of microphones from the sound source into the room Until now with MIX set to nearly 100 wet you have been listening at the rear of the ambient space created by the SIZE control Slowly moving MIX to 100 dry simulates moving the microphone pair closer to the sound source Listen only to the returns of the 480L If you have closely approximated the HF contour and size of the space moving MIX should yield a smooth transition from the rear of the space to the original sound source the predominant instrument vocalist etc If y
113. ene capacitor at C183 4 Install a 15 kilohm 1 resistor at R152 5 Install a 15 kilohm 196 resistor at R187 6 Connect a Jensen JE 11P 1 transformer as fol lows for the left channel Transformer White Brown Red Black Orange Yellow 7 Connect a Jensen JE 11P 1 transformer as fol lows for the right channel Transformer White Brown Red Black Orange Yellow Appendix D Voltage Changeover and Installation of Optional Transformers 8 After wiring mount the transformers to the side of the chassis using the brackets supplied with the trans formers For the 480L outputs we recommend Jensen JE 123 SLPC transformers 1 Remove R45 46 78 79 80 82 88 89 90 91 92 128 129 130 131 and 132 2 Install 33 ohm 1 4 Watt 1 resistors at R47 81 83 93 94 133 134 135 3 Move jumpers W5 W6 W7 W8 W9 W10 W11 and W12 from position 2 3 to position 1 2 4 Solder the four transformers into place Note that the transformers can be installed in either direction with no change in performance D 3 E Control Mode Reference This section contains descriptions of each parameter in the Control Mode Lexicon 480L Owner s Manual Control Mode Reference Section The following list contains a brief description of every parameter in the control mode listed in order by page number Page One STA Status Moving the STA slider displays the current stat
114. er To clear all cartridge or internal registers 1 Press CTRL to enter the control mode 2 Press PAGE 2 to go to page two 3 Use slider two to select CLR ALL INT or CLR ALL CART 4 Hold down STO and press REG to clear the selected registers Note When either CLR ALL INT or CLR ALL CART are selected the BANK and REG sliders are inactive MIDI SysEx Program Dumps Programs and presets can also be transmitted and received as MIDI SysEx data Parameters that enable MIDI SysEx dumps are found on Page 6 in Control mode SysEx Bulk Dump Slider 1 SFN selects a SysEx Bulk Dump function Slider 2 SRC is dependent on the SFN setting but in general it selects the source of the dump function when required The following SFN settings are avail able SETUP BANK ACTIVE ALL INT ALL CART MIDI MAP CONTROLS Individual Program or Preset Dumps The SETUP function will bulk dump a single program or preset When in this mode the SRCslider selects the particular setup to dump Moving the slider scrolls through all of the available programs and registers containing presets After selecting a particular program or preset push and hold the STO button While holding STO press REG This will enable a dump of the selected program or preset from either SFN or SRC mode The format of the setup bulk dump message is described in Appendix A MIDI and the 480L Dumping Banks The BANK function will bulk du
115. ereo ambience and effects without leaving the digital domain The 480L doesn t just sound better sheer computa tional power allows it to perform multiple audio tasks at the same time And what tasks In the current glut of throwaway digital devices with ever cheaper versions of the same sounds the 480L offers remarkable new effects and reverb sounds Its innovative reverb algorithms reflect a more accurate and natural model of the acoustic and psychoacoustic phenomena of reverb and ambience Put the 480L up against any other reverberator you ll be amazed at the difference Introduction Reverb is only part of the story The 480L produces astonishing effects you haven t even begun to dream about yet And its sampling programs offer a variety of useful and unique features The present software is powerful and comprehensive a dramatic step forward in digital signal processing technology Yet it hasn t explored the limit of the 480L s architecture which is itself configured for future hard ware expansion If you are familiar with the venerable 224XL you ll feel right at home with the LARC used to control the 480L However there are enough differences in the way the two units operate that we strongly suggest that you read this manual as soon as possible In it you ll discover that the 480L s two high speed processors can operate in a variety of configurations Samples can be processed with reverb or effects all in the digital
116. faster rates lower notes produce slower rates and notes more than an octave down produce reverse play rates REPEAT REPEAT sets the number of times a sample is played After selecting the number of play repeats you must enter the selection by pressing PLAY RETRIGGER HOLD Whenusing audiotriggering RETRIGGER HOLD sets the period of time the sampler will wait before retrigger ing When set to NO RETRIGGERING all the way down the sample may be level retriggered only when play is completed REVERSE TIME Mono Forward Reverse REVERSE TIME sets how much of the sample to play back in reverse play TAIL TRIM Once a sample has been recorded TAIL TRIM is used to remove unwanted information at the end of the sample and select the start point for reverse playback A fine mode is provided for precise trim Press the button under the Head Trim slider until the display flashes To exit press the button again and hold it until the display stops flashing TLV Play TRIGGER Play Trigger selects the method for triggering play back With the control all the way down playback is continuous In the middle range are playback trigger levels corresponding to the Headroom display on the LARC With the slider all the way up triggering is manual only via the PLAY key After selecting a play trigger method or level enter the selection by pressing PLAY VX Record VOICE MODE In the Dual Rate Change Sampler RECORD VOICE selects which
117. fective reverb time Longer effective reverb times give greater spacious ness to the sound The Early Reflection Myth The importance of early reflections in reverberation has become accepted as indisputable fact We call ita myth Much of the myth of early reflections is a result of attempts to emulate the sound of discrete reflections Banks 1 4 the Reverb Programs from the floor stage area and ceiling ofa real hall This sounds reasonable in theory but it has been our experience that the resulting preechoes are much different from the early reflections present in real halls and recorded music is often better off without them The reason for the difference is not difficult to discover Early reflections in artificial reverberation are usually discrete simply a delayed version of the original sound Transients such as clicks or drums are clearly heard as discrete reflections resulting in a coarse grainy sound But the reflective surfaces of real halls are complicated in shape and the reflections they produce are smoothed or diffused Their time and frequency responses are altered making them much more interesting In a very good hall discrete reflec tions are hard to identify as such Another major disadvantage of discrete early reflec tions is that the same reflection pattern is applied to every instrument which is fed into the reverberation unit and each instrument has its timbre altered in exactly the same way In a re
118. ff and then restored the 480L will return to its last previous state You can also configure the 480L to automatically load pre selected programs upon power up To do this go to Control Mode Page two slider 5 This slider labeled DEF for default is set atthe factory to off Advancing the slider will scroll through all of the 480L programs and select one as the new default state The upper display will indicate the machine you are addressing followed by the Bank number Program number and Program name In order to select a default load for the second machine press the MACH button and advance the slider to the desired program Control configuration is always remembered re gardless of power up default setting Selecting a Configuration System configuration input type and system clocking are selected in Control Mode To enter or exit Control Mode press CTRL Note Pressing VAR will display the operating mode of the mainframe Configurations are selected with Slider 2 on page 1 of the control mode There are four internal configura tions available e Cascade e Stereo Split e Mono Split Single Because the Configuration slider redefines the internal architecture of the 480L the display takes a bit longer to update after you move the slider than other parame ters Let s take a closer look four configurations Basic Operation The Cascade Configuration The Cascade configuration feeds the output of o
119. filter on each input channel to attenuate low frequencies SIGNS When the Signs parameter is set to 1 a significant increase in output gain can occur Programs Bank 5 Effects 1 Illusion SPN SLP 30 154 MON FBL Stereo Off HPL HPR 0 Hz 0 Hz 2 Surfin SPN SLP 44 247 MON FBL Stereo Off HPL HPR 120Hz 120 Hz 3 Voc Whisper SPN SLP 48 106 MON FBL Stereo 16 dB HPL HPR 0 0 4 Doubler SPN SLP 44 170 MON FBL Stereo 18 dB HPL HPR 0 0 5 Back Slap SPN SLP 43 219 MON FBL Stereo Off HPL HPR 0 0 LNG 0 ms FBD 0 ms SGN LNG 0 ms FBD 0 ms SGN LNG 38 ms FBD 412 ms SGN 0 LNG 16 ms FBD 10 ms SGN LNG 86 ms FBD 0 ms SGN WAN 42 us DIF 64 WAN 882 us DIF 64 WAN 23 ms DIF 44 WAN 26 ms DIF 82 WAN 10 ms DIF 52 NUM 40 IND 52 ms NUM 40 IND 0 ms NUM 28 IND 244 ms NUM 16 IND 0 ms NUM 40 IND 0 ms PDL 20 ms MIX All Fx PDL 20 ms MIX All Fx PDL 8 ms MIX 7696 PDL 48 ms MIX All Fx PDL 38 ms MIX All Fx 6 Rebound SPN SLP 48 254 MON FBL Stereo 9dB HPL HPR 0 0 7 Git It Wet SPN SLP 17 187 MON FBL Stereo 12 dB HPL HPR 0 Hz 0 Hz 8 Sudden Stop SPN SLP 48 130 MON FBL Stereo 18 dB HPL HPR 0 0 9 In the Past SPN SLP 45 247 MON FBL Stereo Off HPL HPR 0 0 0 Tremolo L amp R SPN SLP 30 135 MON FBL Mono B Off HPL HPR 0 0 Bank 5 the Effects Programs LNG WAN NUM PDL 444 ms 35 ms 40 254 ms FBD DIF
120. fore you want it Setting too short a RETRIGGER HOLD can result in multiple retriggers from a single sound Optimizing Level Triggered Playback These tips will enable you to obtain tight level triggering for percussion replacement and other critical applica tions 14 Makesure there is no dead air at the head of your sample The non percussion samplers are preset to MARK and preserve a few milliseconds of pre trigger audio for the FAST FADE UP You may either MARK THE HEAD 0 milliseonds or trim this later 15 Marking the HEAD while using the preset 24dB level triggered recording should provide a tight enough HEAD trim for most users You may tighten the record ing further by setting MODE to a higher dB level 16 Besure to set FADE TYPE to PERCUSSION for sounds with tight clean attacks If the cue is still too loose then trim HEAD until just before you hear loss of the attack 17 Adjust TLV playback trigger level for the greatest sensitivity that doesn t give false triggers Note If you are using level retriggering to interrupt and restart sample playback a combination of too sensitive a trigger level and insufficient retrigger holdoff time can lead to a stuttering which some hear as a great effect If it s not for you remember these general guidelines Useashort duration retrigger signal with a sharp attack Raise the level threshold if this can be done without delaying the initial trigger
121. ges sequentially 2 Press PAGE and then a numeric select key to go directly to the page you want IMPORTANT When a new program is loaded or another page is selected each slider is deactivated i e the display does not change until the slider is moved through its preset value When changes have been made on a page and you move to a new page the previous edits remain intact However when anew program is loaded the edits you made disappear forever unless you stored the edits in a register 2 14 How to Use Registers The ability to edit parameters would be of little value if there were no way for the 480L to store the edits Not to worry the 480L has 100 registers available to store edited versions of the programs Registers are orga nized into banks selected and loaded exactly like the programs You can also edit parameters in a register and store the results in the same register or another register There are five banks of ten registers in internal mem ory Another five banks of ten registers can be stored in a nonvolatile memory cartridge One cartridge is supplied with the unit and additional cartridges may be purchased IMPORTANT Cartridges are equipped with a write protect switch When the switch is ON it prevents the 480L from writing to the cartridge regardless of the register protection selected in the 480L Cartridges may be shipped with the write pro tect switch in the ON position
122. gger the effect Try very short times one second or less and small dis tances 0 3 meters to produce an illusion of a sound zooming by your head Note that using a combination of high settings for all parameters can result in noise and aliasing becoming audible About the Doppler Parameters Page One PLAY Play Trigger When triggering the doppler effect manually press PLAY totrigger The sound must have started at some time before PLAY is pressed This is called memory preload and is equal to the amount of time it takes the sound to travel from the starting point of the object to the listener The amount of time required depends on the settings of SPEED and TIME At maximum speed and time the sound must be started up to 1 3 seconds before PLAY is pressed At minimum SPEEDs and TIMEs the time needed to preload the machine s memory is quite short If an audio trigger has been set up on page two pressing PLAY does not start the effect immediately it arms the effect and then waits for the appropriate level to start the effect The memory preload time is built in so the effect starts shortly after the trigger Bank 8 the Pitch Change and Doppler Programs DST Distance TRIG Trigger Doppler TYPE Play Type TYPE affects the rate of change of the level of the sound It has two modes NORMAL and ZOOM In NORMAL the level is inversely proportional to the distance from the object to the listener The object moves in a s
123. gisters are protected they cannot be copied to moved to cleared or otherwise erased Blank registers can still be copied or moved to DEF Default DEF selects the power up default mode Advancing the slider selects a program to load automatically when power is interrupted then restored Press MACH to select a default program for the other machine When shipped DEF is set to Off Page Three This page is used to change the name of the current program SEL Character Select SEL selects the character to change CHG Character Change CHG changes the selected character Symbols are at the bottom of the range numerals in the middle and characters at the top To enter the name change hold down STO and press REG Page Four Page four contains controls which allow you to set up 10 MIDI patches Each register can have a unique set of 10 patches SEL Patch Select SEL chooses which of the 10 patches will be edited SRC Source SRC selects the MIDI controller or event that will be patched to the 480L parameter or event DST Destination DST chooses the 480L parameter or event to be controlled by the MIDI controller or event selected with SRC Appendix E Control Mode Reference SCL LOW Scaling Factor Low Note When SRC is set to a MIDI controller last note or last velocity this slider sets the scaling Scaling determines the relationship between settings of the MIDI controller and the parameter which is u
124. gram is ideal for guitar and vocals 4 Barber Pole This is a true stereo program Both sides are set for 3 cents of downward pitch shift No additional delay is used but 4196 feedback is assigned to the left and 41 is assigned to the right This helps give the smooth slow downward resonance characteristic of this program Use the left stereo Pitch slider for addi tional amounts of stereo pitch shifting 5 Half Steps This stereo program uses 600 ms of delay and 4496 feedback on both left and right channels routed back to a Minor 2nd downward pitch shift This program is strictly for effects use try changing the delay settings for even more outrageous effects 6 Stair Case This is a dual mono variation of Half Steps with shorter delays and larger intervals Programs Bank 8 Pitch Shift 1Pitch Change MOD SNC Stereo PDL PDR Oms Oms MIDI null MIDI null 2 Pitch Chorus MOD SNC Mono PDL PDR 6 48 ms 9 81 ms MIDI 3c 48c2 MIDI 6C 72c4 3 1 Up 1 Dwn MOD SNC Mono PDL PDR 39 27 ms 32 69 ms MIDI 10c MIDI 10c PCH null FBL 096 REF 48c2 REF 72c4 PCH 3c FBL 23 REF Off REF Off PCH 10 FBL 10 REF 48c2 REF 72c4 FIN null FBR 0 MIR Off MIR Off FIN 3c FBR 13 MIR Off MIR Off FIN 10 FBR 10 MIR Off MIR Off PCH null GLL null GLR null PCH 6 GLL 3c GLR 6 10 GLL 10 GLR 10c
125. h is ON My 480L was just upgraded to a new software version and my cartridges no longer work Some but not all software improvements may be incompatible with cartridges formatted with older soft ware To make a cartridge usable again it must be reformatted as described above This will erase the old contents of the cartridge When connected to the effects loop on my console turning up the console s effects send and returns just makes the dry signal louder don t hear any effects from the 480L Assuming that your system is wired correctly the problem is probably that the Wet Dry Mix control on the registers you are using has been set to 100 dry Set it to 100 wet and try again LARC displays Mainframe Link Failed message When you first power up all four indicators on the Host card should light up momentarily and then go off If they don t contact Lexicon Customer Service If ROMs have been changed recently make sure all pins are inserted in their sockets correctly Make sure that Host board is correctly seated in its socket Make sure the LARC cable is correctly connected Check line voltage Inadequate line voltage will prevent the 480L from powering up normally Finally check to see if a LARC port has been accidentally connected to the automa tion port Connection of a LARC port to the automation port will blow an internal power supply fuse and shut down the 480L My 480L loses register contents
126. hannels appear to retain equal loudness If stereo material is recorded with a coincident pair of figure of eight microphones 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 fre quently preferable to simply adjusting balance The display shows the actual channel gains for a continu ally panned source BAS Bass EQ BAS is a 6 dB octave shelving EQ control with a range of 6 dB boost and full cut It moves in 50 dB steps from 6 to 6 dB The crossover point is adjusted with XOV on page 2 BAS acts on both stereo channels equally TREB Treble EQ TRB is a 6 dB octave shelving EQ controls with a range of 6 dB boost and full cut It moves 50 dB steps from 6 to 6 dB The crossover point is adjusted with STREB HFC on page 2 TREB acts on both stereo channels equally Page Two XOV Bass Crossover XOV sets the crossover point for BAS on page 1 and SPC on 2 When BAS is set to full cut the level is 3 dB at the frequency set with XOV HFC Stereo Treble Crossover HFC sets the crossover point for TREB on page 1 When TREB is set to full cut the level is 3 dB at the frequency set with HFC HFC Independent Treble Crossover HFC sets the crossover point for TREB LEFT and TREB RIGHT on page 2 When TREB is set to full cut the level is 3 dB at the frequency set with HF
127. he Test and Reference Programs About the Test amp Reference Parameters Bank 17 Test amp Reference Appendix MIDI and the 480L Solving Problems Specifications Voltage Changeover and Optional Transformers Control Mode Reference oov m Program Directory Software Version 4 0 Bank 1 480 Halls 1 1 Large Hall 1 2 Large Stage 1 3 Medium Hall 1 4 Medium Stage 1 5 Small Hall 1 6 Small Stage 1 7 Large Church 1 8 Small Church 1 9 Jazz Hall 1 0 Auto Park Bank 2 480 Rooms 2 1 Music Club 22 Large Room 2 3 Medium Room 24 Small Room 2 5 Very Small Room 2 6 Large Wood Rm 2 7 Small Wood Rm 2 8 Large Chamber 2 9 Small Chamber 2 0 Small amp Bright Bank 3 Wild Spaces 3 1 Brick Wall 3 2 Buckram 3 3 Big Bottom 3 4 10W 40 3 5 20W 50 3 6 Metallica 3 7 Silica Beads 3 8 Inside Out 3 9 Ricochet 3 0 Varoom Bank 4 Plates 4 1 A Plate 4 2 Snare Plate 4 3 Small Plate 4 4 Thin Plate 4 5 Fat Plate Bank 5 Effects 5 1 Illusion 5 2 Surfin 5 3 Vocal Whispers 5 4 Doubler 5 5 Back Slap 5 6 Rebound 5 7 Git It Wet 5 8 Sudden Stop 5 9 In the Past 5 0 Tremolo L amp R Bank 6 Twin Delays 6 1 4 Voice Double 6 2 Double Delay 6 3 4 Bounce Delay 6 4 Pitter Patter 6 5 X Pan Double 6 6 Delay Cave 6 7
128. he preechoes When set relatively low it gives a darker tone to the reverberation simulating the effect of air absorption in a real hall This also helps keep the ambience generated by the program from muddying the direct sound DIFFUSION DIFFUSION controls the degree to which initial echo density increases over time High settings of DIFFU SION result in high initial buildup of echo density and low settings cause low initial buildup After the initial period in which echo buildup is controlled by DIFFU SION density continues to change at a rate deter mined by SIZE 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 The plate presets and some of the room presets use an algorithm with higher inherent diffusion If high diffusion is desired start with one of these presets They are easily identifiable because they have only two preechoes DECAY OPT Decay Optimization DECAY OPT alters program characteristics in re sponse to changes ininputlevel to make reverberation decay sound more natural DECAY OPT should nor mally be set to REVERB 7 To make it easy to create wild spaces DECAY OPT has a second mode EFFECTS In the EFFECTS mode the numbers 0 9 have the same effect as they do in the REVERB mode However in the EFFECTS mode the SPREAD control is not linked to the SIZE control making it possible to use high values
129. he programs supplied with the 480L cover an astounding range of possibilities but sooner or later you will want to alter the sounds of the programs to more perfectly fit your requirements Each program in the 480L contains a set of parameters that can be edited to create a sound uniquely your own Just Move the LARC s Sliders After loading a program you can edit its parameters by moving the LARC s sliders Most parameters can be edited in real time to alter an effect However a few parameters like SIZE have such a radical effect on the 480L s algorithms that the effects signal is muted briefly when they are edited To indicate the parameter that a slider controls an abbreviated code appears in the display window above each active slider You can display a more descriptive title and the current value for each parameter by pressing the keys directly below each slider Moving a slider also displays this information In many cases pressing a display key twice will en gage vernier fine adjustment mode that allows very precise adjustment The display blinks to indicate that the vernier mode is active Change Pages to Access More Parameters Because the programs in the 480L have more than the six parameters which the LARC can display at one time parameters are grouped in several pages Each page contains up to six parameters You can use either of two methods to move between pages 1 Press PAGE repeatedly to step through the pa
130. icon Printed in the United States of America Warranty Notice The Nonvolatile Memory Cartridge supplied with this unit carries a 30 day limited warranty Lexicon Part 070 09360 Program Directory Introduction Installing the 480L About the Rear Panel About the Front Panel Behind the Front Panel About the LARC How to Mount the 480L Power Requirements How to Interface the LARC Audio Connections How to Float the Analog Ground Basic Operation Glossary Operating Modes Checking Your System s Status Selecting a Configuration Using Two LARCs to Control a Single 480L Controlling a 224XL from a 4801 and LARC Selecting Input Type How to Load Programs Level Calibration Setting Analog Output Levels Setting Analog Input Levels Levels in the Digital Domain Using Digital Signals How to Edit Parameters How to Use Registers Storing and Naming Programs Loading Registers Protecting Against Loss of Register Contents Moving Registers with the Register Transporter Clearing Register Contents MIDI SysEx Program Dumps Banks 1 4 the Reverb Programs About the Reverberation Algorithm About the Reverberation Parameters Bank 1 Halls Bank 2 Rooms Bank 3 Wild Spaces Bank 4 Plates lt lt OONDOAKRON ee b b h h ee 1 1 1 1 NNNNND 15 N 2 7 2 7 2 8 2 9 2 10 2 11 2 12 2 13 2 14 2 14 2 15 2 15 2 15 2 16 2 16 2 27 3 1 3 2 3 8 3 10 3 12 3 14 10 1
131. ides level boost or cut at the defined fre quency and Q settings L VL is adjustable between 12 to 12 dB when the Q setting falls between shelf and Q 7 When a Notch Q is selected Q 16 or Q 32 LVL is adjustable between 36 and 36 dB This only applies to the Page Two filters Page Three FR 1 L and FR 1R These controls allow frequency settings to be inde pendently adjusted on either the left or the right chan nel Frequency settings fall between 30 Hz and 17 kHz Q Q adjusts the amountof bandwidth affected by the level control The Q is determined by dividing the center frequency in Hz by the bandwidth to be affected in Hz For example if a frequency of 1000 Hz is selected and the bandwidth to be boosted or cut is 500 Hz the Q 2 The Page Three filters provide a Q adjustment from shelf to Q 7 The filters on Page Three have a high frequency shelf that boosts all frequencies above the set frequency This is identified by SH in the Q display LEV LEV provides level boost or cut at the defined fre quency and Q settings LVL is adjustable between 12 to 12 db FIN Fine Level FR LF Low Frequency Page Three FR HM High Mid Freq About the Mono Parametric EQ Parameters Page One LVL Level LVL is mono level control From 12 to 12 the slider moves in 25 dB increments Below 12 it moves in 50dB increments Below 60 dB calibration is in larger steps finally dropping to zero output at 72 dB
132. ience Similar to Large Ambience but smaller Imagine a large courtroom or a lecture room then load the preset 4 Small Ambience Similar to Medium Ambience but smaller typical lobby or small lounge Banks 13 14 the Ambience Programs 5 Strong Ambience The room size is larger than Medium Ambience but the RT LEVEL has been reduced to provide a strong wash of ambience with a relatively short decay time 6 Heavy Ambience Resembles a large rectangular performance space with musicians or performers positioned in the middle ofthe space Microphone proximity to the musicians or performers can be simulated by adjusting the MIX control If the 480L is used with a mixing console and interfaced with stereo sends and returns the MIX control should be left at ALL FX and the level of the sends will determine proximity effect 7 Ambient Hall Fast dense ambient attack Reverberant characteris tics of Large RHall 8 Announcer Adds a very useful ambient spaciousness to a dry announcer s dialog track 9 Closet Just as you would imagine it even feels cramped 0 Gated Ambience Very strong ambience with fast decay just add your favorite snare drum The Post Ambience Program The Post Ambience Program bank 14 contains a group of programs that are optimized to meet the requirements of post production Several algorithms are used in this bank Each program description refers to the algorithm used to create it Prog
133. iffusion set by DIF This control allows you to quickly reference undiffused early reflec tions to any value of DIF Bank 17 the Test amp Reference Programs DWC Dry Treble Width Control Low pass frequency for the direct sound synthesizer For maximum width this control should be set between 500Hz and 1 5kHz WET TWC Reverberation Treble Width Control Low pass frequency for the reverberation synthesizer For maximum width this control should be set between 500Hz and 1 5kHz EARLY TWC Early Reflection Treble Width Control Low pass frequency for the early reflection synthe sizer For maximum width this control should be set between 500Hz and 1 5kHz CAL Reverberation Level Calibration Controls the amount of gain applied to the output of the reverberator or ambience program in Machine A Set to 7 5 when DRY TWC is off Setto 4 5 when DRY TWC is 1Hz or higher Page Five ROL Sets the overal low pass for the early reflections 0 Binaural Simulator DRY ERL DWT CWT 0 Off Off 30 30 30 PRE ECHO LEV ELS 588 _ 5dB 5dB 5dB 5dB 5dB PRE ECHO DEL AYS 11 39ms 22 38ms 22 79ms DIF DOF DWC 80 0 1020kHz ROL Full 36 19ms 42 43ms 54 99ms WWC EWC CAL 1020kHz 1020kHz 4 50 Program Description The Binaural Simulator program has parameters set to provide width for all signals on loading but only the dry level has been raised Pre echo levels and pre echo delays are setto provide a fi
134. ing PREECHO DELAY TIME parame ter PREECHO DELAY TIME sets the delay time in ms for one of the preechoes PREECHO DELAY TIME is not affected by PREDELAY so preechoes can be placed to occur before the reverberation starts REVERB LEVEL Digitally controls the output gain from the processor This is useful for setting different versions of overall program balance This parameter may also be con trolled via MIDI which allows the amount of reverb to be easily controlled remotely without affecting the wet dry mix SHELF A level control that adds pre high frequency cutoff energy to the reverb output allowing a double knee in the low pass filter 10 4 Programs Bank 11 Random Hall 1 Large RHall RTM SHP SPR 2 09s 120 158 BAS XOV HFC x1 2 493Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 2 Lg RHall amp Stg RTM SHP SPR 2 61s 120 158 BAS XOV HFC x1 2 493Hz 3591Hz LVL1 LVL2 LVL3 8dB 8dB 7dB DLY1 DLY2 DLY3 14ms 20ms 40ms 3 Medium RHall RTM SHP SPR 2 06s 120 127 BAS XOV HFC x1 2 493Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 4 Med RHall amp Stage RTM SHP SPR 2 06s 120 127 BAS XOV HFC x1 2 493Hz 3591Hz LVL1 LVL2 LVL3 8dB 8dB 7dB DLY1 DLY2 DLY3 14ms 20ms 40ms 5 Small RHall RTM SHP SPR 1 12s 92 51 BAS XOV HFC x1 0 493Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 SIZ 38M DIF 65 LVL4 Off DLY4 SIZ 38M DIF 65 LVL4 7dB DLY4 48ms SIZ 30M
135. is used to transmit Automation data Power Connector and Fuse Holder Cartridge The Power Connector is a standard 3 pin IEC power connector The Fuse Holder Cartridge contains the AC mains fuse s The voltage changeover card is also contained in this compartment Read Appendix D for voltage changeover information Installation and Audio Connections About the Front Panel Cartridge Slot The Cartride Slot accepts both ROM based program cartridges and Nonvolatile RAM cartridges for additional memory storage The 480L is shipped with Front Panel Latch one Nonvolatile Memory The front panel is hinged Cartridge providing five at the bottom pull on the banks of portable register handle to open Keep the storage A write protect front panel closed during switch prevents accidental normal operation to erasure of contents maintain dust filtration ___ ABOL GITAL EFFECTS SYSTEM Power Switch and Indicator The Power Switch turns the 480L on and off the indicator lights when the unit is on A lithium battery retains the data memory when power is off or disconnected 480L Front Panel 1 3 Lexicon 480L Owner s Manual Behind the Front Panel Cooling Fan The cooling fan provides filtered forced air the front panel vent is an air intake The filter is removable and should be cleaned periodically with mild detergent and warm water Card Retainer The card retainer ensures that the HSP and host p
136. isters works identically to the restore all internal registers except that in ORIGINAL SRC mode the data is sent to banks 6 0 instead of to 1 5 The LARC displays C REG LOADED All other operations are the same Restore MIDI Program Table Map Basic Operation Selection of destination is notan option when restoring MIDI program table map The data is restored to the active Machine where it originated Restore Controls Selection of destination is notan option when restoring MIDI Controls The data is restored to the control parameters of the active Machine See Dump Controls for a list of the controls dumped and restored MIDI Request Data The request data function is a MIDI SysEx message that triggers an output of the requested bulk dump on the MIDI port The format for the request function is defined in Appendix A MIDI and the 480L The pos sible requests are as follows Request All Stored Presets Internal and Cartridge Registers Request Individual Program Request Individual Preset Request Controls Request Active Machine A Request Active Machine B Request MIDI Program Map for Machine A Request MIDI Program Map for Machine B The data will be sent after the 480L receives and decodes the message If automation transmit mode is on the data sent will also contain automation mes sages Internally the 480L decodes the request mes sage and uses the normal event passing mechanism to transmit the respon
137. its some reverse rates introduce audible clicks during playback 10096 and the rates near it are free of noise all positive rates are free of noise Inthe SME samplers the FORWARD TIME parameter slider is replaced by TAIL TRIM The user marks the HEAD and TAIL points of the sample the 480L calcu lates the play time These two edit points are inter changed for reverse playback The 480L will play back the edit accurately regardless of rate variations unless the rate crosses the forward reverse boundary at 0 Mono Rate Change Overdub Bank 7 Program 0 The Mono SME sampler records and overdubs 21 8 seconds of audio at 48 kHz from the left input and plays it back through both left and right outputs Capturing is set identically to the stereo programs Playback can be varied continuously from 200 X2 reverse through 0 stopped to 199 just under X2 forward The rate can be varied continuously during playback All rates are free of any clicks 6 3 Lexicon 480L Owner s Manual How to Use the Samplers These general instructions apply to all samplers Variations for SME samplers are in parentheses Recording 1 Single channel mono samplers record only from the left channel Dual and Stereo Samplers record from both channels 2 Adjust audio input levels as shown on the LARC Headroom display for 6 dB on peaks 3 Press REC to begin recording and notice the line of on the LARC under the label RECORDING
138. lace the m with diffuser panels spaced 10 from your ears Now hold a diffuser panel above your head This program eliminates the need for you to look as though you are communicating with aliens Use aggressively 9 Dial It Up Distression Telephone emulation uses Frequency Distression 0 Reverb Tail Random Hall Not infinite A very warm very long reverberant wash that makes a great fade Unlike infinite the inputs are always active 12 Bank 15 the Prime Time Ill Programs This chapter describes the PrimeTime III programs located in Bank 15 SPD SPD MAX Speed L Speed R Max Pitch Shift L PDL PDL IND Predelay Predelay Dry Delay L Page Three Bank 15 the Prime Time III Programs WIN WIN MAX Max Pitch Shift R Window L Window R IND TRB MIX Dry Delay R Treble Cut Wet Dry Mix FBK FBK CFB CFB Feedback Level L Feedback Level R Cross Feedback L Cross Feedback R The Prime Time Program The Prime Time algorithm provides left and right con trol mechanisms for predelay high frequency rolloff 6db octave max pitch shift speed time eventlength feedback x feedback input delay and delay pan The input signal goes into a stereo delay line which has three modulation controls MAX L amp R SPEED L amp R and WINDOW L The glide is performed inside the delay lines thus it is possible to have large amounts of delay but retain control ofthe overall modulation effect These
139. lay 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 Note Very high values of PREDELAY limit the amount of SPREAD available The display however does not reflect this Page Two BASS MULTIPLY BASS MULTIPLY sets the reverb time for low fre quency signals as a multiplier of the RT MID parame ter For example if BASS MULTIPLY is set to 2X and RT MID 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 CROSSOVER CROSSOVER sets the frequency at which the transi tion from LF RT to RT MID takes place CROSSOVER 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 the CROSSOVER to 400 Hz This setting works well for classical music CROSSOVER works best around 400 for boosting low frequencies and around 1 5 kHz for cutting low frequencies RT HF CUT RT HF CUT sets the frequency above which sounds decay at a progressively faster rate It filters all the sound except the preechoes When set relatively low it gives a darker tone to the reverberation simulating the effect of air absorption in a real hall This also helps keep the ambience generated by the program from muddying the direct sound DIFFUSION DIFFUSION controls the degree to which initial echo
140. les FIN R Sets the delay value of the right channel fine delay in samples MASTER MASTER is a delay multiplier for all delay voices It multiplies all delay values DL1 4 Bank 6 the Twin Delays Programs Program Descriptions 1 4 Voice Double Delay voices are doubled in stereo When added to dry signal it s crisp wide and uncluttered 2 Double Delay Two voices produce a double effect The other two provide a longer delay synced with the double Cross panned feedback ices the cake 3 4 Bounce Delay Between left and right channels Very clean 4 Pitter Patter Delays are widely spaced with reiterative and cross panned feedback 5 X Pan Double Two voices are cross panned through delays Great for stereo background vocals 6 Delay Cave Need we say more 7 Circles Long delays with cross panned feedback that creates a circular effect 8 There amp Back Delay starts on one channel slaps to the other and returns 9 Soft Roller Stereo echo with high frequency cut 0 On and On Long echoes that pan across center Lexicon 480L Owner s Manual Programs Bank 6 Twin Delays 1 4 Vce Double DRY DRY ROL Off Of Full DLY1 LV1 FB1 32 08ms 096 DLY3 LV3 FB3 60 01ms 6dB 096 FIN FIN MST 0 0 1 00 2 Double Delay DRY DRY ROL Off Off Full DLY1 LV1 FB1 26 04 5 25 DLY3 LV3 FB3 300 0ms 4dB 30 FIN FIN MST 0 0 1 00 3 4 Bounce Dly DRY DRY ROL Off Off Full DLY1 LV1 FB1 100ms OdB
141. lo depends for its effect on having the delay lines slightly out of sync If you load the program and the effect seems to lack depth load it again 3 Bank 6 the Twin Delays Programs This chapter describes the Twin Delays programs located in Bank 6 Lexicon 480L Owner s Manual DRY DRY ROL L Ch Dry Level R Ch Dry Level L DLY1 Rolloff DL1 LV1 FB1 L DLY1 Value L DLY1 Level Page Three DL3 LV3 FB3 DL4 L DLY3 Value L DLY3 Level L DLY3 Feedback R DLY4 Value Page Four MST Delay Multiplier FIN FIN L Fine Delay R Fine Delay The Twin Delays Program The Twin Delays program located in Bank 6 is a four voice delay line with independently adjustable level feedback and delay time foreach voice Feedback can be positive or negative Feedback for Delays 3 and 4 is cross panned Independent low pass filters adjustable between 120Hz and full bandwidth are provided for the first and second delay voices Delay 1 Left Channel and Delay 2 Right Channel and their respective feedback paths These voices also have independent panning controls About the Twin Delays Parameters Page One DRY L and R Channel Dry Level L DRY sets the dry signal level from the left input to the left output It is not affected by Lor R PAN R DRY sets the dry signal level from the right input to the right output It is not affected by L or R PAN ROL Rolloff Rolloff is alow pass filter that can be adjusted indepen dently for LDLY1 and
142. lready been set correctly by the hall synthesis This control may be useful in a sound reinforcement situation or for ambi ence effects IND Dry Delay IND controls the amount of delay in the dry signal mixed by the MIX control Normally this control should be set to 0 This control may be useful in a sound reinforce ment situation when both delayed dry sound and synthesized reflections are desired MIX Identical to Wet Dry mix above MIX is the same as other standard 480L programs Keep in mind that in the Ambience program MIX closely simulates microphone proximity effect For convenience this control has been placed on both Pages 1 and 2 Banks 13 14 the Ambience Programs Using the AMBIENCE Program to Match Recorded Ambience On Page One set Reverb Level Slider 2 to 0 You should now be listening to the ambient build of the space Matching the High Frequency Contour This step involves closely approximatingthe High Fre quency contour of the original sound source the pre dominant instrument vocalist etc Move the HF CUT control to its highest value This is likely not to be the correct value Now set HF CUT to its lowest value This is also likely to be incorrect To locate the correct value adjust HF CUT between these two points while listening carefully Make this adjust ment BY EAR no by reference to displayed values Once you think you have determined the optimal point move the slider above and b
143. main About the Stereo Parametric EQ Parameters Page One LVL Stereo Level LVL isastereo level control with both channels equally attenuated or boosted From 12 to 12 the slider moves in 25 dB increments Below 12 it moves in 50dB increments Below 60 dB calibration is in larger steps finally dropping to zero output at 72 dB FIN Fine Level FIN is identical to LVL but has a range of 3 5 dB in reference to the LVL setting This allows fine adjust ment of the level while the mix is proceeding without fear of over or undershooting the desired setting Bank 9 the Mastering Programs LNK FIN FIN Stereo Link Fine Frequency L Fine Frequency R FRIR LEV Fliter 1 Right Fllter Level LEV Filter Level FR2R Fllter 2 Right Note LVL and FIN provide proper scaling for the filters For example if you set a 12 dB boost at some fre quency it is possible to exceed the dynamic range of the 480L if a high level signal comes in at the center frequency you have chosen to boost You can reduce the drive to the filter with the level controls to prevent overload BAL Balance BAL implements a sine cosine balance adjustment Balance is smoothly adjusted over a wide range with excellent resolution in the critical area around zero The display indicates the actual channel gain as the control is varied LNK Stereo Link LNK synchronizes the left and right channel settings of the level Q and frequency sliders When LN
144. mbience room simu lations plates and gated sounds In Search of Ambience Ambience is the use of reverberation or reflected sound energy to give recorded music a sense of being performed in a real acoustic location Ideally am bience gives warmth spaciousness and depth to a performance without coloring the direct sound at all Recent research into ambience has shown that this phenomenon depends most critically on the shape of the initial reverberation build up and decay Ambience is perceived and has benefit while the music is running which is most of the time But once the reverberation has decayed 15 dB it is no longer audible in the presence of the direct sound So the time it takes for the sound to build up and decay 15 dB determines the perceived reverb time regardless of what the decay time to 60 dB is Some very good halls for recording have rather uneven initial build up and decay giving a much longer effective reverb time than their 60 dB reverb time might suggest It has become common practice to use predelay in an attempt to emulate the sound of these halls Adding delay to the reverb sends definitely increases the effective audible reverb time and the apparent size of the hall but the result sounds unnatural If we make echograms of real halls we find that there is usually a gradual buildup of energy between the arrival of the direct sound and the time at which the reverberation reaches maximum loudness The
145. meters Page One DEL Delay DEL is a stereo delay line which allows the digital detectors time to adapt to the incoming signal With Attack Time setto 30ms input delays of 30ms or so are desirable Much longer attack times are possible and the delay can be set upto approximately 200ms Delay is not a problem in a mastering situation or when time alignment can be corrected If delay through the com pressor is not tolerable shorter attack times can be used but there will be some noise and distortion on transients SLP Slope or Compression Ratio SLP varies from 1 1 no compression up to 99 99 1 high compression With high compression the output level is constant as the input level decreases At 2 1 compression the output level drops 3dB for every 6dB drop in input level GAIN Max Gain GAIN sets the maximum gain the compressor will have Typically this would be set between 6 and 12dB More than 154B will bring up noise on a low level signal and noise pumping may be obvious The maximum allowed is 24dB THR Threshold Dn THR sets the level above which the compressor always has unity gain Note that the level detected by the compressor circuitry is the average level the 480L input lights read the peak level Therefore if the peak to average ratio of the music is 10dB THR must be set to 10dB or greater or the average output level can exceed 10dB andthe peak output will overload This means that THR must be set
146. mp a whole bank of programs or presets The SRC slider selects from among the program banks and all ten register banks five internal and five external cartridge banks The bank selected is then dumped by pushing STO and REG as in individual setup dumps A bank is dumped as a contiguous group of ten programs or registers Each program or register within the bank is dumped as a separate SysEx message using the same format as that for individual dumps When the dump is activated the LARC displays DUMPING BANK When the dump is complete the LARC displays BANK DUMPED Basic Operation Dump Active Algorithm s The ACTIVE function dumps one or both of the active algorithms and their current parameter values instead of aregister or preset When the machine is in SINGLE configuration only Machine A can be dumped other wise Machine A Machine B or both A and B can be selected with the SRC slider As with all dumps de scribed earlier the dump is activated by the combina tion STO REG button push The format of the dump message is described in Appendix A MID and the 480L If the SRC slider is set to MACHINE A B each machine will be sent as an individual SysEx message just as though you selected MACHINE A and did a dump then repeated the process for MACHINE B When the dump operation is activated the LARC displays DUMPING ACT A for Machine A only The LARC displays DUMPING ACT B for Machine B only or DUMPING A B when bo
147. n without wander will sound like a single delay line with feedback As you add wander delays go backwards and forwards randomly in respect to each other Bank 5 the Effects Programs 0 dB 30 dB Delay Figure 4 2 SLOPE All the Way Down 0 dB 30 dB Delay Figure 4 3 SLOPE Midway Up 0 dB4 30 dB Delay Figure 4 4 SLOPE All the Way Up Lexicon 480L Owner s Manual WANDER WANDER sets the amount of wander in each direction that the delay will move NUMBER NUMBER sets the number of voices used PREDELAY PREDELAY sets the delay before the effect begins Page Two INPUT BLEND labeled MON INPUT BLEND allows manipulation of the input config uration from normal stereo through mono to reverse stereo The Effects algorithm operates in true stereo When INPUT BLEND is stereo the left output is derived only from the left input and the right output is derived only from the right input So if you are trying to create an effect with sound movement from one output to the other INPUT BLEND should be set to mono FEEDBACK LEVEL FEEDBACK LEVEL controls the level of signals recir culated back to the input Increasing the amount of feedback can create interesting resonant effects FEEDBACK DELAY FEEDBACK delay sets the delay that occurs between signal input and the onset of feedback Try setting FEEDBACK DELAY to the same value as LENGTH for interesting effects DIFFUSION DIFFUSION spreads out
148. nder and the compressor in this program are not in series They both respond to the same input level but in different ways For example if some material is compressed with a 2 1 ratio re corded and then played back through the expander with a 2 1 expansion ratio the original dynamics will be restored The same will occur if two compressor pro grams are run in cascade However if the compressor and expander are both set to operate in the same programatthe same time with identical THR points and slopes the result will not have the original dynamics Consider a drop in input level of 6dB For a 2 1 compression in level the output gain should increase 3dB giving a net drop in output level of 3dB However for a 2 1 expansion the output gain should drop 6dB giving a netoutputof 12dB If both the compressor and expander are operated at the same time the net result will be an output gain decrease of 3dB representing a net expansion of the signal Bank 10 the Compressor Programs EXT Expander Threshold EXT sets the level below which expansion starts When the expansion is intended to apply to the whole pro gram or perhaps justto the peaks ofthe program EXT should be to about 10 or 12dB similar to the setting of the THR control of the compressor If the expander is to be used as a noise gate EXT should be set much higher to just below the level of the noise EXM Expand Maximum Attenuation EXM sets the maximum attenua
149. nder its control Scaling ranges from 200 through 200 In the sampler and doppler programs when SRC is set to NOTE EVENT this control sets the LOW NOTE PRM HIGH Parameter High Note When SRC is set to a MIDI controller last note or last velocity this slider allows control of the parameter selected with DST This is particularly useful when trying to set the correct SCL value In the sampler and doppler programs when SRC is set to NOTE EVENT this control sets the HIGH NOTE Page Five Page Five contains the corresponding register table and the MIDI channel selection control AUTO Sets the two states of SysEx Automation Off or On Transmit Do notleavethis slider setto TRANSMIT when performing SysEx bulk dumps or loads CHL MIDI Channel CHL sets the MIDI channel for program changes and patches Note Remember that the MIDI channel and corre sponding register table are set separately for each machine when the 480L is in Split or Cascade modes PGM MIDI Program Change Number PGM has arange of 0 127 and sets the MIDI program change number for the corresponding register table TBL Corresponding Register Table TBL chooses the 480L program or register to link to the MIDI program change number selected with PGM Lexicon 480L Owner s Manual PGM Program Change Mode Pgm determines what the 480L will do with incoming MIDI program changes PGM has three options IGNORE Ignore incoming
150. nder the slider twice SPL Splice Length SPL sets the amount of time the splice takes to com plete It is only active at moderate values of pitch shift Very short splices produce less of a metallic or comb ing sound in the pitch shift but can sometimes be audible as a click or a glitch Longer splices are sometimes less obvious but can affect the timbre of the sound High values of pitch shift require short splices so SPL is deactivated if the pitch shift selected is quite high The default value of 16 gives good results in most applications Page Four The following controls work on the right channel when the pitch shifter is in mono mode MIDI MIDI Pitch Event Right REF Reference MIDI Note Right MIR Pitch Mirror Right GLR Glide Right Bank 8 the Pitch Change and Doppler Programs Program Descriptions 1 Pitch Change This program has pitch values set to 0 and is set for stereo shift 2 Pitch Chorus Pitch Chorus is a dual mono program which means that both the left and right channels can be set for different amounts of pitch shift The left channel is preset for 3 cents The right channel is preset for 6 cents This produces a medium rolling chorus effect with a lush characteristic 3 1 Up 1 Down This is another dual mono program The pitches are set 196 up and 196 down creating a heavily processed sound 39 27 ms and 32 69 ms of delay are used on the pitches reinforcing the overall effect This pro
151. nds are floated from the chassis at DC but are tied to the chassis for protection through a 1000 pF bypass capacitor and a 180 V metal oxide varistor 1 9 Lexicon 480L Owner s Manual The 480L and Digital Audio In addition to its analog inputs and outputs the 480L is equipped with a PCM digital I O connector One appli cation for digital I O is processing material from a PCM 1610 or compatible unit The WET DRY MIX control in the reverb and effects programs makes it possible for the 480L to add signal processing to a stereo mix without ever leaving the digital domain Another application for digital I O is to cascade two or more 480Ls together to create complex effects again without leaving the digital domain In this application the first 480L in the chain supplies word clock for the other units Set the first unit for internal 48 kHz mode and the second and subsequent units for external 48 kHz mode Drive levels and data format are compatible with the PCM 1610 Sync preemphasis and flag bits are de rived from the input bit stream The 480L may also be interfaced with the Sony 3324 digital multitrack re corder The 3324 uses a balanced 1610 format but this is easily accomodated by grounding the low side of each signal line at the 480L interface connector Input and Output Configuration The digital audio outputs can be used at the same time as the analog outputs and they are always available at the Digital Audio I
152. ne program Machine A directly into the input of the second program Machine B This allows you to pro cess a stereo signal with two entirely different effects without ever leaving the digital domain The Main outputs are connected to Machine B and contain the processed signal from both Machine A and Machine B The Aux outputs contain only the signal from Machine A In the Cascade configuration the MIX control found in most programs becomes very important because it is the only method you have of controlling the mix be tween the two programs R Aux Outputs ve WA The Stereo Split Configuration The Stereo Split configuration also uses the 480L as two independent signal processors lt differs from the Mono Split in that both inputs are sent to both pro grams in other words Machine A and Machine B receive the same stereo input signal The Main outputs are used for Machine A and the Aux outputs are used for Machine B Inputs L R L R Main Outputs Aux Outputs Lexicon 480L Owner s Manual The Mono Split Configuration The Mono Split configuration uses the 480L as two independent signal processors Each program has an independent mono input and an independent stereo output The Left input always goes to the first program Machine A and the Right input always goes to the second program Machine B The Main Outputs pro duce stereo output from Machine A and the Aux Outputs produce stereo output from Machine B
153. no Forward Reverse LEVL REV sets the playback level for reverse play MARK MARK adjusts the amount of pre trigger audio that is finally recorded If MARK 0 MARK THE HEAD then no pre trigger audio is saved If MARK is set to MARK THE TAIL the trigger event is a STOP recording command and only pre trigger audio is saved MARK can be adjusted for a few milliseconds in order to fine tune an attack or up to 0 5 second 1 second in SME for other uses If MARK is set to TAIL or a large value the LARC eee display will fill up from left to right when REC is pressed When all twelve s are lit all old audio will be erased by the new recording Remember this when using MARK THE TAIL if you trigger early old audio will remain in memory This could be useful you can always trim it out MIDI Play Key From the LARC MIDI Play functions exactly like Play below and plays the sample at the previous rate When patched to MIDI NOTE EVENT before playing the sample it first sets a new rate based on the note value Reference MIDI Note parameter and Pitch Mirror SME only The rate intervals occur on semi tone pitch intervals MIR Pitch Mirror modifies the behavior of MIDI Play by decreasing the rate for increasing note vaues This is particularly useful when playing mono SME samples in reverse It can also be used for stereo samples but some reverse rates may produce audible clicks PAN FWD Mono Forward Reverse PAN FWD
154. not change anything in the 480L If the RCV slider is set to an active Machine all of the programs or presets in the bank will load one at a time into the selected Machine until the last one which will be left running when the process is complete When completed the LARC will display ACT A LOADED or ACT B LOADED depending on the Machine selected If a new bank is selected it will be written to the new location The LARC will display either 1 REG LOADED or C REG LOADED depending on its destination Restore Active Machines Any dump of an active Machine will restore as that active machine if the RCV slider is set to ORIGINAL SRC If the RCV slider is set to MACHINE A or MACHINE the load will be to that machine despite any destination stored in the message itself When RCV is set to restore to a particular bank then the bulk dump data will replace the first register in the bank unless the data for machine A and B are sent sequentially in which case the data will replace regis ter 1 and 2 in the selected bank The LARC displays either 1 REG LOADED or C REG LOADED depending on its destination Restore All Internal Registers If all of the dumped internal registers are restored with the RCV slider set to ORIGINAL SRC each register will be overwritten Any other setting of RCV is not recommended The LARC will display 1 REG LOADED Restore All Cartridge Registers Restoring all cart reg
155. ns intact When registers are moved the original register source is cleared IMPORTANT The register protect function found on page two of the control mode must be set to OFF if any moves or copies are to overwrite existing registers To copy entire register contents between internal and cartridge memory 1 Press CTRL to enter the control mode 2 Press PAGE 2 to go to page 2 3 Use slider one to select CPY CART TO INTER NAL or CPY INTERNAL TO CART 4 Hold down STO and press REG to complete the copy Note When either of these two modes are selected the SRC and DST sliders are inactive To move or copy single registers Press CTRL to enter the control mode Press PAGE 2 to go to page 2 Use slider one to select MOVE or COPY Use slider two to select the source Use slider three to select the destination Hold down STO and press REG to complete the copy or move Clearing Register Contents Page two of the control mode has a CLEAR control that allows complete removal of register contents CLEAR has three functions Clear a single register e Clear all internal registers Clear all cartridge registers To clear a single register Press CTRL to enter the control mode Press PAGE 2 to go to page two Use slider one to select CLR SETUP Use slider two to select the register that you wish to clear 5 Hold down STO and press REG to clear the selected regist
156. ntrol Controls Four mode select buttons BANK PROG VAR REG used with ten numeric select buttons 1 to 0 a page selectbutton PAGE a control program key CTRL a machine select key MACH two auxiliary control buttons MUTE STO six sliders for smooth control of up to 128 parameters per program with associated display select buttons Display Two lines of 12 alphanumeric LEDs for interactive display additional line of 24 alohanumeric LEDs six groups of four for each slider dual 16 position LED headroom indicator calibrated 24 to 12 dBm with overload warning Connector Type 9 Cable 50 ft extra flexible cable cables can be linked Operating Distance Up to 100 feet when powered from mainframe up to1000 feet possible with optional remote power source for LARC Interface Digital Audio Interface Interface PCM 1610 compatible digital 1 0 18 bit word length capability slaveable to 48 kHz 44 1 kHz or 44 056 kHz external word clock Connector Type Female DE9 LARC Connector Female DE9 2 Dual LARC control Mainframe Controls and Indicators Power switch and indicator light Left and Right input level controls four output level controls four LEDs for internal DC power supplies Automation Port Female DE9 for future expansion MIDI Interface In Thru Out Standard 5 pin female DIN Power Requirements Mainframe Nominal 100 120 220 240 5 10 Switch selectable 50 60 Hz
157. of taps and the time delay of each tap randomly varies in time Such a program makes a chorus out of a single voice In the 480L chorusing uses up to 40 voices 20 on each input channel The unique way in which the 40 voice effects algorithm processes these voices provides achorus that does not change pitch This is extremely useful on material such as grand piano where detuning from standard chorus ing yields unacceptable results Delay times can be combined in phase or out of phase to change the timbre of the overall effect WAN NUM PDL Wander Number Predelay DIF IND MIX Diffusion Input Delay Wet Dry Mix For many effects 40 voices is not enough we might want much more than that to simulate the irregular surfaces of a drum cage many trees in a forest or many cars in a parking lot To accomodate this we have added a diffusion control so that each of the 40 voices may be expanded into a dense cluster of reflections Some reflective surfaces such as people or music stands reflect high frequencies primarily To allow emulation of these we have added a high pass filter with 12dB octave slopes Natural effects are not the only ones possible The time varing taps may be adjusted so they lie on top of each other creating phasing and flanging which is quite interesting and unique This phasing can be delayed with the PREDELAY and then made into echoes with FEEDBACK creating ghostly sounds which bounce and repeat
158. of time over which the entire glide event takes WIN is specified in samples a unit of time 12 2 Page 2 PDL and PDR Left and Right Predelays PDL and PDR are predelay lines which are indepen dently setfor left and right The entire modulation effect takes place within these two delay lines All feedbacks wrap back to these delay lines INDL and INDR Left and Right Input Delays INDL and INDR are dry path delay lines Any amount of dry mix passes through these two delay lines TREB Treble Cut TRB controls a low pass filter which rolls off the pro cessed audio It is functionally placed at the output of the algorithm MIX MIX controls the amount of dry audio unprocessed relative to processed audio Most programs have the mix value set to 100 wet FX Page 3 FBK Left and Right Feedback FBL and FBR are feedback paths which route back to their respective inputs CFB Left and Right Cross Feedback XFBL and XFBR are independent cross feedbacks which route the outputs of each delay line to the opposite input PAN Left and Right PAN controls position the processed audio of each delay line between the left and right outputs Bank 15 the Prime Time III Programs Programs Bank 12 Prime Time Ill 1 Prime Chorus SPD SPD MAX MAX WIN WIN 2 19 3 3 59smp 31smp PDL PDL IND IND TRB MIX 19 30ms 18 55ms 22 79 ms 22 79 ms 13 4kHz All Fx FBK FBK CFB CFB PAN PAN 2 2 11 10 Left Right 2 Slap Chorus SPD
159. on Point LFR d determines the point at which low frequency compression starts to occur LMG Low Frequency Maximum Gain LMG controls the amount of low frequency gain intro duced below the Rotate value ie If Rotate is set to 24 and gain is set at 6 when signals go below 24dB average then the signal will be boosted by as muchas 6dB ATC Attack Time Constant ATC sets the attack time RTC Release Time Constant Sets the release time Page 4 GATE Noise Gate GATE sets a value at which the noise gate starts to occur Units are described in dB below 0 These values should typically be set very high 13 5 Lexicon 480L Owner s Manual Programs Bank 16 Distression 6 Carbon Mic DST EXM 208 63 TSL TBR 84 17 DLY LSL 5 82m 122 GATE 99 7 Saxophone DST EXM 225 45 TSL TBR 255 14 DLY LSL 7 32k 196 GATE 99 8 Horn Blast DST EXM 255 63 TSL TBR 226 15 DLY LSL 10 3m 206 GATE 99 9 Softener DST EXM 65 63 TSL TBR 190 21 DLY LSL 14 9m 82 GATE 77 0 Some Fuzz DST EXM 255 63 TSL TBR 226 15 DLY LSL 5 82 206 GATE 99 13 6 XOV 181Hz TBM 17 LFR 19 XOV 430Hz TBM 20 LFR 19 XOV 60Hz TBM 9db LFR 23 XOV 151 TBM 22 LFR 13 XOV 752Hz TBM 21 LFR 23 HFC 5 5k EXP LMG 9dB HFC 5 5k EXP LMG 10 HFC 6 3k EXP 94 LMG 9dB HFC 5 5k EXP 115 LMG HFC 6 3 EXP LMG XOM allfx SUS 94 ATC XOM 52 SUS 68 ATC XOM 50
160. ormatted with earlier versions of software may not work with later versions until they are reformatted See Appendix B for instructions on how to format the cartridge 3 Press REG repeatedly to locate an Unused register or a register you don t mind erasing 4 With the register number that you want to use flashing on the display hold down STO and press REG The LARC display flashes SETUP STORED This lets you know that the program was stored cor rectly Basic Operation Loading Registers Registers are organized into banks selected and loaded in exactly the same manner as programs However you press REG to switch from program to register mode and press REG instead of PROG when selecting storing and loading registers Protecting Against Loss of Register Contents Setting up a large number of registers to meet your personal requirements can represent a considerable investment of time and effort To reduce the possibility of accidental loss of the contents of these registers the 480L has a memory protection feature When memory protection is on the 480L does not allow anyone to erase the contents of a register by overwriting it However unused registers can be written to The 480L has four protection levels e PROTECT INT AND CART PROTECT CART e PROTECT INT e PROTECT OFF PROTECT INT protects just the internal registers but allows registers stored in the cartridge to be over written PROTECT CART pro
161. ossible with the SME EDIT speeds up the process by allowing you to listen to just the relevant portions of a sample when editing EDIT functions as a CUE key with one important difference it only plays two seconds of audio If HEAD TRIM was the last control used EDIT plays the first two seconds of the sample If TAIL TRIM was last EDIT plays the last two seconds of the sample FADE TYPE FADE TYPE selects between Fast Fade Up and Per cussion Use Fast Fade Up for most sampled material except percussion Use Percussion for drum sounds and percussion The SME samplers have a third mode SCRUB to eliminate the fade down that occurs at the end of every play In SCRUB mode audio begins at the selected point then plays the entire sample memory continu ously This allows rocking the audio back and forth with the RATE slider without any fade down FORWARD TIME FORWARD TIME selects how much of the recorded sample to play back in forward play 6 9 Lexicon 480L Owner s Manual HEAD TRIM Once a sample has been recorded head trim is used to remove unwanted information at the beginning of the sample selecting anew start point for playback A fine mode is provided for precise trim Press the button under the Head Trim slider until the display flashes To exit press the button again and hold it until the display stops flashing LEVL FWD Mono Forward Reverse LEVL FWD sets the playback level for forward play LEVL REV Mo
162. our approximations were close doing this will immediately alert you as to which controls are set incorrectly Adding Reverberation The reverberant contour of the Ambience algrithm is not acomplex as that of the Reverb algorithms Reverb Time is linked with the Size control to provide a close approximation of naturallly occurring reverb time for the space determined by SIZE REVERB TIME can be tailored to taste Raising the REVERB LEVEL will increase the level of these later reflections without altering the balance of the ambient build Store your work so far to a register so that it will not be lost when you try the following examples One reason this program is so powerful is that when using conventional analog mixing methods sends from dry signal and 480L 10096 wet MIX on returns or channels the console send control emulates a depth control into the room you have created If the 480L is setupinaStereo Inputconfiguration the dry signal can be effectively panned in TWO DIMENSIONS left to right and front to rear To try this set up two sources such as dialog and footsteps or an instrument on adjacent channels dual mono Each can be panned L R via the pan control on the console The two sends control depth into the ambience for L or R This works wonderfully with stereo sends The independent send level emu lates the movement of a single directional microphone from the sound source into the room with the rear of the caps
163. p Bright RTM SHP 0 65 s 40 BAS XOV 0 8 x 621 Hz 14dB 14dB 14 ms 10 ms SPR SIZ 34 23m RTC DIF 5 538 82 SPR SIZ 19 13m RTC DIF 5 538 82 SPR SIZ 0 20m RTC DIF 6 047 99 SPR SIZ 0 10m RTC DIF 3 784 70 Preecho Levels Off Off Preecho Delays 0 ms 0 ms SPR SIZ 39 9m RTC DIF 7 493 81 Preecho Levels 14 dB 14 dB Preecho Delays 28 ms 44 ms HFC 8 513 DCO R7 HFC 8 513 DCO R7 HFC 7 181 DCO R6 HFC 7 181 DCO R6 Off 0 ms HFC 10 591 DCO R7 Off 0 ms PDL 0 ms MIX All Fx PDL 0 ms MIX All Fx PDL 10 ms MIX All Fx PDL 0 ms MIX All Fx Off 0 ms PDL 6 ms MIX All Fx Off 0 ms Program Descriptions The room programs are similar to the Hall programs but the spaces they emulate are smaller and somewhat more colored The rooms are useful for film and video production as well as classical and popular music recording If you want to closely match the ambient characteristics of a space try using the programs found in the Ambience bank The Ambience algorithm was designed for this application 1 Music Club Music Club is similar to Jazz Hall but is smaller and less reverberant especially at high frequencies 2 Large Room Large Room resembles a good sized lecture room It is smaller than Music Club and more colored with comb filtering and slap echoes 3 Medium Room Medium Room is a smaller version of Large Room 4 Small Room Sm
164. patch to create only the first four patches can be used for events 3 Push the SOURCE slider all the way up to NOTE EVENT 4 Use DST to select the event you wish to control 5 If you want to use a single key to trigger an event set LOW NOTE and HIGH NOTE to the same value 6 If you want a range of keys to trigger an event use LOW NOTE to set the low end of the range and HIGH NOTE to set the high end of the range 7 After setting up your patches be sure to store the new settings in a register When using MIDI to control the sampler be careful not to send the 480L a program change command This will load a new program or register resulting in the loss of the sample in memory To preventthis from happening the PGM CHANGE parameter in the control mode can be setto IGNORE This causes the 480L to ignore MIDI program changes 6 7 Lexicon 480L Owner s Manual Stereo 3S Mono 65 and Stereo Drum Page One Page Two DUB Overdub Page Three HED Head Trim Dual Rate Change Page One VX Sample Voice Select Page Two HEAD Head Trim Page Three HEAD Head Trim 2 PLAY Play Sample1 Page Five MID MIDI Play 1 Foward and Reverse Page One Page Two HEAD Head Trim Page Three LVL Fwd Plybk Level Page Four PLAY Play Sample MIDI Note Sample1 MARK Mark Capture REC Record FAD Fade Type REC Record TIM Forward Time MARK Mark Capture TIM Sample1 F
165. peed controls you may want lessen MAX shift as well The outputs are panned reversed 7 Wowza Kinda like a fast Leslie on acid 8 Wowza 2 Four hours later 9 Vocalz This preset is somewhat filtered down but the dry delay set to 48ms with the mix control set to 80 helps create a doubling effect Definitely for smooth sound sources 0 X Flange Use this pre fader This an over the top flange effect which chases its own tail Mix the returns to mono for an even stronger effect In stereo it drives a surround decoder crazy 12 4 1s Bank 16 the Freq Stuff Programs This chapter describes the Frequency Dynamics and Distression programs located in Bank 16 Lexicon 480L Owner s Manual TSL TBR TBM Treble Slope Treble Rotate Treble Max Gain LSL LFR Lo Freq Comp Ratio Lo Freq Rotation Pt LMG Lo Freq Max Gain Page Three GATE Noise Gate The Frequency Dynamics Program This frequency compression algorithm is a stereo two channel effect which is very similar to the Distression Program except there is no distortion module There are various presets which create a distinct effect as an enhancement to the original source The Frequency Dynamics program utilizes an adjust able cross over feeding independent bass and treble compressors There is an adjustable gate which can conceptualized as being at the output of the processor ALL PRESETS SHOULD BE UTILIZED PRE FADER FROM THE
166. play time is less important than the fun you can have moving the RATE slider around In SCRUB MODE there is no fade out ever The sample starts at the HEAD time then plays continuously through memory and around again To disable SCRUB MODE adjust FADE TYPE to PERCUSSION or FAST FADE UP and press CUE Using MIDI to Control a Sampler Dynamic MIDI is very helpful when used with the sampling programs MIDI controllers can be patched to control sampler parameters such as HEAD TRIM FWD TIME and FADE TYPE MIDI Note On events can be patched to control sampler events such as RECORD CHECK PLAY etc A single note can be patched to trigger an event or a range of notes can control a single event The following procedure assumes you have made MIDI connections and set the 480L s MIDI channels as described in MIDI and the 480L Note Because of different processing times for events and parameters in the 480L you should be careful patching parameters to note event data LST NOTE LAST VEL when the note event is triggering a480L sampling eventlike PLAY The parameter will usually not be updated until after play starts so the parameter updates will be missed unless the same event is repeated In the rate changing samplers a special event MIDI PLAY has been created that directly updates the rate parameter before play starts This allows triggering samples from a MIDI keyboard at rates that correspond to the MIDI semitone
167. pressed top end gt 7 4k to any mix The low end component is also pressed up as well Iftoo much lower XOV crossover slightly and TBM max gain 2 BG Vocals BG Vocals will enhance a background vocal premix before compression You may need to adjust both TBR Treble Rotate and LFR Low Frequency Rotate 3 Drums Quick attack and quick release Great for a drum premix Strong compression on the top end 4 AC Guitars Soft Compression above 3 0kHz 2 1 ratio below 3 0kHz Try it on a piano track as well 5 Bass Thump Pumped up hard below 60Hz Predelay is set to 23ms so as to look ahead and catch any low frequency transients Need more hump increase XOV one or two ticks but you may need to reduce LSL low frequency slope 13 3 Lexicon 480L Owner s Manual DST EXM Distortion Mix Expansion Mix Xover Frequency TSL TBR Treble Slope Treble Rotate TBM Treble Max Gain Page Three DLY Front Delay GATE Noise Gate The Distression Program The Frequency Distression algorithm is extremely ver satile at creating frequency compressed or distorted effects Distression is a Mono in left channel Dual Mono output program The right channel input is ignored and not processed These programs canbe runin any 480L configuration ALL PRESETS SHOULD BE UTILIZED PRE FADER FROM THE CONSOLE SOURCE This program can be thought of as a low pass high pass crossover feeding independent comp
168. program changes FIXED incoming program changes 0 to 99 mapped directly to register numbers 100 to 127 are mapped to the first 28 programs TABLE Uses the corresponding register table created with PGM and TBL Page Six Page Six contains MIDI SysEx controls SFN SysEx Function Determines the type of bulk data dump There are seven choices Setup Bank Active All Internal All Cartridge MIDI Map Control Page Info SRC Source Selects the SysEx source for the dump The available selections are determined by the setting of Slider 1 SFN RCV Receiver Determines the destination of all SysEx loads 480L Power Up State Normally if power is lost or turned off and then restored the 480L will return to its last previous state You can also configure the 480L to automatically load pre selected programs upon power up To do this go to Control Mode Page two slider 5 This slider labeled DEF for default is set atthe factory to off Advancing the slider will scroll through all of the 480L programs and select one as the new default state The upper display will indicate the machine you are addressing followed by the Bank number Program number and Program name In order to select a default load for the second machine press the MACH button and advance the slider to the desired program Control configuration is always remembered re gardless of power up default setting
169. put Digital To determine whether the 480L is correctly receiving external word clock move the Status slider Slider 1 Page 1 of Control Mode to display external word clock status IMPORTANT DO NOT POWER UP THE 480L WITH EXTERNAL WORD CLOCK PRESENT AT THE 480L S DIGI TAL I O PORT DOING SO MAY PREVENT THE UNIT FROM COMPLETING ITS NORMAL POWER UP ROUTINE ON Oo N 2 O ON Do A N NC 4 224XL Mainframe Interconnect Cable Wiring Lexicon 480L Owner s Manual How to Load Programs In order to complete system setup you will have to load programs into the 480L machines Remember that programs are variations of algorithms with parameters that have been set at the factory Prorams are stored in Banks with a collection of as many as 10 similar programs stored in each bank Select a Bank In order to select a program you must first select the bank in which the program is stored There are two ways to select banks 1 Press PROG then press BANK This puts you in Program Preview Mode The bank number flashes to indicate banks are being previewed and the display shows the current bank name and number Press BANK repeatedly The LARC will scroll through the banks and display their names 2 Press PROG then press BANK then press one of the numeric keys two for double digit bank numbers to navigate directly to a specific
170. r Check this voltage set ting before applying power to the unit Power consump tion is 70W typical 180W maximum 100 v a 120 V 220 2 Disconnect Power 240 V o Before Replacing Fuses USE ONLY WITH 250 FUSES Voltage selector set for 120 V How to Interface the LARC The LARC 1 connector interfaces the mainframe to the Lexicon Alphanumeric Remote Control LARC via a flexible 50 ft cable Supplied If your system is equipped with a single LARC this is the connector you should use The LARC 2 connector has two functions It allows connection of a second LARC to the mainframe for applications where use of two LARCs is required Itcan also be used to connect the 480L to a 224XL with both units under the control of a single LARC 10 cable is available from Lexicon for this connection Lexicon Part No 680 04734 The pin assignments for the LARC connectors are shown to the right Important Never connect a LARC to the automation connector Doing so may blow the internal automation connector fuse Installation and Audio Connections Pin Assignment Chassisishield ground Receive dala Transmit data Transmit common Isolated power supply Receive common Receive data Transmit data Isolated power supply grd 1 2 3 4 5 T i 9 LAHC Connectors Wiring diagram for the LARC mainframe connectors Connections for 480L with one LARC 1 7 Lexicon 480L Owner s Man
171. r Setting a negative value of scaling will cause the 480L to reduce the setting of a parameter as the controller increases 9 The parameter you chose in step 7 appears when you press PRM Move the mod wheel and the parame ter value should change Use the PRM slider to set the parameter value to the starting point you wish to use for MIDI control Once you have created a patch be sure to store itina register Otherwise it will be lost the next time you load a program or register Important Be extremely careful when creating patches while a MIDI keyboard 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 PGM CHG on page 5 of the control mode to IGNORE In the sampler and doppler programs only moving SRC to the top of its range displays a NOTE EVENT option When SRC is set to NOTE EVENT MIDI Note On events can be patched to control sampler and doppler program events like RECORD CHECK PLAY etc A single note can be patched to trigger an event or a range of notes can control a single event The following procedure assumes you have made MIDI connections and set the 480L s MIDI channels To patch a MIDI note event to a sampler event 1 Press CTRL to enter the Control Mode Goto page 4 2 Use SEL to select the patch to create only the first four patches can be used for events 3 Push the SRC
172. r they can be automati cally loaded inthe original location foreample internal registers reload to internal MIDI Automation MIDI Automation via SysEx is enabled on Page 5 in Control Mode There are two states of AUTO OFF and TRANSMIT If AUTO is set to TRANSMIT all LARC movementswill have a corresponding data string out put attached Lexicon 480L Appendix A MIDI and the 480L MIDI Implementation Function Transmitted Recognized Remarks Basic Default Channel Channel 1 16 Defaullt Messages 3 Altered X Note X 0 127 Used as controller Number True Voice X Velocity Note ON X 1 127 Used as controller Note OFF X X After Keys X X Touch Channels X Used as controller Pitch Bender Used as controller Control 0 95 X Controller can be patched to Change 0 31 64 95 control effect parameters Program O 0 127 table or fixed Change True System Exclusive System Song Pos X X Song Sel X X Common X System Clock X X Real Time Commands X X Aux Local ON OFF x X Messages All Notes OFF X X Active Sense X X Reset X X Notes Mode 1 OMNI ON POLY Mode 3 OMNI OFF POLYMode Mode 2 OMNI ON Yes 4 OMNI OFF MONO X No Lexicon 480L Owner s Manual Sysex Message Formats 480 Generic System Exclusive Message Format System Exclusive ID 06 Lexicon ID
173. r to the Room presets located in Bank 2 Most of the presets simulate the same room sizes as those in the standard Rooms The random delay elements however make the rooms seem more live These elements are very useful when you are attemping to simulate atmospheres that are busy or that have movement In two presets CHORUS ROOM and WET amp TACKY these elements have been optimized to provide a chorusing effect with spatial qualities 1 Music Club R Music ClubR is similar to Jazz Hall but is smaller and less reverberant especially at high frequencies 2 Large Room R Large Room R resembles a good sized lecture room It is smaller than Music Club R and more colored with comb filtering and slap echoes 3 Medium Room R Medium Room R is a smaller version of Large Room R 4 Small Room R Small Room R is much smaller and less reverberant than the Large and Medium Rooms It resembles a typical American living room Banks 11 12 the Random Halls and Spaces Program 5 Very Small Very Small has the intimate close feel of a bedroom or den 6 Large Chamber R Large Chamber R has few size cues It produces a sound similar to a good live chamber with nonparallel walls and hard surfaces Large Chamber R can be used wherever a plate would normally be used but with a more subtle acoustic sound 7 Small Chamber R Small Chamber R is a smaller version of program 6 8 Small amp Bright R Small amp Bright R adds presence to a
174. rams Bank 14 Post Ambience 1 Car Interior RTM SHP SPR SIZ HFC PDL 0 01ms 26 0 1 12177Hz Oms BAS XOV RTC DIF MOD MIX 0 6 4611Hz 8886Hz 0 Reverb All Fx Preecho Levels SPN WAN Off Off Off Off 20 651us Preecho Delays SHL LEV 2ms 4ms 4ms 6ms 0 160 2 Living Room RTM SHP SPR SIZ HFC PDL 24ms 24 245 10 4832Hz 6ms BAS XOV RTC DIF DCO MIX 1 0 752k 5060Hz 38 Effects 4 All Fx Preecho Levels 4dB 4dB 4dB 4dB 4dB 4dB Preecho Delays 8ms 12ms 10ms 14ms 12ms 8ms 3 Bathroom RTM SHP SPR SIZ HFC PDL 0 32s 18 231 7M Full Oms BAS XOV RTC DIF DCO MIX 0 4 120Hz 14986Hz 36 Effects9 All Fx Preecho Levels Full Full 7dB 7dB 8dB 8dB Preecho Delays 8ms 4ms 14ms 12ms 6ms 6ms 4 Kitchen Ambience RT RTL SIZ ROL DIF MIX 0 47s 78 3 5M 6 315Hz 36 All Fx SPN WAN PDL IND MIX 18 42 4 65ms 29 45 All Fx 5 Kellars Cell RTM SHP SPR SIZ HFC PDL 0 20s 37 12 2M 11084Hz 14ms BAS XOV RTC DIF MOD MIX 1 5 367 8 886 0 Reverb All Fx Preecho Levels SPN WAN Off Off 10 126us Preecho Delays SHL LEV 16ms 8ms Oms Oms 70 160 Banks 13 14 the Ambience Programs 6 Small Foley RT RTL SIZ 0 18s 87 1 5M SPN WAN PDL 10 672 4 65 7 Warehouse RT RTL SIZ 3 12s 44 40M SPN WAN PDL 48 3738 41 26ms 8 Airhead RTM SHP SPR 0 01s 0 0 BAS XOV RTC 1 5 493 6 315k Preecho Levels Off Off Off Preecho Delays Oms Oms Oms 9 Dial It Up DST EXM XOV 255 63 654Hz TSC TBR TBM 219 20dB 2248 DLY LSL LFR 12 31ms 130 8dB GAT 99 0
175. ressor modules The high pass compressor feeds a dedicated distortion module capable of driving various parametric controls The Frequency Distression programs represent a wide variety of different frequency compressed and dis torted effects from the very subtle to the awesome sublime Many presets are simply labeled with an instrument name This suggests the type of instrument which should be fed into the effect input 13 4 LSL LFR L Lo Freq Comp Ratio Lo Freq Rotation Pt Lo Freq Max Gain XOM DGN Xover Mix Distortion Gain HFC High Freq Cut EXP SUS DHP Expansion Slope Sustain Distortion Hi Pass MG ATC RTC Attack Time Const Release Time Const About the Parameters Page 1 DST Distortion Mix sine cosine DST controls the amount of signal following treble compression either passing through the distortion module or bypassing around it EXM Expansion Mix linear EXM controls the amount of signal following treble compression either passing through all of the distortion parameters including the distortion expansion or by passing it A LARC value of 0 means absolutley no amount of distorted signal is being passed to XOM XOV Crossover Frequency XOV is a6dB octave low frequency 12dB octave high frequency sliding filter which determines what frequen cies are low frequency and high frequency HFC High Frequency Cut HFC controls the roll off characteristics of the distorted content of the signal
176. ring Programs This chapter describes the Mastering programs located in Bank 9 These in clude The In Out Stereo Adjust PONS Adjust Stereo and Mono Parametric EQ and Panorama Lexicon 480L Owner s Manual The In Out Program The In Out program is a bypass program that feeds input signal unaltered through processors to outputs This program has no adjustable parameters LVL FIN BAL Stereo Level Fine Level Balance XOV HFC HFC Bas Crossover Stereo Treb X over Ind Treb X over Page Three EMP INV De emphasis Flip amp Swap Page Four DCL DCR DC L Offset DC R Offset AUTO Auto DC Cut The Stereo Adjust Program The Stereo Adjust program permits slight but important adjustments to level and equalization when preparing a compact disc master It also allows digital fades to true zero atthe end of atrack It supplies a stereo digital fader as well as shelving equalization The frequen cies of the shelving filters can be adjusted In addition a SPATIAL EQ control allows adjustment in the digital domain of this important property of recorded sound SPATIAL EQ used in conjunction with BAS increases the stereo width at low frequencies enhancing the richness spaciousness and depth of the recording About the Stereo Adjust Parameters Page One LVL Level LVLis a stereo level control with both channels equally attenuated or boosted From 12 to 12 the slider moves in 25 dB increments Below 12 it moves in 50 dB
177. rocessor cards remain firmly seated mors rc ncm Behind the Front Panel 1 4 Petts pee Nonvolatile Cartridge Cable This ribbon cable connects the cartridge slot to the host processor card a locking connector on the host processor card Caution Use of exces sive force when inserting cards into the 480L can result in serious damage Always make sure that the connectors are lined up properly before applying seating force Output Level Controls The output levels for the Main and Aux analog outputs may be adjusted independently over a range from 6 to 24 dBm into 600 ohms with these controls Diagnostic Indicators The four diagnostic indicators on the host processor card flash briefly upon powerup Input Level Controls The input sensitivity for the left and right analog inputs may be adjusted inde pendently to match inputs over a range of 8 to 28 dBm with these controls Removable Modules The 480L is completely modular Every subassem bly in the mainframe can be unplugged and removed for service or exchange The standard complement for a 480L is two HSP cards and a host processor card The cards can be plugged into any slot in the mainframe but for best noise perform ance the HSP cards should be installed in the two top slots and the host processor card directly beneath them The empty bottom slot is provided for the optional SME card About the L
178. rograms could control the 480L but not bend pitch The Yamaha DX7 II D and DX5 the Oberheim Matrix 6 and the Korg DW 8000 are just a few examples of synthesizers that can be used in this manner If you plan to do serious work with MIDI consider purchasing a keyboard such as the Yamaha KX76 and KX88 or the Kurzweil MIDIBoard which is specifically designed to function as a MIDI system controller These keyboards have several programmable control lers allowing you to control the 480L without sacrificing control over other equipment in your MIDI system Lexicon 480L Owner s Manual Controlling a 480L from a Sequencer Since you can control the 480L in real time with MIDI controllers it stands to reason that you could record your manipulation of those controllers with a MIDI sequencer and then repeat the performance auto matically In fact this works perfectly and this capabil ity gives the 480L a fairly sophisticated level of automa tion If your Sequencer can sync to tape you can even use it to provide automated effects for non MIDI instru ments For example you can control the 480L from a keyboard recording commands onto a sequencer but the audio the 480L processes might be percussion guitar vocals or eventhe whole mix If you perform live with sequencers there is no reason why you can t sequence several effects processors along with every thing else When working with sequencers it is always a good idea to put
179. s are the sounds ema nating 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 preechoes are actually clusters of echoes with the density of the cluster set by DIFFU SION The preecho reflection parameters change the per ceived locations of reflecting surfaces surrounding the source PREECHOLEVEL adjusts the loudness of the reflection Controls are similar to those available in the standard Reverb programs However there are only 4 pre echoes The remaining two sliders on Page 3 control SPIN and WANDER as in the EFFECTS or AMBI ENCE program Banks 11 12 the Random Halls and Spaces Program SPN Spin SPN is identical to the spin control in the EFFECTS program affects the movement of many of the delay taps in the program The object of SPN and WAN is to continuously alter the timbre of the reverberant sound This makes the result more natural It is not intended to make the position of instruments unstable SPN should typically be 37 or higher High values may make the pitch of piano or guitar unstable WAN Wander WAN is identical to the wander control inthe EFFECTS program It sets the distance in time that the early reflections will move For best results WAN should be about 10ms at larger sizes Page Four PREECHO DELAY TIME For each of the PREECHO LEVEL parameters there is a correspond
180. scade modes are selected and also between the 480L and 224XL when a 224XL is connected to the 480L MUTE removes processed audio from outputs only while it is pressed 2nd F is inactive PAGE steps through pages of parameters 1 5 Lexicon 480L Owner s Manual How to Mount the 480L The 480L measures 19 wide x 5 25 high x 14 5 deep 483 x 133 x 368 mm It can rest on any flat surface or it can be mounted in a standard 19 in 483 mm relay rack Do not install the 480L directly above equipment which produces significant amounts of heat such as power amplifiers maximum ambient operating tem perature is 40 C 104 F Do not obstruct the ventilation exhaust ports on the right side panel or the air intake on the front panel If the 480L is mounted in a rack or road case we recommend that you provide support for the rear of the chassis during transport to prevent possible damage from severe mechanical shock About the 480L s Power Requirements The 480L is equipped with a three pin IEC connector and detachable power cord providing chassis ground ing to the ac mains line It can be operated at either 100 120 Vac or 220 240 Vac depending on the fuses installed and the setting of the voltage changeover board Note Voltage changeover is described in Appendix D The nominal operating voltage set at the Lexicon factory is indicated by a small protruding pin on the power connector fuse holde
181. se This activates the automation mode if enabled To get just the data requested turn off the automation transmit mode on the control page or by transmitting a SysEx message before sending the request 2 19 Banks 1 4 the Reverb Programs In this chapter we ll discuss the original Reverberation and Plate programs created for the 480L Two different algorithms are used to create these programs The primary difference between the two is the density of the reverberation The algorithm with greater density is used primarily for Room and Plate programs To discover which algorithm is used by a particular program go to page three to see how many pre echo voices are available the dense algorithm has only two voices Both algorithms have fixed or static reverberation characteristics A new algorithm with random motion characteristics is described in Banks11 12 Random Halls and Rooms The Random Hall algorithm pro vides a smoother reverberant characteristic and is better suited for material which requires large space emulation or longer reverb time Lexicon 480L Owner s Manual Before we jump into detailed descriptions of the programs and parameters let s take a look at the philosophy behind the reverberation algorithm s radi cal new structure About the Reverberation Algorithm The 480L incorporates the results of a great deal of research into acoustics and reverberation It produces four general classes of sounds a
182. sets the pan location between the two outputs for forward playback 6 10 PAN REV Mono Forward Reverse PAN REV sets the pan location between the two outputs for reverse playback PLAY Key PLAY is the manual playback trigger When pressed it arms level triggering if active or immediately triggers playing the sample for the selected REPEAT count PLAY ORDER Mono Forward Reverse PLAY ORDER determines whether the forward or reverse sample is played first With the slider all the way down the sample is played in reverse first and forward second With the slider centered the sample is played in forward and reverse at the same time With the slider all the way up the sample is played forward first and in reverse second A wide range of settings between these three basic points is available RATE RATE changes playback speed resulting in a changed audio pitch A setting of 100 gives an unchanged pitch on playback RATE can be varied at any time either manually or by MIDI within the limita tions mentioned in the Bank Program descriptions REC Key The 480L begins recording the instant REC is pressed REC may be pressed at any time to restart a recording Forward Reverse Sampler and Mono Samplers rec ord via the left input REF Reference MIDI Note selects the MIDI note value that produces X1 forward playback It is used to transpose the control region of a MIDI keyboard When MIR is off notes higher than REF produce
183. sharp attack of added predelay in mostreverberation devices sounds entirely different In the 480L 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 3 2 set the time over which this shape is active In the hall and room programs SIZE acts as a master control for the apparent size of the space being created by the 480L Both SPREAD and RT MID varylinearly with the setting of SIZE 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 env elope builds up very quickly to a maximum amplitude and then dies away quickly at a smooth rate This envelope is characteristic of small reverberation cham bers and reverberation plates There are few if any size cues in this envelope so itis ineffective in creating ambience With this SHAPE setting SPREAD has no effect The density is set by the size control and the of decay is set by RTMID This reverberation
184. sound without adding a lot of obvious reverberation 9 Chorus Room 2 A small room with random delay elements that create a subtle chorus effect This is useful for horms strings and vocals 0 Wet amp Tacky A larger room with longer reverb time and chorus like random delay elements The random delay elements add a shimmer to the reverberant decay 10 8 Banks 13 14 the Ambience Programs This chapter describes the Ambience programs located in Bank 13 and the Post Ambience programs located in Bank 14 RT RTL Reverb Time Reverb Level WAN PDL Wander Predelay The Ambience Program The Lexicon 480L reverberation programs HALLS and ROOMS Banks are designed to add a cushion of reverberance to recorded music while leaving the clarity of the direct sound unaffected Ambience is different It is intended to become a part of the direct sound to give it both better blend and a definite position in space The difference between the two approaches to reverb is very dramatic and can best be heard by comparing this program with any Hall or Random Hall program Review Using the Reverb Pro grams in the Owner s Manual for more information on Reverb and Ambience Ambience is very useful for adding a room sound to recorded music or speech It is particularly easy to match a studio recording of dialog to a typical room environment In music recording using Ambience is an effective way of realisticall
185. space Moving SIZE while a signal is present momen tarily mutes the reverb signal The apparent size of the space created is actually a combination of the settings of the SIZE SHAPE and SPREAD controls Small acoustic spaces are charac terized by a rapid buildup of diffusion However both small and large spaces frequently have an uneven buildup of initial reverberation This uneven buildup is what is controlled by the SPREAD and SHAPE con trols HF CUTOFF HF CUTOFF sets the frequency above which a 6 dB octave low pass filter attenuates the processed signal It attenuates both preechoes and reverberant sound High frequencies are often rolled off with this parame ter resulting in more natural sounding reverberation PREDELAY PREDELAY 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 rever beration is gradual and the initial time gap is usually relatively short Natural spaces are best emulated by setting SHAPE at a middle value and adjusting SPREAD for the desired effective pre delay Banks 11 12 the Random Halls and Spaces Program Additional delay added with the PREDELAY 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 de
186. ss PAGE 5 to go to page 5 3 Useslider six to set the MIDI Channel Many users assign instruments to lower channels and then jump to the higher channels 14 15 and 16 for MIDI con trolled effects like the 480L 4 Use slider five to set the program change mode to FIXED 5 If you will be using the 480L in Mono Split Stereo Split or Cascade modes press MACH to switch to Machine B Use slider six to set the MIDI Channel and slider five to setthe program change mode to FIXED for Machine B 6 In some applications you will want to set Machine Machine B to the same MIDI Channel Generally it is best to use separate channels MIDI In MIDI Out MIDI Controller Synthesizer 480L DIGITAL EFFECTS SYSTEM Connecting a Keyboard Sequencer and the 480L Applications Using a MIDI Keyboard to Control the 480L You can select 480L registers and control up to ten parameters and or events simultaneously using the controllers and switches found on MIDI equipped in struments Nearly any MIDI equipped keyboard synthesizer can be used to remotely select registers on the 480L Remote Register Selection 1 Connect the 480L and the MIDI controller as shown in Figure 10 1 or 10 2 2 Enter the control mode and set slider 5 on page 5 PGM CHANGE MODE to FIXED 3 Exit the control mode Select some presets on the synthesizer The 480L should select and load a different register each time you
187. sts the accuracy of the oscillator as follows 02 596 12 0196 ILEV ILEV displays input level in 0 01dB increments over a 90dB range from dBfs dBfs 90 00dB Meter detection is always averaged A plus sign will appear next to the L or R channel display to indicate long averaged mode Moving the slider changes aver aging time from approximately 1 second to weeks 14 2 Programs Bank 17 Oscillator 1 100Hz 12dB LVL DEC FRQ WAV ACC ILEV 12dB 2 100 00 0 1 ii 2 500Hz 17dB LVL DEC FRQ WAV ACC ILEV 17 2 500 00 0 1 3 500Hz 12dB LVL DEC FRQ WAV ACC ILEV 12dB 2 500 00 0 1 ii 4 1kHz 17dB LVL DEC FRQ WAV ACC ILEV 17 3 1000 0 0 1 5 1kHz 12dB LVL DEC FRQ WAV ACC ILEV 12dB 3 1000 0 0 1 ii 6 10kHz 12dB LVL DEC FRQ WAV ACC ILEV 12dB 4 10000 0 0 1 7 30Hz Slate LVL DEC FRQ WAV ACC ILEV 12dB 2 30 00 0 1 8 A 440 Tuner LVL DEC FRQ WAV ACC ILEV 12dB 2 440 00 0 1 Program Descriptions Programs 1 8 are sinewave high accuracy oscillators with frequency and level settings that match program names Bank 17 the Test amp Reference Programs Programs Bank 17 Pink Noise 9 Pink Noise LVL 12dB Program Description The Pink Noise program produces filtered noise with equal energy per octave The only parameter provided is the level control which attenuates from dBFS and displays attenuation in dB The program loads with a value of 12dB from dBFS About the Binaural Simulator Progr
188. such a situation Ambience incorporates both a PRE DELAY and an INPUT DELAY that can be set to further enhance this application RTC High Freq Cutoff Banks 11 12 the Random Halls and Spaces Program PDL HFC High Freq Cutoff Predelay DIF MIX Diffusion Wet Dry Mix WAN Wander AYS LEV Delay 4 Reverb Level About the parameters Page One RTM Mid Frequency Reverb Time RTM sets the reverb time for mid frequency signals when the signal stops Because low frequency reverb time BASS MULT is a multiplier of RTM RTM acts as a master control for the stopped reverb time When DECAY OPT is set to Reverb mode the actual value setfor RTM varies with the setting of SIZE SIZE should be adjusted before RTM This interaction is deacti vated when DECAY OPT is set to EFFECTS mode When RTM is moved to full scale infinite reverb is switched on and is displayed on the LARC Program material fed to the inputs of the machine running RHall priorto enabling infinite mode will reverberate infinitely Moving the RTM slider until the LARC displays Reverb time disables infinite mode The RTM slider will fade the infinite loop if no other input signal is present SHAPE SHAPE and SPREAD work together to control the overall ambience of the reverberation created by the 480L SHAPE determines the contour of the reverbera tion envelope With SHAPE all the way down rever beration builds explosively and decays quickly As SHAPE is
189. sum calculated by adding each data character to previous sum starting with Nibblized Setup Index End of System Exclusive Lexicon 480L Owner s Manual Active Bulk Data Format Active Machines A and B FO 06 01 0n Osss ssss Ommmmmmm F7 480 System Exclusive Header Parameter Data Message Class Sysex Channel Device ID Subclass Active Class 33 Active Machine A 34 Active Machine B Nibblized Setup Index Most Significant Bits Nibblized Setup Index Least Significant Bits Nibblized Data Byte Count Most Significant Bits Number of Nibblized Pairs 4 4 bits out of 16 Least Significant Bits Nibblized Data Byte Pairs Most Significant Bits Least Significant Bits Bulk Data Flags 4 bits out of 12 4 bits out of 12 4 bits out of 12 4 bits out of 16 4 bits out of 16 4 bits out of 16 4 bits out of 8 4 bits out of 8 4 bits out of 32 4 bits out of 32 4 bits out of 32 4 bits out of 32 4 bits out of 32 4 bits out of 32 4 bits out of 32 4 bits out of 32 Data Checksum Calculated by adding each data character to previous sum starting with Nibblized Setup Index End of System Exclusive Active Bulk Data Format Active Global Controls 06 01 0n 50 0c 0c 0c 0c 0x 0x 0x 0x Ommmmmmm F7 480 System Exclusive Header Parameter Data Message Class Sysex Channel Device ID Subclass Active Global Controls Class Nibblized Data Byte
190. t TBR TBR is identical but operates on the right channel Lexicon 480L Owner s Manual Page Two XOV Bass Crossover XOV sets the crossover pointfor BAS SPC When BAS is set to full cut the level is 3 dB at the frequency set with XOV HFC Stereo Treble Crossover HFC sets the crossover point for TBL and TBR When TBL or TBR is set to full cut the level is 3 dB at the frequency set with HFC SPC Spatial EQ SPC sets the amount of a crossfeed between chan nels The signal first goes through a 6 dB octave low pass filter whose frequency is set with XOV When SPC is set positive above 0 the crossfeed has a negative sign When SPC 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 cicuit 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 rais ing SPC is to increase the sense of spaciousness and depth of the sound It is particularly useful on material recorded with panpots
191. tects the cartridge but allows internal registers to be overwritten PROTECT INT AND CART protects both internal and cartridge registers To activate memory protection 1 Press CTRL to enter the control mode 2 Press PAGE 2 to go to page 2 3 Move lider six to select one of the four protection modes 4 Press CTRL to exit the control mode Once activated memory protection remains in effect until it is turned off again 2 15 Lexicon 480L Owner s Manual Protecting Your Registers Against Another Kind of Loss After creating a collection of registers some users may not wish to let others access their trademark sounds If this concerns you copy any internal registers that you create to a nonvolatile memory cartridge at the end of each session using the register transporter in the control mode Then use the register clear function also found in the control mode to remove the registers from internal memory Take the cartridge with you when you leave the facility Use of the register transporter and register clear func tions are described below Moving Registers Around with the Register Transporter The register transporter has four functions Copy single registers from one location to another Move single registers from one location to another e Copy all internal registers to a cartridge e Copy all cartridge registers to internal memory When registers are copied the original register source remai
192. th machines are selected When each Machine is dumped the LARC displays ACT A or DUMPED Dump All Internal Registers To dump all internal registers to MIDI set SFN to ALL INT In this mode the SRC slider is not required The ALL INT dumps register banks from 1 5to MIDI Each register is dumped as a single SysEx message de scribed in Appendix A MIDI and the 480L The presets are dumped in order of appearance in the register banks As other functions the dump action is initiated by holding STO and pressing REG Once the dump of all internal registers is started the LARC displays DUMPING INT When the dump is completed the LARC displays INT DUMPED Dump Cartridge Registers The dump all cartridge function is very similar to the Dump All Internal Registers function with Banks 6 0 dumped rather than Banks 1 5 The LARC displays DUMPING CART When the dump is completed the LARC displays CART DUMPED 2 17 Lexicon 480L Owner s Manual Dump MIDI Program Table Map The 480L has a program map that translates MIDI program change numbers to 480L program or register numbers There is a map for each Machine A and B Asin the ACTIVE function the SRC slider selects from three possibilities Machine A Machine B or Machine A B The MIDI MAP bulk dump function dumps the selected map s to the MIDI port Dump action is started holding STO and pressing REG The format for the MIDI map is documented in Appendix A MIDI and the 48
193. the 480L on a different MIDI channel than other devices in the system This avoids the possibility of the 480L responding to commands that aren t really intended for it Keep in mind that as of this writing no sequencers offer chase mode for MIDI controllers This may change in the future but for now it means that if you attempt to punch in to the middle of a sequence the 480L s parameters will be in an unknown condition To avoid problems always start the sequence at the very begin ning when overdubbing or adding new parts Also itis a good idea to use the first measure of the sequence to reset all the controllers to O MIDI SysEx Data Dumps MIDI Bulk Dumps Bulk Data dumps are handled through the Control mode as a Copy function Moving the FUN slider will scroll through the current set of Copy functions which include Bulk Data Dumps Dump Reg Dump Mach A Dump Mach B Dump All Internals Dump All externals Dump MIDI Map A and Dump MIDI Map B Selecting Dump Reg allows individual source registers to be selected After identifying Dump Reg as the MIDI Dump type simultaneously press STORE and REG to initiate the dump exactly like Copying individual regis ters MIDI Bulk Loads Bulk data loads happen automatically on receipt of a send command from the MIDI storage device if the 480L is not be in the Copy Prohibit mode All Bulk data loads can be selected to load to the internal or external registers manually selected o
194. the input signal over time turning sharp transients such as clicks into swishing sounds INPUT DELAY INPUT DELAY adds delay only to the dry signal path it has no effect on the wet signal path This effectively allows you to live in the past since by delaying the input you can add an effect that happens before the dry signal is heard This only works if you use WET DRY MIX to mix the effect with the dry signal Using the console to mix will negate the effectiveness of the INPUT DELAY WET DRY MIX WET DRY MIX controls the ratio of direct vs effect signal in the output from a program When the 480L is patched into a console this control should almost always be set to 10096 wet When an instrument is plugged directly into a 480L or when the Cascade configuration is in use a setting between 45 and 6096 is a good starting point for experimentation with this parameter WET DRY MIX is a sine cosine fade Practically speaking this means that MIX can be adjusted over its range with little or no change in output level When you control mix at the console adding effect to the dry signal increases overall level Useof INPUT DELAY can produce effects that actually happen before the dry signal When producing these effects you must use WET DRY MIX controlling the mix at the console will negate the effect of the input delay See INPUT DELAY for more details Page Three HIGH PASS Left and Right High PASS adjusts a 12 dB octave
195. this parameter is fed to the direct sound simulator WET Reverb Level Controls the level of the reverberation generated in Machine A This slider interacts with the Cal parameter on Page 4 The output of this parameter is fed to the reverberation simulator ERL Early Reflections Level Master level control for the levels found on Page 2 The output of this parameter is fed to the early reflections simulator DWT Dry Width Sets the interaural time delay for the dry signal It becomes active when raised above 0 WDT Reverberation Width Sets the interaural time delay for the reverberant sig nal It becomes active when raised above 0 EWT Early Reflection Width Sets the interaural time delay for the early reflections It becomes active when raised above 0 Page Two Pre Echo Levels Pre echoes can best be understood by visualizing a stage where the early reflections are the sound ema nating from the rear and side stage walls immediately following the direct sound An independent level con trol is provided for each delay There a re a total of six pre echoes some which cross pan Each pre echo delay is actually a cluster of early reflections with density controlled by DIF Page Three Pre Echo Delay Times For each of the pre echo level parameters there is a corresponding pre echo delay time parameter Page Four DIF Diffusion Controls the density of the pre echoes DOF Diffusion Off Enables disables the d
196. thout the noise they make It has high diffu sion and sounds good with jazz or pop material 0 Auto Park R Auto Park R reproduces the sound of an underground parking garage 10 6 Programs Bank 12 Random Spaces 1 Music Club R RTM SHR SPD 1 06s 40 57 BAS XOV HFC x1 0 752Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 2 Large Room R RTM SHP SPR 0 71s 52 83 BAS XOV HFC x1 2 493Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLYS 0 0 0 3 Medium Room R RTM SHP SPR 0 50s 22 10 BAS XOV HFC x1 2 493Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 4 Small Room R RTM SHP SPR 0 32s 16 0 BAS XOV HFC x1 0 493Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 5 Very Small R RTM SHP SPR 0 15s 8 0 BAS XOV HFC x1 0 493Hz 3591Hz LVL1 LVL2 LVL3 Off Off Off DLY1 DLY2 DLY3 0 0 0 SIZ 26M DIF 78 LVL4 Off DLY4 SIZ 20M DIF 65 LVL4 Off DLY4 SIZ 20M DIF 65 LVL4 Off DLY4 SIZ 11M DIF 65 LVL4 Off DLY4 SIZ 5M DIF 65 LVL4 Off DLY4 0 HFC 7181Hz MOD REV SPN 43 SHL 0 HFC 6593Hz MOD REV SPN 43 SHL HFC 7493Hz MOD REV SPN 43 SHL 0 HFC 7493Hz MOD REV SPN 43 SHL 0 HFC 7493Hz MOD REV SPN 43 SHL 0 PDL 0 MIX All Fx WAN 6762us RLV 160 PDL 0 MIX All Fx WAN 10ms RLV 160 PDL 0 MIX All Fx WAN 5586 RLV 160 PDL 0 MIX All Fx WAN 3402us RLV 160 PDL 0 MIX All Fx WAN 3
197. time Sampling Percussion When sampling percussion set FADE TYPE to PER CUSSION The sample will start with a hard cut instead of the normal FAST FADE If the sample plays com pletely the end is always faded down From Version 3 00 on the SME and the overdubbing non SME samplers have been modified so that a PERCUSSION mode retrigger will cut rather than fade out the running sample This improves synchronization in fast percus sion replacement applications It may also result in a click in non percussive samples so be careful in choosing which type of fade you want Scrubbing A feature of the SME samplers is their ability to continu ously vary the speed of playback within the limits described in the earlier program descriptions There are four speed regions defined by these end points 200 100 0 100 and 199 You can vary the RATE at will within these regions but crossing the boundaries may cause glitches whose audibility de pends on the source material Edits will always be accurate over the entire range of the sampler unless you change direction cross the 0 boundary after triggering There is therefore no limi tation on auditioning a tight edit at low speed and playing it back fast just avoid changing direction while playing Changing direction will cause minor inaccura cies in the play time From Version 3 00 on the SME samplers have a third FADE TYPE called SCRUB MODE for those applica tions where
198. tion reached by the expander It is similar in operation to the GAIN control of the expander Programs BANK 10 Compressor Expander 12 0021 COMP DLY SLP GAIN THR ATC RTC 27 45ms 2 00 1 9dB EXS EXG EXT 21dB 15ms 91ms 2 0021 10 48dB 2 6 24 1 DLY SLP GAIN THR ATC RTC 12 56ms 6 24 1 12dB EXS EXG EXT 1 88 1 7dB 40dB 16dB 7ms 91ms 3 18 28 1 COMP DLY SLP GAIN THR ATC RTC 20 38ms 18 28 1 10dB 20dB 15ms 91ms EXS EXG EXT 2 00 1 10dB 48dB 4 Transfer DLY SLP GAIN THR ATC RTC 40 26 5 1 33 1 10dB 10dB 30ms 73ms EXS EXG EXT 1 00 1 5 DLY SLP GAIN THR ATC RTC 12 56ms 5 00 1 8dB 15dB 7ms 73ms EXS EXG EXT 1 88 1 7dB 40dB 15 64ms 14 22 1 39 27ms 21 33 1 9 2 51 A 0 2 SIp Mach B GAIN 7dB EXT 40dB GAIN 6dB EXT 40dB GAIN 30dB GAIN 10 50dB GAIN 4dB EXT 46dB THR 15dB THR 18 12dB ATC 15ms ATC 7ms ATC 7ms ATC 7ms ATC 7ms RTC 58ms RTC 286ms RTC 37ms RTC 181ms RTC 91ms Bank 10 the Compressor Programs Program Descriptions 12 0021 Compressor A two to one compressor expander with time con stants optimized for both processes 2 6 24 1 Compressor A more aggressive compressor expander that pro vides more overall loudness than 2 00 1 Compressor 3 18 00 1 Compressor An even more aggressive compressor expander
199. to each group of parameters Control Mode The control mode contains several pages of utility parameters and functions which are not directly relatedto a single algorithm such as sampling rate register transporter program name function etc The control mode is entered and exited by pressing the CTRL button on the LARC Configuration The 480L machines can be config ured to operate independently or they can be com bined to function as a single machine The configura tion is changed from the control mode The 480L is shipped in the single configuration dBFS Adigital signal at full amplitude or registering to the most significant bit Operating Modes The 480L is always in one of the following four operat ing modes Machine Operation Mode Program Preview Mode Register Preview Mode Control Mode The 480L always powers up in Machine Operation Mode Each mode and the paths for entering and exiting it are described below Machine Operation Mode Press the PROG or the REG button then press VAR This mode allows you to View the machine currently being addressed by the LARC Display the program or preset currently running in the machine View and or alter parameters Basic Operation Program Preview Mode Press the PROG button Press the BANK button to view program banks Press the PROG button to view programs in the bank This mode allows you to Select presets Register Preview Mode Press
200. tor 8 0 Oliver s Hall Bank 19 Rich Plate 19 1 Large Plate 19 2 Drum Plate 19 3 Vocal Plate Plate 2 19 5 Slap Plate 19 6 Guitar Plate 19 7 Short Plate 19 0 Silver Plate Bank 20 6 Voice Chorus 20 1 Woo Woo 20 2 6 Vc Korus 20 3 3 Voice Chorus 20 4 4 Voice Chorus 20 5 Ekoz amp Korus 20 6 Vocal Chorus 20 7 Soft Echoes Echorus 20 0 Tuff Stuff Bank 21 Multiband Delays 21 1 Closet 21 2 Telephone 21 3 Phartage 21 4 Stadium 21 5 Downstairs 21 6 Bandsweep Programs 7 9 and 7 0 require the Sampling Memory Expansion option See your Lexicon dealer for details Programs in Banks 18 21 require the Classic Cart option See your Lexicon dealer for details 21 7 BassEchoes 21 8 BandBounce Whispers 21 0 On Stage Introduction You are about to begin using the most advanced digital effects system available the Lexicon 480L The 480L is engineered for the all digital production environ ment Digital audio places strict requirements on every link in the signal chain and the 480L meets those requirements With its unique 18 bit A D and D A converters the 480L produces a dynamic range of 98 dB in the wet signal path It is probably the only effects system available that doesn t raise the noise floor of a digital master And the PCM 1610 1630 compatible digital I O interface lets you add true st
201. traight line from one side to the other In ZOOM the level is inversely proportional to the dis tance squared The sound moves in a parobola mov ing rapidly toward the listener and then away FG Fudge Factor FG is AMP Q Pitch Q 64 The amplitude i e the sharpness of the amplitude increase as the object goes by is set only by DISTANCE Q When FG is set to 64 the pitch change follows the amplitude change in a theoretically accurate manner Sometimes it sounds better to have the pitch vary more gradually This can be achieved by raising FG For example when FG is set to 128 the pitch acts as if the object is twice as far away while the amplitude remains at the distance set with DISTANCE Q SPEED SPEED sets the total pitch shift that will occur When SPEED is set to 0 there will be no pitch shift The pitch shift set with SPEED is quite accurate TIME TIME sets the time between when the device is trig gered and when the sound is midway between the two loudspeakers The total time of the effect is twice the value set with TIME TIME has great impact on per ceived speed Short times and small distances make the object appear to be moving quite fast DISTANCE Q DISTANCE Q sets the sharpness of the effect in both amplitude and frequency The control displays the distance of closest approach and the displayed dis tance depends on the TIME selected For an accurate emulation of a real event time should be set first
202. ty lacks an oil drum wired for sound you will be pleased to discover that Lexicon has supplied one before you even knew you needed it Banks 1 4 the Reverb Programs 5 20W 50 A more aggressive oil drum 6 Metallica Metallica produces dense metallic reverberation with lots of hard echoes Designed for heavy metal 7 Silica Beads Put a small monitor upside down on top of a snare drum pour a few thousand beads on top of the drum and hit the monitor with a couple hundred watts The result Not nearly as interesting as the Silica Beads program 8 Inside Out Inside Out produces a big echo with a big difference it s turned inside out Listen closely to percussive material 9 Ricochet Ricochet emulates a fairly large space with a dan gerous slapback echo Varoom is a room with no resemblance to any known acoustic space the sound accelerates as it goes by Lexicon 480L Owner s Manual Programs Bank 4 Plates 1 A Plate RTM SHP SPR SIZ 2 00 s 0 0 20m BAS XOV RTC DIF 0 6 752Hz FullR 97 8 dB 9 dB PDL PDL 14ms 18 ms 2 Snare Plate RTM SHP SPR SIZ 1 84 8 1 0 16m BAS XOV RTC DIF 0 6 120Hz FullR 95 9dB 12dB PDL PDL 110ms 152ms 3 Small Plate RTM SHP SPR SIZ 1 65s 0 6 18m BAS XOV RTC DIF 1 0 885Hz 10 127 99 PDE PDE 2 dB 4 dB PDL PDL 10 ms 6 ms 4 Thin Plate RTM SHP SPR SIZ 1 59 5 0 0 15m BAS XOV RTC DIF 0 6 752Hz 15 886 85 PDE PDE 6 dB
203. ual Connections for 480L with two LARCs 1 8 Analog Audio Connections See page 1 2 for details about audio interfacing pinouts impedance etc The 480L is designed to take advantage of the flexibility of a mixing console The figure below shows a typical configuration For maximum utility use independent sends that can be assigned as either prefader or postfader You can use the console s effects returns if they are pannable or assignable but for greater cre ative control you may wish to connect the 480L outputs to regular input channels Eet Fem Inpu Channels Installation and Audio Connections We recommend experimentation to arrive at the best configuration for your own system Actual connections should always be checked carefully for proper imped ance polarity and levels When using mono signal sources either connect the left and right inputs in parallel or use the mono split configuration described in Chapter 2 MIXING CONSOLE Typical Audio Connections TE Floating the Analog Ground In some applications it may be desirable to float the 480L s analog circuitry from the chassis ground This can be accomplished by simply removing the blue jumper block located on the top side of the main circuit board near the two main input connectors Store the jumper block on one of the posts in case you ever need to reinstall it When the jumper block is removed the analog signal grou
204. uitars to vocals and percussion 3 Vocal Whispers Vocal Whispers is a delay based effect designed to enhance vocals 4 Doubler Doubler is a doubler with a difference the diffusion used on the delay lines thickens percussive sounds considerably This is a good choice for fattening up uninteresting sounds 5 Back Slap A strong fast slapback effect 6 Rebound Throw something at this one and it comes rippling right back at you Try it on vocals with short explosive syllables 7 Git It Wet It s Saturday afternoon in the guitar section of a large music store Just add the metal guitar 8 Sudden Stop Sudden Stop produces a sound like a grainy inverse gated room It s rather interesting on snare high toms and cymbals However itis not intended for use on low frequency material Avoid low toms kick drums and bass guitar 9 In the Past In the Past is unique in that the dry signal is set to 504 ms so that it appears after the build up of the effects signal It should be used with program content being mixed through the 480L in other words keep the source fader down and send audio to the 480L pre fade In the Past uses 40 well diffused voices The length ofthe delay is setto 500 ms with a build up slope of 247 0 Tremolo L and R Tremolo L and R uses four undiffused voices with the delay line and WANDER setto 0 SPIN controls the rate at which the mono blended signal tremelos between the left and right outputs Tremo
205. ule facing a rear corner of the room Banks 13 14 the Ambience Programs Front to rear panning is equal send level X2 Rear L R panning is unequal send level Front L R panning is the console pan control Now try changing the configuration of the 480L to Cascade In MACH A load the register you stored In MACH B load STEREO ADJUST from the Mastering program Using the ROT controlon Page 1 of STEREO ADJUST you can pan a L R signal leftto right against an L R signal to shift the image of the ambience The SPATIAL EQ control on Page 2 of STEREO ADJUST can tailor the width of the space Loading these in reverse order you can pan a L R signal left to right against and L R signal to shift the image feeding the ambience Add Predelay as necessary to increase the gap be tween the direct sound and early reflections Note the Input Delay as the effect occurs before the dry signal Use these two controls to precisely position the source when using the 480L in the digital domain Programs Bank 13 Ambience 1 Very Lg Ambience RTM RTL SIZ 3 345 71 40M SPN WAN PDL 34 7098s 0 2 Large Ambience RTM RTL SIZ 2 758 71 33M SPN WAN PDL 34 7098s 0 3 Medium Ambience RTM RTL SIZ 1 77s 71 20M SPN WAN PDL 34 7098s 0 4 Small Ambience RTM RTL SIZ 1 10s 71 13M SPN WAN PDL 34 7098s 0 5 Strong Ambience RTM RTL SIZ 0 59s 34 27M SPN WAN PDL 38 12ms 10 15ms ROL 2862Hz IND 0 ROL 2862Hz IND 0 ROL 2862Hz IND 0
206. us of a variety of different controls on the 480L This control doesn t permit you to change any settings it simply allows you to quickly check out the status of several 480L controls CFG Configuration The 480L can run any two of its programs simultane ously The two programs can be used independently or they can be connected together internally in any of several configurations The CFG control is used to choose one of these configurations SMP Sampling Rate SMP selects between 44 1 kHz and 48 kHz sampling rate Use the higher 48 kHz sampling rate for maximum audio performance However when using digital I O the 44 1 kHz rate may be required to match an external device CLK Clock Source The 480L can generate its own word clock or it can be slaved to 48 kHz 44 1 kHz and 44 056 kHz external word clocks through the digital I O connector For most applications using the 480L s analog inputs CLK should be set to INTERNAL For most digital 1 0 applications CLK should be set to EXTERNAL If EXTERNAL is selected but an external word clock is not present at the digital connector the 480L will continue to use its internal word clock To determine if the 480L is correctly receiving an external word clock move the STATUS slider slider one page one to display External Word Clock Status Important Do not send external word clock to the 480L until after it is powered up INP Input Source INP chooses
207. ut reverb 1 The In Out NO LARC DATA 2 Stereo Adjust LVL FIN BAL ROT BAS TRB 0 0 Center Center Flat Flat XOV HFC HFC SPC TBL TBR 493Hz 5 538kHz 5 538kHz Flat Flat Flat DLY EMP INV SHL SHUF 0 0 L R 0 0 AUTO DCL DCR 0 0 3 PONS Adjust LVL FIN BAL ROT TBL TBR 0 0 Center Center Flat Flat XOV HFC SPC BAS BAS FLP 367Hz 2040Hz Flat Flat Flat L R DIT PONS SHL SHUF 30 0 0 4 MS Decode LVL FIN BAL ROT BAS TRB 0 0 Center 2 9 72 1 Flat Flat XOV HFC HFC SPC TBL TBR 493Hz 5 538kHz 5 538kHz Flat Flat Flat DLY EMP INV SHL SHUF 0 0 L R 0 0 AUTO DCL DCR 0 0 Bank 9 the Mastering Programs 5 Invert L R LVL FIN BAL ROT BAS TRB 0 0 Center Center Flat Flat XOV HFC HFC SPC TBL TBR 493Hz 5 538kHz 5 538kHz Flat Flat Flat DLY EMP INV SHL SHUF 0 0 L R 0 0 AUTO DCL DCR 0 0 6 Channel Swap LVL FIN BAL ROT BAS TRB 0 0 Center Center Flat Flat XOV HFC HFC SPC TBL TBR 493Hz 5 538kHz 5 538kHz Flat Flat Flat DLY EMP INV SHL SHUF 0 0 L R 0 0 AUTO DCL DCR 0 0 7 Stereo Parametric EQ LVL FIN BAL LNK FIN FIN 0 0 Center On 1 0 1 0 FR 1L Q LEV FR 1R Q LEV 1 0 1 5 0 Use Left Use Left Use Left FR 2L Q LEV FR 2R Q LEV 1 0 1 5 0 Use Left Use Left Use Left 8 60Hz Notch LVL FIN BAL LNK FIN FIN 0 0 Center On 60 60 FR 1L Q LEV FR 1R Q LEV 60 32 36 Use Left Use Left Use Left FR 2L Q LEV FR 2R Q LEV 1 0 1 5 0 Use Left Use Left Use Left 9 Mono Parametric EQ LVL FIN FIN FIN 0 0 Center On 60 60 FR 1L Q LEV FR 1R Q LEV 1 0 1 5 0 1 0 1 5 0 F
208. value or the signals will not be in phase PDR Predelay R PDR is the same as the PDL except that it acts upon the right channel FBL and FBR Feedback Left and Right FBL FBR control the amount of feedback from the output of the pitch shift to the input of the predelay line The control is at zero feedback when centered and is adjustable from 0 to 99 Some very useful effects can be obtained by combining pitch shift delay and feedback Page Three MIDI MIDI Pitch Event Left MIDI Pitch Event provides a fast link between a MIDI Note Event and interval pitch shifting By establishing a patch with NOTE EVENT as source and PITCH EVENT as destination the amount of pitch shift can track incoming notes in semitone intervals Pressing the KEY will tell you the curent pitch shift REF Reference MIDI Note Left REF sets the MIDI Note Value for no pitch change NULL 0C when under MIDI control MIR Pitch Mirror Left MIR selects the direction of MIDI pitch control When MIR is ON pitch is shifted down for increasing note values GLL Glide Stereo Left GLL affects both channels in stereo mode and the left channel in mono mode It changes the pitch continu ously over a range of one octave This allows a glissando to be performed either manually with the LARC or via MIDI The full resolution of the pitch shift is not available on this control although vernier fine tuning is available by pressing the button u
209. veral MIDI program change numbers can be assigned to a single 480L register Finally it allows you to load any of the preset programs with MIDI program changes some thing which is not possible in the fixed mode Lexicon 480L Owner s Manual The corresponding register table is found on page 5 of the control mode To use it 1 Enter the control mode and go to page 5 2 Slider three PGM selects the MIDI program change number and slider four TBL selects the 480L register or program 3 Use PGM to select the MIDI program change num ber you wish to assign to a register or program 4 Use TBL to select the register or program to assign to the MIDI program change number Note that the first selection for TBL is IGNORE This allows the 480L to ignore specific incoming MIDI program change num bers 5 Repeat this process until all the MIDI program change numbers that you will be using have been assigned to registers or programs Important The 480L actually has two corresponding register tables one for machine A and one for machine B Use MACH to toggle between them Using Dynamic MIDI Some extremely interesting effects can be created when one or more parameters are controlled remotely in real time Many of the controllers found on a MIDI keyboard or controller pitch benders mod wheels breath controllers sliders and switches can be used to control 480L parameters remotely in real time via MIDI MIDI
210. wd Time TRM Sample2 Fwd Time RP TLV Repeat Sample1 REF RAT REC MARK Record TIM lt gt Sample1 Fwd Time PAN LVL Fwd Samp Panning TLV Trigger Level Trigger Sample1 Samp1 Plybk Rate Mark Capture Play Order Rev Plybk Level MODE Capture Mode MODE Capture Mode HOLD Retrigger Hold MODE Capture Mode Sample1 Fade Sample1 Plybk Rate Sample2 Fade Type PLAY Play Sample2 MID MIDI Play Samp2 MODE Capture Mode TAIL Tail Trim PAN Rev Samp Panning CHK CAP Check Sample Manual Trigger CHK CAP Check Sample Manual Trigger 2 CUE FAD Cue Sample Fade Type CUE Cue Sample CHK CAP Check Sample Manual Trigger CUE Cue Sample1 CUE Sample2 Plybk Rate Cue Sample2 RP TLV Repeat Samp2 Trigger Sample2 REF RAT MIDI Note Samp2 Samp2 Plybk Rate CHK CAP Check Sample Manual Trigger CUE TIM Cue Sample Reverse Time CUE FAD Cue Sample Fade Type CUE Cue Sample Stereo Rate Change 10 Mono Rate Change 20 DUB REC Overdub Record Mark Capture HED TAL Head Trim Tail Trim Page Three PLAY TLV Play Sample Trigger MI D LVL REF MIDI Play Ref MIDI Velocity Ref MIDI Note About the Sampling Controls and Parameters All the parameters available in the sampling programs are listed below in alphabetical order No single pro gram has all parameters Refer to the program des criptions for p
211. wer pack Returns to normal operation Appendix B Solving Problems B 3 Specifications This section contains the specifications for the 480L Lexicon 480L Owner s Manual Specifications The following specifications are subject to change without notice Audio Audio Inputs Two Levels 6 to 28 dBm electronically balanced 6 to 28 dBm unbalanced Impedance 30kilohms in parallel with 100 pF Common Mode Rejection Ratio gt 40 dB 20 Hz to 20 kHz Connectors Female XLR Transformer Option User installable Jensen JE 11P 1 Audio Outputs Four Levels 6 to 24 dBm transformerless balanced 600 ohms 6 to 20 dBm unbalanced 600 ohms Minimum load impedance 150 ohms Impedance 33 ohms Common Mode Rejection Ratio gt 35 dB 20 Hz to 20 kHz Connectors Male XLR Transformer Option User installable Jensen JE 123 SLPC Frequency Response 20 Hz to 20 kHz 0 5 dB 1 dB Dynamic Range 98 dB typical over temp range 22 4 kHz unweighted noise bandwidth Total HarmonicDistortion and Noise 0 01595 1 kHz limit level 18 dBm unity gain 0 0596 20 Hz to 20 kHz 9 20 dB below limit level These specifications are for 48 kHz sampling rate setting 2 IM Distortion Channel Separation lt 0 05 SMPTE IM limit level gt 75 dB 9 1 kHz or gt 70 dB 20 Hz to 20 kHz Encoding 18 bit equivalent linear PCM Sampling Rate 48 0 kHz 44 1 kHz selectable LARC Lexicon Alphanumeric Remote Co
212. when relatively small amounts of it are mixed with the direct signal If the reverberation sounds obtrusive or tends to reduce clarity you are using too much of it BASS MULT RT HF CUT and HF CUTOFF have been set to values typical of good concert halls SIZE is set at maximum to provide reverberation with medium density and low color If higher density is required for material such as closely miked percussion try reduc ing SIZE to about 25 Banks 1 4 the Reverb Programs 2 Large Stage Large Stage is similar to Large Hall except that the musicians are located at one end of the hall and several preechoes simulate the effects of a procenium arch 3 Medium Hall Medium Hall is very similar to Large Hall but smaller 4 Medium Stage Medium Stage is very similar to Large Stage but smaller 5 Small Hall Small Hall is a smaller version of Medium Hall 6 Small Stage Small Stage is a smaller version of Medium Stage 7 Large Church Large Church is a big space with the musicians cen trally located and a comparatively long RT MID 8 Small Church Small Church is a smaller version of program 7 9 Jazz Hall Jazz Hall is a relatively small space with hard bright walls and a short RT MID It emulates a hall full of people without the noise they make It has high diffu sion and sounds good with jazz or pop material 0 Auto Park Auto Park reproduces the sound of an underground parking garage Lexicon 480
213. y 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 appar ent distance is increased 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 Ambience can be used in a recording situ ation any time a close miked sound is undesireable Banks 13 14 the Ambience Programs ROL DIF Rolloff Diffusion MIX Wet Dry Mix IND MIX Dry Delay Wet Dry Mix About the parameters Page 1 RT Reverb Time This control is not of greatimportance to the sound 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 SIZ should be changed first RTL Reverb Level RTL controls the level of the reverberant part of the ambient decay At 0 only the early reflections will be present in the sound and there is an abrupt end to the sound when these early reflections are gone Setting RTL to about 70 results in a natural blend of early and late reflections SIZ Size SIZ allows you to vary the apparent size of the space over awide range SIZ is the most dramatic control and must be selected to match the musi
214. you trigger PLAY either manually by MIDI or with audio level So you may program it in advance If you start a large number of repeats and need to stop playback just press CUE 10 Use the TLV trigger slider to set the trigger mode The samplers are preset with the slider all the way up to respond to a manual trigger from the PLAY key MIDI patch Pulling the slider down to CONTINU OUSLY enables continuous repeats of the sample Adjusting TLV in dB selects a LARC level for audio triggering from the left input 11 You must press PLAY to arm the level trigger or to start CONTINUOUS playing If you wish to disarm level triggering or stop continuous play press CUE 12 When the input signal level to the 480L reaches the level you set with PLAY TRIGGER the sample is played back For most of the samplers playback starts 80 us after audio is detected The sample is fully faded in5 ms later The Forward Reverse Sampler starts 115 microseconds after audio is detected The level trigger rearms automatically when each play is complete 13 To prevent the sampler from accidentally retrig gering off incoming audio before the entire sample has been played all samplers with a RETRIG HOLD slider have been preset to NO RETRIGGER 14 To enable retriggering set the RETRIGGER HOLD somewhere above NO RETRIGGER Select a time that is short enough to allow retriggering as often as you desire it yet long enough to prevent retriggering be

Lexicon 480L - HARMAN Professional

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