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960L Digital Effects System

1. 0 00 e ee eee 2 5 EE EE ices etna E e eee NAKAATANG 2 5 2 quo NEE 2 5 External Power CONNGCIOl cus on Rx xn 2 5 Navigating Typical Display Screens 2 6 About the Faders and Joystick 2 7 Audio Indicators 0 4 a 2 8 The Lexicon Button 2 8 FING Adjust d ka s x eoe AR Rae ORS AR ESS 2 8 Section 3 Basic Operation An Overview of the Controls 3 3 A Quick Guide to Operation 3 4 1 Setup Control Mode 3 4 2 Machine Selection 0000 eves 3 7 3 Program Loading us oc dsc os ooo Reem hes 3 7 4 Editing a Program or Register 3 8 5 Storing Your EUS 2 2 ec 4 208 PE cme eas 3 8 Section 4 Operations In Detail Loading Programs and Registers 4 3 Loading PrograMS ERAP KG 4 3 Loading Registers 0 0000 los 4 4 Control MOGs us dio arde oe e oy aod Y GN 4 5 Word WIOCK naam Ah eee pened ce eee we ss 4 5 DSP Configuration s a eg 862442 eg dox 4 6 44 1 48K Configurations 4 7 88 2 96K Configurations 4 9 Input Routing ee ee 4 1 Ouput ROUtINQ sca eheh aa beam nA 4 1 MEET OC e P NA NANA DAA ae 4 13 System Screen maa maaasar EE KAMARA NA 4 14 de e e AA PRA 4 15 Editing Algorithms EE 4 15 Editing With the Faders o 4 15 Fine Adjust ee ee eee 4 15 Editing with the Joystick
2. 4 20 4 20 4 22 4 22 4 22 4 23 4 24 4 24 4 24 4 24 Lexicon Inc Section 6 MIDI MIDI eee eds eee ees oe ee ee P 6 3 Nel ale TT 6 3 MIDI Channel Allocation 6 3 Program Loading pau 9d 9d ue E WORE GENUS ES 6 4 Bank and Program Mapping 6 4 Card Configuration EE 6 4 Continuous Controllers 064 0508 teense et ke 6 4 MIDI SYSEX uuo tubum es ee oe TRU TERRE M 6 5 MIDI Implementation Chart 6 6 Section 7 Troubleshooting the 960L Common Problems and Their Solutions 7 Appendix Surround Program Names isl A 3 Stereo Program Names 4A AA A 4 Program Descriptions Surround Banks A 5 A 10 Program Descriptions Stereo Banks A 11 A 18 SPECINCGTIONS uu uae s o eue e Snare ecd A 19 960L Mainframe Specifications A 19 LARC User Interface Specifications A 20 Lexicon Product Warranty A 2 960L Introduction Introduction The Lexicon Model 960L is a multi channel reverb proces sor for audio professionals If brings to surround all the virtues and facilities of the Model 480L and more Like the 480L it is a multiple machine system hardware and software expandoble The standard 960L includes one Digital Signal Processing DSP card with support provided for an optional second DSP card Each 960L DSP card supports up to four stereo machines or two mult
3. USING THE REVERB PROGRAMS Music recorded in a typical studio sounds dull In a per formance space the music is enhanced by reverberation but even in an ideal soace capturing that reverberation can be chancy Lexicon reverberators solve this problem by enabling you to generate exactly the reverberance that your recordings call for even with multitrack originals made in imperfect spaces You can make your listeners feel they are sitting in a real concert hall even though they are in a small room with hard flat walls The object of the 960L is to create in the studio the acoustics of any real or conceivable space and to reproduce these acoustics using the full directional capabilities of a modern surround system REVERBERATION AND REALITY The acoustics of a given space are defined by its reflect ed energy that is the way sound is reflected and re reflected from each surface This is affected by the dimensions of the space the complexity or flatness of the surfaces the frequency characteristics of each surface s energy absorption and the distance and direction of each surface to the listener In addition in large spaces there is a high frequency rolloff caused by the sound s passage through air It is in principle possible to model the reflected energy pat tern in a specific space either real or imagined and to reproduce this pattern as closely as possible through a five loudspeaker array Alternately one could measure
4. OwNER S MANUAL Hi A Harman International Company Important Safety Instructions Save these instructions for later use e Follow all instructions and adhere to warnings marked on the unit and in the operating instructions e Always use with the correct line voltage Refer to the manufacturer s operating instructions for power requirements Be advised that different operating voltages may require the use of a different line cord and or attachment plug Do not install the unit in an unventilated rack or directly above heat producing equipment such as power amplifiers Observe the maximum ambient operating temperature listed in the product specification Slots and openings on the case are provided for ventilation to ensure reliable operation and prevent the unit from overheating Do not block cover or insert objects into the openings Never spill a liquid of any kind on the unit e Never attach audio power amplifier outputs directly to any of the unit s connectors To prevent shock or fire hazard do not expose the unit to rain or moisture or operate it where it will be exposed to water e Do not attempt to operate the unit if it has been dropped damaged exposed to liquids or if it exhibits a distinct change in performance indicating the need for service This unit should only be opened by qualified service personnel Removing covers will expose you to hazardous voltages e Take precautions not to defeat the grounding or polarization of th
5. System Screen The system screen is useful for showing the software revi sion that is currently operating If you ever need to call your dealer distributor or Lexicon Customer Service with questions about your 960L make sure you know all the revision information METER STATUS The meter status is displayed on the right side of the meter screen shown here in Fig 4 28 The meter Status Display shows the type of metering currently selected the current metering source and the DSP overflow counter The DSP overflow counter indi cates the number of times up to 99 that an overflow has occurred within the DSP accumulators Here we see that eight DSP overflows have occurred This can happen even with modest signal levels if the delay reverb feed back coefficients which are set by algorithm parameters combine to create a path with a gain greater than unity Generally you should mute the outputs by pressing MUTE ALL and then find and correct the offending parameter settings This should not occur with factory programs unless they have been edited Figure 4 28 Meter Status Display I eme LASS EI de mn PEOCA BRA SS a ia Pag Figure 4 29 Control Mode System Screen 4 14 960L Operations in Detail EDITING The 960L Programs and Registers can be edited in several ways e Changing the settings of the parameters with the faders and joystick e Adjusting input and output pa
6. 1 La taga x Ueer Bank 2 2 Med Hagai Small StagstHall Ea rix ory eee ie e r LT m m mug c W r3 H RS EGUR i a 3 ER z Ti at a a r E B M User Bark 2 AL ADAN Paste Regi ger Bank 3 Uc GEERT A UE LL M P tO RN wi aa aa all Rat uan m Kn e Ut anus tora 120 Floppy Eer Florey B i isar Nope Bake Figure 4 45 Floppy Tools For Registers 4 23 Operations in Detail Lexicon Inc Edit Tools for Registers Pressing the Edit soft button accesses three tools fig 4 44 1 Copy Bank When 1 is pressed on the Numeric Keypad the contents of the currently selected Program or Register Bank are copied to an inter nal scratchpad 2 Clear Register Bank When 2 is pressed the con tents of the currently selected Register Bank are cleared The Bank is made empty For safety the user is prompted before the clear is executed Program Banks cannot be cleared 3 Paste Register Bank When 3 is pressed the con tents of the scratchpad are copied to the cur rently selected Register Bank For safety the user is prompted before the copy is executed Program Banks cannot be pasted to Using the Floppy Drive Pressing the Floppy soft button accesses four tools Fig 4 45 1 Load From Floppy When 1 is pressed the con tents of the floppy disk are loaded into Register Banks 101 110 For safety the user is prompted before the load is executed 2 Store
7. 88 2 96kHz Two Mono In Stereo Out Configuration two machines available With the Two Mono In configuration loaded the DSP card is partitioned into two independent Mono In Stereo Out machines Each machine has an independent mono input and an independent stereo output This configura tion is similar to the mono split configuration on the 480L THE TWO IN FIVE OUT CONFIGURATION pn PZ Medium Hali B lll Mi Aa IERT d 5 ee d Figure 4 16 88 2 96kHz 2 In 5 Out Configuration one machine available With the One 2 In 5 Out configuration loaded the DSP card is partitioned into one multi channel surround machine The machine has two inputs and five outputs Also there is an LtRt mix of the five outputs available This LIRT mix is a simplified matrix that is compatible with Lexicon s Logic7 format as well as other standard encod ing schemes 4 9 Operations in Detail Lexicon Inc THE FOUR IN FOUR OUT CONFIGURATION D Ca RSC FZ Mega HG Figure 4 17 88 2 96kHz 4 In 4 Out Configuration one machine available With the One 4 In 4 Out configuration loaded the DSP card is partitioned into one multi channel surround machine The machine has four inputs and four outputs THE FIVE IN FIVE OUT CONFIGURATION Figure 4 18 88 2 96kHz 5 In 5 Out Configuration one machine available With the One 5 In 5 Out configuration loaded the DSP card is partitioned into one multi channel surro
8. Keeps often kon focused forward The ooposile of Bright Font this has the quiputs panned so Pulpit Ambient Chamber the bigh ambience sin ihe ror and fhe dark rewarb is in the front Very small ambient reflections give the mmecbalte sound of Vocal freeze Ambient Chamber being under the canopy of a pgulpit wah the rmwarberant gace of fhe church around you Strang large ambience with rewarb gives an cry quality to Number BS Fi BS P2 BS PA BS Pa BS PS BS PSs BS FPF BS PS BS PF BS PO Surround Bank 6 Rooms More Strainer More Studia C Rock N Room Woaomy Room ated Room Ambient Chamber Algorithm Surrounc Shomer Surround Chomber Surround Chomber Surround Chamber wood Use sparmaly for natural affect Useful for adding mere immer lo a mare thot se cl lack Surround Rooms Description amp mall room with Thin carpeting on fhe for and iregular raflectiue surfaces A mecium szed highly reactive space Broad end diffuse o good chunky sound fer The kend Extreme selling of MIdRT gives an abrupt cuted of reverts Smal Room 2 Surrouncad homer Use Size Shape and Spread te vary ihe duration and texture of ihe gate small ke a bedroom wilh bright characteristics Tiny Room Ambient Chamber Very small space with booded ambient reflections Ambience 4 Horns Ambient Chamber Trumpats sax tubas env type of brass instruments work well with this Program especialy
9. 4 16 Quick Comparisons via the Lexicon Button 11 Introduction Table Of Contents continued Editing Inputs and Qu tputs INPUT PANNING m E Output PANNINQ llle ees The 960L Surround Panning Rules Setting Levels 00 0000s sa Avoiding Overload Assigning New Parameters to Faders OF Ine JOYS CK sca chgE EE uei eR Boek de Se The V Page and Parameter Reassignment Using the Edit Algorithm Screen Storing and Labeling Your Edits ION oaa RASSEN REEERE NEL AA KANE Naming and Annotating Organizing Your Registers Edit Tools for Registers Using the Floppy Drive The CD ROM ira 33 544 OS EE KAG See ek Machine Mode Section 5 Using the Reverb Programs Using the Reverb Programs Reverberation and Reality Sound in Space A Short History of Stereo and Surround 2 ce ee eee Algorithms a RGNCOM MOG s 333 5 89 3 2 59452489 44 409 685404 SUNOUNG FON s aga aa tdm sd a basag karag d dos Chamber amp Surround Chamber s s aas adea Plate amp Surround Plate 5 duran E AE Es Ambience amp Surround Ambience Ambient Chamber Reverse amp Surround Reverse Jar Parameters Used in the 960L Algorithms 4 17 4 17 4 18 4 19 4 19 4 19 4 20
10. A standard unlined wooden modal A 10 960L Jereo Bank 1 Halls Number Mame BI PI Large H all Bl P2 Medium Hal Bl P3 Small Hal B Pa Med Large Hall Bl PS Key hel B P Acoustic Fal B P7 Aute Pak B P8 jor Hal B Ps Large Church Bl PO Small Church Jereo Bank 2 Halls 2 Number Mame B2 Pl Large Choir Hal Algorithm kondom Hall Rendom Hall Rondom Hall Rondom Hall Random Hall Rendom Hall Rendom Hall Random Hall Rendom Hall Rondom Hall Algorithm Random Hall Rendom Hall Rendom Hall Rondom Hall Rondom Hall Random Hall Rondom Hall Random Hall Appendix Stereo Halls Description Provides Ihe sense of space end ambience of a Large concert hall wih ihe source placed in the center of ihe hal away from nearby wals Medium Hall is wery similar fo Large Hall but smaller Small Hall i a smaller version of Medium Hall Medium sted with some added retlactions al a lew er level For keyboards short rev dime wih medium sze end for real ocousic nslmimants lo add a sett genta space li se on just about everything mi as needed Aute Park reproduces ihe sound of a concrete parking garage A relatively smell space with herd bright wals a shar MidRT and high diffusion 11 amulates a hall full of people WER the noise they make Large Church is a bag space wih fhe source centraly placed end a comparatively long Maikt A smaller version of Large Church Stereo Halls Description Gr
11. Chee Hal Med Choir Hall Mechum vex Hall Echo Hall Big Reflex imal Brite Hall Short end Deep Tai Maal beeps Beaty Hal Bolom Heavy Algorithm Sumound Heil Surrourid Hal Surround Hal Surround Hal Surround Holl Surround Shomer Surround Shomer Sumound Heil Surround Heil Sumound Heil Algorithm Sumsond Heil burrca mme Hell Surround Chamber Sumang Bell Amen Chombar Surround Chamber Sumound Bell Sumang Hell Sumound Hell Surreuncd Hell Appendix Surround Halls Description A large szed random hal wah fhe musicians placed in the middle and a relatively long MRT A litte smaller than Large Hall Use for reci acoustic nstrumenis fo add a gentle soft pace Obvious small wah some added resections in fhe front ond rear channel Medium seed wilh some added reflections at a aw er level Fer kecca sort rev time and mectum ste and for reci acoustic instruments to acid a gentile soft pace Use on just about everthing ma as needed ll se wish caution useful for single sources or staccata hil long tals with bots of movement Relatively mall oce with hard bighi w alls and a short MUORT A big space with musicians centrally located and a long MART A smaller version of Large Church Surround Halls Description Graduated sumound delys widen fhe mage of choirs ond backing vocas Large Hall gives pace Use Joystick fo conira the delay mage Graduated sumound delayswiden the mage of cho
12. D Halll 5 Fay rail Programs can be edited by changing parameter settings by re assigning parameters to the faders and joystick or by modifying the NAME or INFO Editing does not change the factory Programs but you can store up to 1000 edited effects as Registers which are stored in separate Banks from the factory Programs TO LOAD A PROGRAM OR REGISTER e Press the PROGRAM or REGISTER key on the LARC2 e Press BANK That will bring up a screen like Fig 3 5 e Enter the number of the Bank you want using the Numeric Keypad If you don t know the number and the Bank you want is not on the display scroll up or down with the Navigation Arrows until you find it e Use the Right Arrow to jump to the Program list or press PROGRAM e Enter the number of the Program you want using the Numeric Keypad or scroll to the desired Program with the Navigation Arrows or but tons then press the ENTER key amp Acoustic Fill 7 Long Brite Space E Les h Hall 8 Larga Church n Seal Church Spread mg em Figure 3 5 Program Load screen Register Load screen is similar 3 7 Basic Operation 4 Editing a Program or Register Once a Program or Register is loaded you can edit it to get exactly the effect you want The simplest way to do this is by changing the settings of the parameters assigned to the faders and joystick on the V Page which is avail able in Program Register and Bank mo
13. Description O Global Channel Not currently in use DSP Card Configuration of card 2 DSP Card 2 Configuration of card 3 Unused Reserved for Future Use 4 Machine 1 Program change for machine 1 5 Machine 2 6 Machine 3 7 Machine 4 8 Machine 5 Machine 6 10 Machine 7 11 Machine 8 12 Unused Reserved for Future Use 13 Unused Reserved for Future Use 14 Unused Reserved for Future Use 15 Unused Reserved for Future Use 6 3 MIDI Lexicon Inc Program Loading Because of the large number of potential Programs in the 960L Program Change messages are used along with the Bank Select extension to provide MIDI Program selection Controllers O and 32 are sent to the system followed by a Program Change message to select a program In this method Controller O provides the most significant 7 bits of the Bank and Controller 32 provides the least significant 7 bits The Program within a Bank is selected with a Program Change message Each Bank has 10 programs or less so only Program Changes 0 9 will cause a program load The Bank values are sticky that is the 960L will remember the Bank values for each MIDI channel It is not necessary to send a Bank change with each Program Change unless the Bank has indeed changed This is in full conformance with the MIDI specification Bank and Program Mapping There are 10 Programs or fewer in each Bank Bank and Program Changes out of range will be ignored Bank Description 0 19 Facto
14. EIGHT OUT CONFIGURATION Lir S rdi ee ee Bee e ra rr PEN Figure 4 8 44 1 48kHz 8 In 8 Out Configuration one machine available With the One 8 In 8 Out configuration loaded the DSP card is partitioned into one eight input eight output machine Currently this configuration is used for diagnos tic purposes only 4 7 Operations in Detail Lexicon Inc THE STEREO CASCADE 1 CONFIGURATION THE FOUR STEREO CONFIGURATION Kar Medium pat Lir rdi EE EN ERT Bee el Figure 4 9 44 1 48kHz Stereo Cascade 1 Configuration four machines available With the Stereo Cascade 1 configuration loaded the DSP card is partitioned into four independent stereo machines Machines one and two are cascaded where the outputs of machine one as well as being routable to any physical output are fed directly into the inputs of the second machine The cascade of machine one and two is similar to the cascade configuration of the 480L The third and the fourth machines are Stereo In and Stereo Out In a cascaded configuration the unpanned outputs of the first machine are fed into the inputs of the second machine at full level That is why the second machine does not show any controls on its input page THE DUAL STEREO CASCADE CONFIGURATION B01 ES Medium i H dia i fe Coie Figure 4 10 44 1 48kHz Dual Stereo Cascade Configuration four machines available With the Dual Stereo Cascade configuration
15. If you have a PS 2 keyboard connected to the AUX port on the LARC2 s rear panel you can type in Name and Info It is recommended that you connect the keyboard before power is applied to the 960L LURRENT Hane Basic Operation Names of Registers and Register Banks can be up to 16 characters long Information displays for Registers can hold 150 characters and Information displays for Banks can hold 100 characters __ Register Name Options Enabled x 3 NEW REGISTER MANE anog alin TTE CLEAR ALL dar Delete the char Go to the beginning Go back to the basic acter to the left of the text Remove of the cursor All Text Register Info page Go to the end of the text Toggle between INSERT put in the selected character moving the text to make room and WRT OVR replace the character under the cursor with the selected character Figure 3 8 Name screen Info screens are similar 3 9 Basic Oper ation Lexicon Inc Loading Programs and Registers 4 3 Loading Programs llle 4 3 Loading Registers 00000 asan 4 4 V ele uge E EENS 4 5 EE 0a da sm NANG du haaa be cau ou bk eee 4 5 DSP Configuration a uai xe ko ob ed NG CA 4 6 44 1 48K Configurations 4 7 88 2 96K Configurations 4 9 MOUT SOUCI 3 335 aaa 233 PS ES doe DE eos 4 11 Ouput ROUtINg ca eu 65a Ee WG vad DANG 4 11 Mele CC serene hohe b
16. Reverb Level Early Level is a master control for all the early reflections Lowering the control to zero eliminates the reflections and their associated sense of distance from the sound source The Reverb Level control is a master control for the late reverberation With this control you can set the exact amount of reverberance and envelopment The apparent size of the space supplied by the late rever beration is set with the Shape Spread and Size controls Of these controls the Shape and Spread are the most nat ural As Shape is raised from zero to about 3076 the onset of the late reverberation goes from abrupt to gradual The effect on the apparent size of the space is quite dramat ic Spread has little or no effect until Shape is at about a quarter of its range at which point Spread affects the length of both the buildup and sustain At this point the sustain will be approximately the time value indicated by the Spread display in milliseconds At still higher settings of Shape a secondary sustain appears in the envelope at a lower level this simulates a very diffused reflection off the back wall of the hall helping to create a sense of size and space This reflection becomes stronger and stronger reaching optimal loudness when Shape is at about 2 3 of its range The highest Shape settings are typically used for effects Near the top of the scale the rear hall energy buildup becomes stronger than the earlier part of the envelop
17. Se balanced XLR in out thru input loop out LARC to Port 1 selector switch Cards 1 2 and 3 can be positioned in any order in the Three slots AES in XLR channel pairs Analog out balanced XLR AES out XLR channel pairs mu I TOV i ee Option plate IEC power connector Figure 1 1 960L Rear Panel Not present on all units Switch and connector arrangement may vary from that shown 1 3 The Mainframe Lexicon Inc O Clock Card MIDI CONNECTORS FIVE PIN DIN FEMALE e MIDI In Accepts MIDI data from other MIDI equipped devices e MIDI Thru Retransmits unchanged MIDI data received at the MIDI In connector e MIDI Out Transmits MIDI data generated or modified by the 960L TTL WORD CLOCK BNC e Input Loop Allows the 960L to be synchronized to other studio equipment e Output Allows studio equipment to be synchronized to the 960L Note The 960L can also derive Word Clock from AES input 1 2 or generate it internally Remote Control Connectors The 960L supports up to two LARC2s The 960L comes stan dard with one LARC2 an optional second LARC2 can be purchased separately The 960L Remote connectors are for use with the LARC2 controllers only IMPORTANT Never connect either Mainframe remote port to anything other than LARC2 Doing so may dam age your equipment Option Plates Reserved for future use 1 4 YOUR 960L MAY CONT
18. THE USER REGISTERS AND RESTORING FACTORY DEFAULT SETTINGS You can erase the user registers and restore the fac tory default settings by following the procedure below Note Executing this procedure will ERASE the User registers 1 Press and hold both the Program and Machine buttons on the LARC2 2 Power on the 960L After a brief period of time the 960L boot menu will appear on the LARC2 display 3 Select option 7 Erase User Registers amp Restore Factory Default Settings by pressing the number button on the LARC2 Note Do not select any other menu options unless explicitly told to do so by Lexicon 4 The user registers will be erased and the 960L will be restored to the factory default settings After this is complete the 960L will start Appendix Surround Program Names A 3 Stereo Program Names 0 AA A 4 Program Descriptions Surround Banks A 5 BORE ele ENEE A 5 POREZ Hells setae be Dad ears eee eee ee oe A 5 Bank 3 S IOgS Halls 22h o9 ERREUR 3 GA A 6 BONK 4 CHOMDENS 4 sas um AGA GA ode oS A 6 Bank 5 Stage Chambers s A BANK 6 ROOMS 24 64 5644 644409 e de e GG A 7 Bank 7 Plates ENEE EN Rx A 8 Bank 8 Plates2 ee ee nee A 8 Bank 9 AMDICNCS a amp Sus que Erga Rae eee ee aaa A 9 Bank 10 Wild Spoces 00000008 A 9 bank LI POS escam teaver BKA bo NAKAKA ee A 10 Book 12 195 2 5 2 cee ba Gea REOR eae
19. Usedul for everthing from woods to percussion BB FP Snore Plata Plate A rapid buildup of high frequencies makas ihi program a tavarnte en snare drums BB Pa Thin Plate Plate Another veriation on the plate theme Ihis Program keeps out unwanted low frequencies BB P4 Fat Plate Plate Produces the sound of a large highly colored plate BB PS Echo Plate Plate Like Flat Plate but w amp h echoes A 14 960L ereo Bank Ambience Appendix Stereo Ambience Description Resembles a very large ambient sace flange shopping mal porking garage warehouse that has far mora Hutter than a concert hal or performance environment Lowering the kv vd reduces the clutter w hie mainteining ihe sense of a very large ambient space Sandor to very LS Ambience but less spacious Provides ihe ambiance of a lage symmetrical room amig to Large Ambience but smaler Imagina a large counirom or aleciure room hen load the program imio to Madum Ambience bu smalar typical lobby or small lounge The room se is larger then Medium A amp mbenca but the Rub hes been reduced fo provide a strong wash of ambience with a mlativel y horn decay time Resembles a large rectangular performance space wih musicians er performers posilioned in the midde of ihe poe Microphone presdmily io the musiciens or performers can be smulaled by adusting Ihe M control If the s t is usedwilh a miting console and nterfaced with stereo sands ond retums the Mi
20. and far fewer steps per inch of travel This makes it easy to set the parameter to the exact value you want Pressing FINE ADJ a second time returns the system to nor mal operation and the faders return to their appropriate full range positions The display warns when the system is in Fine Adjust mode but the centering of all faders is a more obvious tip off For fine adjustments of a single parameter while in Edit Algorithm mode simply touch the appropriate fader then use the Increment Decrement buttons to get the set ting you want Each press of these buttons changes the parameter by its smallest possible increment An Overview of the Controls 3 3 A Quick Guide to Operation 3 4 1 Setup Control Mode ceva 3 4 2 Machine Selection 3 7 3 Program LOGOING BEEN 3 7 4 Editing a Program or Register 3 8 5 Storing YOUI EOGITS s 2 ug Baa KGG eme ees 3 8 ic Operation Basic Oper ation Lexicon Inc 960L Basic Operation This chapter provides a quick description of how to oper ate the 960L Chapter 4 Operations in Detail provides a more complete description of all available functionality ee ee eee NG wi L i L L E L L F i IHD Ls i HE BANX TI pese i EE d PAGG T i CHARAI png siia Eg i Meee ee m AN OVERVIEW OF THE CONTROLS Fig 3 1 is a gen
21. are available than will fit the current listing The total number of pages 8 in Fig 2 4 is listed in the lower right corner of the Main Operating Display This arrow is greyed out at the top indi cating that no further items are available in that direction The rows wrap After you key down to the last row the next press of the Down Arrow will bring up the first row and vice versa if you use the Up Arrow Effect Display Paging Arrow System Status j GORITHM PARAMETERS Display Shap 5 Dried Wokt Fr Anil Row Roll Elek KI BEI EES d RN ae IH Hr Machine Main 2H EU tru Ci Reng fvi Status O ti 3 inr H DU Displ Mb Dus EA SEEN Display z Pass a Joystick Status Display CRITPUTS Scribble Strip ETT Em OPTIONS Soft Button Labels Figure 2 4 A typical display screen 2 6 960L The LARC2 Remote Shortcut Any numbered item available in the current mode visible or not can be brought up by enter ing its number with the Numeric Keypad on the LARC2 control surface Soft Button Labels identify the currently available soft but tons The currently active button is highlighted with a red outline Buttons with grey backgrounds will cause a con text change those with yellow backgrounds cause an immediate action Buttons with blank legends do nothing he System Status Display is present in all screens In Fig 2 4 it shows that the current sample rate is 48kHz that the Word Clock
22. configured as four stereo machines will have a total of eight machines one through four on the first DSP card and five through eight on the second You can preview the available configurations for the selected sample rate using the Up Down arrows or the Increment Decrement buttons Previewing a configura tion allows you to temporarily view the DSP configuration read the configuration description and view the I O rout ing for the selected configuration without actually loading it When a configuration is being previewed the configu ration name will flash between a grey and a white back ground The currently loaded configuration if there is one currently loaded will have a black background 4 6 Locked Unlocked Figure 4 4 Locked and Unlocked Word Clock To preview the available configurations l Make sure that the configuration selection con trol is selected You will know when the control is selected because its title bar will turn blue Otherwise it will be yellow 2 Use the Up Down or buttons to cycle through configurations 3 To cancel configuration previewing press the cancel soft button Increment Decrement the available Note To load the configuration currently being pre viewed press the enter button A DSP card is configured when a configuration is loaded To load a configuration 1 Make sure that the configuration selection con trol is selected You will know when the control is s
23. conira should be 100 w et end ihe level of the sends will determine the proximity effect Fast dense ambient otiock Reverbereni choracterstics af a Large Hall Number Name Algorithm B Pl Wer LS Ambience Plate BS P2 Lage Ambience Ambience B P3 Medium Ambence Ambienze B Pa imal Ambbence Ambienze BS PS Strong Ambience Ambience B P amp Heaw Ambience Ambience B P7 Ambient Hall Ambience BS PA Annmnouncer Ambience B P7 Close Ambience B PO Goled Ambience Ambience Add a very useful ambien spexciousnaess too dry announcers dialog track Juss os you would magna it even feels cramped Very strong ambience with fes decoy jus add your favorite snare drum Appendix ereo Bank 10 Wild Spaces Number BIO BID BID BIO BIO BIO BIO BID BID BID F P2 P3 Pa PS P P PE P PO Name Breck vell Buckrcm Bag Boitom zu H Saw H Cant Cricket Sica Beads Long Shadow Ricochet Algorithm Ambienze Ambience Chamber Chamber Ambience Revere Ambienze Chamber Chamber Chamber Lexicon Inc Stereo Unnatural and Effect Spaces Description Brick Wal asin nunning info rather Than sounding similar to This program can bes be described os a suele gated Inverse room but is realy much more Unike most gated reverb effec thi one s usefulness exfenck well beyond drum unda Try this on a wide variety of material Buckram isa variation of Bri
24. is a smaller werson of Macium t5tage B3 Pa hBriesage Hal Random Hall Medium sied brighi state ond a tary large hall B3 Pi mall MT Stage Rondom Hall Empty performance space wilh an empty shoga B3 P Recital Random Hall amp mall ta mediurr sized empiy recited hall Useful for pieno B3 P7 Front Row Random Hall Achust reverb and ambience levels to bing yourself coger tc or farther from the stage B3 PA Bagh Saga Random Hall Acdiust reverb and ambience levels te bring yourself doser ic or farther from the stage B3 Pis Big Stage Random Hall Eady reflections mimic a very large stage oreo and reverb supplies the large hall around it B3 PO Ailt Rondom Hall Stage with a backw all redaction rem the man body of tha com Smaar to a scheds muli pumose rom Slereo Bank 4 Chambers Stereo Chambers Number Name Algorithm Description B4 Pl Medium Chamber Charmer A mecum szed empty chamber with reflective walls anid about one second MidkT B4 P snare Chomber Chamber Smolen in see than Medium Chamber and about 1 2 second KGART Ae ihe name suggests useful bor smare drunns Ba Pa Mink Chamber Chamber amig to Snare Chamber but even smaller B4 P SM Brite Chamber Chamber Medium sized but wilh a shortened MIHRT and seme added reflections B4 PS Soft Chamber Chamber Medium sed cio 1 2 second Mecht and the highs rolled off te soften tre reverb B4 PA LS Brite Chamber Chamber Large see sailing abou 1 5second MIdRT amd sone added reflect
25. is shl more matura than a wll gate B4 P7 Sap Chamber Surrounc homer Mice for adding strength Sap delays ere up front Use Jewshick fo change effect B4 PS Buck n Chamber Surround chamber Thk is a gale typae effect Hold ont Bd Ps OR the Back Wal Ambient Chamber Much movement fram front to back This program s useful for Eve concert amb9iencas esw el as dramatic sngular effects Ba PO Hotel Foyer Ambient Chamber This airy aca is ke he maaium azed redacztive lobby in many hotels A 6 960L Surround Bank 5 Stage Chambers Name Lage Chamber Med Chamber Smal Chamber Big Empty Church Algorithm Ambient Chamber Ambient Chamber Ambient Chamber Ambient Chamber Appendix Surround Chamber Ambience Description A Large recital hal wh a soge Medium sized ambience up front with eeout a 1 75 second MdRT seting make this ke a 4020 seat recited hel Smuall sised ambient reflections coupled with a chamber rewaerb give ihi Program an intimate feel Good for ndividual acoustic instruments Large ambience up front with long Asch settings emulate o high ceilinged ater and large rewerberant seating area Med Yocd Church Brighi Froni Ambient Chamber Ambient Chamber Large ambience in freni spreads out early reeche Lenck a nice doubling effect to fatten up sources Lech for choin and back up vocas Smaller bighi ambience in foni w h dark reverb space Bright kea Ambient Chamber
26. like legato strings or pink noise we perceive these fluctuations as an enveloping room impression The time delay of the reflec tions does not matter very much as long as they are longer than about 10ms Below 10ms there are severe combing effects we will try to avoid in this discussion But most musical sounds and all speech sounds are not con tinuous To understand what happens with speech or music we must learn how the brain separates sounds into streams Streams are the perceptual equivalent of musical lines Sentences from a single talker form a stream A stream has in general a specific source and a single continuous semantic content However the streams themselves are not continuous at all in music the streams are composed of notes in speech streams are composed of phones lit tle bursts of sound roughly equivalent to syllables When we hear a string of phones our speech apparatus goes into high gear First we must separate the phones one from another then we must use frequency and time infor mation to assign an identity to each phone at which point the phone becomes a phoneme the basic building block of speech From phonemes to words from words to sentences from sentences to meaning all seemingly effortless and automatic our brains decode the spoken word he perception of envelopment is a useful by product of stream formation To form a foreground stream the brain must separate the sound events related to
27. loaded the DSP card is partitioned into four independent stereo machines Machines one and two are cascaded where the outputs of machine one as well as being routable to any physical output are fed directly into the inputs of the second machine Machines three and four are cascaded also This configuration is similar to the cascade configu ration of the 480L In a cascaded configuration the unpanned outputs of the first machine are fed into the inputs of the second machine at full level That is why the second machine does not show any controls on its input page 4 8 Figure 4 11 44 1 48kHz Four Stereo Configuration four machines available With the Four Stereo configuration loaded the DSP card is partitioned into four independent stereo machines Each machine has independent stereo inputs and inde pendent stereo outputs THE FIVE IN FIVE OUT AND TWO IN FIVE OUT CONFIGURATION Figure 4 12 44 1 48kHz 5 In 5 Out and 2 In 5 Out Configuration two machines available With the 5 In 5 Out and 2 In 5 Out configuration loaded the DSP card is partitioned into two independent multi channel surround machines The first machine has five inputs and five outputs and the second machine has two inputs and five outputs The inputs of the two machines are discrete and the outputs are combined The output levels of each machine can be adjusted on the machine s output page Also there is an LtRt mix of the five outputs avail
28. multiple horns in sections Number B Fi B P2 B PS B Fa B PS B P B FP B FPS B P7 B FO Rock n Echoes Lulu s Room Bogy 5 Place Surrounzad Chamber Sumoond Ambiance Surround Chamber Mulige echoes make this program good for dramatic effects Ako toed for screamin lead guitar soles Maedium szed room wih heavy early reflections Good for Ledie cabinets Reverb adds body while ambient reflections keep source changes eistinct Open lag space with bots of amp ne Italian fe and not much cerpetinag A Appendix Surround Bank 7 Plates 1 Number Mame B Pi Large Plate B P2 Medium Plata BY P3 mall Plate B Pa Drum Plate B PS Dresser Plate B7 P Wovey Plate B P7 Percussion Plate B PA Won Plate B7 P Long Brite Space B PO Plated Gale Surround Bank 8 Plates 2 Number Mame BR F A Plate BB P2 ingre Plate Ba PA Thin Plate Ba Fa Pat Plate Be PS Echo Plate A 8 Algorithm Surreuncd Plata Surreunc Plate Sumon Plats Suround Plate Sumoond Plata Surround Plata Sumound Plate Sumounad Pata Surround chamber Sumoona Plate Algorithm Surround Plata Surround Plate Surreuncd Plata Surrounc Plate Surmound Plate Lexicon Inc Surround Plates Description A shondard lange plate Plenty of sizzle This program is great on pop vecas and guitars Larger version of Small Plate Useful on most sources Very small and short Useful en just
29. reflections that appear in the first few hundred milliseconds of the reverberation process These early reflections become part of the direct sound without coloring it giving it better blend and a def inite position in space and conveying the impression of a hall surrounding you while the music is playing It lends warmth spaciousness and depth to a performance When a signal is supplied to a single input of Surround Ambience for example the left front the program gen erates early reflections first in the front left and right output channels If the FSLevel control is set to maximum reflec tions are then generated in the left rear and right rear out put channels FSLevel and FSRolloff control the relative level and frequency response between the front early reflections and rear early reflections In a large room the rear early reflections could be perhaps 3dB less in total level and somewhat more rolled off in frequency response However it is unlikely that these differences are audible in practice When a signal is supplied to a rear input for example the the Left Surround input the primary early reflections will come from the left surround and right surround outputs and FSLevel and FSRolloff control the level and frequency response of the early reflections that come from the front Thus with surround ambience the amplitude and frequen cy characteristics of a large room can be generated The Ambience algorithm is very usefu
30. selected a parameter before you get fo this screen Ever P 156088 Amar Fall EK kr LITT TI Figure 4 39 Edit V Page screen programming faders 4 20 960L Operations in Detail e Press the J Stick soft button to view a numbered list of the two joystick axes and their assigned parameters Fig 4 40 To assign your selected parameter to a joystick axis type the axis number on the Numeric Keypad OLGORITHH PARAMETERS Sea BART Teal 2 8 Fr Feli 4 B He Rublu Thaps dote ici BassXDA EH EK APral Drm Efil de BybPraD Hee EIEH Note You must already have selected a parameter before you get to this screen EDERT Ve 10098 Asar Fail Figure 4 40 Edit V Page screen programming the joystick e Press the Select soft button to view up a num bered list of the algorithms applicable to your cur rent configuration Fig 4 41 If you select an algo rithm here by typing its number on the Numeric Keypad a default Program will be loaded that is Typical for that algorithm ALOORITHE PARAMETERS HART AL FrRub Fr F i d FA Hr Dir Few E x Sei 14 Shae EE a RDUM ECKER Surf hour hamba ETE dguilip marinis go do Te CPi arabe SurraunadFi aba BSurrcujnsd Rewsr zs PST rd a Dal ay Note This is a regular Program load and will destroy any parameter edits or V Page creation you have done if you have not previous
31. sound bursts of finite length that is perceived and the behavior of the reflections can be quite different when the sound event is short compared to when the sound event is long Notes which are shorter than the time constant of the reverberation RT 7 will excite the reverberation less strongly than longer notes There is another peculiarity of background envelopment It depends on the absolute level of the reverberation and not the direct reverberant ratio If we play the music loud er the reverberation will be louder and the sound will be more enveloping Thus when we mix for envelopment we must be very careful about our monitor levels and aware of how loud the critical customer will play our mix The perception of background envelopment depends on the same fluctuations in interaural time delay that cause the sense of distance But the background is only detect ed when the direct sound has ceased and only reflec tions are hitting the ears Thus if the reflections come from all around us the fluctuations and the sense of envelop ment will be maximum If reflections come only from the front we will not get much envelopment at all 5 5 Using the Reverb Programs Lexicon Inc The perception of envelooment requires that the interaur al time delay and level differences should be fluctuating In a small relatively dead room the only way these differ ences can fluctuate is if you have at least two sound sources and the rel
32. source is internally generated and that the 960L is locked to that clock source If the Word Clock were external via either the AES input 1 2 or the BNC Word Clock input the padlock symbol would show the state of Word Clock lock If lock was lost the padlock box would flash red and the 960L outputs would automatically mute The Machine Status Display is also present in all screens In Fig 2 4 we see that the 960L is configured as four machines and that Machine 1 is currently selected for editing Here we see e Machine 1 isa 5 In x 5 Out machine on the first DSP card e The state of the Mix and I O parameters for the machine we are editing The Joystick Status Display is also present in all screens In Fig 2 4 it gives the joystick position and the resulting Shape and Spread values The parameters currently assigned to the joystick and their settings are listed in two boxes to the left of the Joystick Map The small colored dot at the center of the map shows those parameter set tings graphically The dot is red if the joystick is not active and green if it is The cursor shows the joystick s current position Pressing the JOYSTICK Button on the LARC2 con trol surface sets the parameters to the joystick s current position and activates the joystick The V Page legend in the Joystick Status Display indicates that the joystick is set to a V page or virtual page a Program or Register specific collection of parameters and setti
33. special effects it is recommended that this control be set to a high value Early or Reflection Delays In many real spaces distinct reflections and echoes are an important part of the sound so many of the 960L s reverbs have reflection delay and echo paths with appro priate controls The Early or Reflection Delays set the delay time For example dLF gt RS is the delay time in a path from the Left Front Input through the diffusor through a delay of dLF gt RS duration and finally to the Right Surround Output Each of these delay paths has its own level control The level of the example delay path is set by the related control LVLF gt RS 5 11 Using the Reverb Programs Lexicon Inc Parameters Used in the 960L Algorithms cont EchoL EchoR EchoLF EchoLS EchoRF EchoRS EChoMST EDIyMST ErlLvl ErlRoll FbckL FbckR FbckLF FbckRF FbckRS FbkMST FrRoll FrRvb FSDly FSLvI FSRoll 5 12 Echo Duration Some reflection delays have echo capabilities These appear as part of the input path echoes are passed to the reverberators as well as the reflection outputs Also echo signal is fed back through the input diffusors This means that each echo will be more diffuse and spread than its predecessor The control EchoLS sets the duration of an echo that is a feedback path on the Left Surround Input and FbckLS sets the amount of feedback for that path Any echo pattern set with EchoLS and FbckLS
34. than about 15ms from the direct sound begin to interfere with localization and can cause comb filtering and timber alteration Reflections that arrive more than 50ms after the direct sound can be heard as separate sound events and can cause serious problems with intelligibility Thus if we add reflections to the left and right front speak ers and the left and right rear speakers and adjust the time delay so these reflections occur between 15ms and 50ms we can move the vocals out of our center speaker The vocals are pushed back into a space behind the front speaker array It seems magical we are increasing the perceived distance to a source in the center speaker by adding reflections to all the other speakers EXCEPT the center speaker yet this is the result of some very simple psychophysics Remember that we are not perceiving the individual reflections separately we are only perceiving their ability to mess up the localization of the direct sound Because there is no actual perception of the reflections themselves the distance perception perhaps the room perception would be a better description is bound to the direction of the direct sound If the direct sound comes from the cen ter speaker the room impression seems concentrated in the front of the listening space even though the reflec tions that produce it are coming equally from the front and the rear Switch the direct sound to the left rear and the room impression
35. the suriaces are herd The program uses the Ambience caagonihm tor Feley applicatsons Moving Amb3k from amp s 1 584 setting wil cause fhe ambiance bloom fo open up Varving Mik from 16098 w et wil present the cary delay inte the audio path Hot infine A werywam vary long rewerberant wash trat makes a greot iade Unike infinite he inputs are alw cms active Take a pair of headphones remove the elements and rapicxze them with chfusor panels spaced IO from your ear Row hold a Asus panel above your head This pregnroam eliminates the need for you to look as though you are communicating wilh abens Use oggrasiively It s big real bag A standard unlined wooden modal 960L Appendix Specifications 960L MAINFRAME GROUP DELAYS MILLISECONDS 44 1 kHz 48 kHz 88 2 kHz 96 kHz ANALOG INPUT Connectors Eight Female XLR A D 1 44 1 33 0 81 0 74 Impedance SOK Ohm balanced A A 242 223 1 80 1 66 Level for O dbFS 24dBu Freq Response 48K 20Hz 20KHz 1 dB D A 1 57 1 42 1 35 1 25 Freq Response 96K 20Hz 40KHz 1 dB D D 0 54 0 50 0 36 0 33 A D Conversion 24 bits 128x oversampled SYNCHRONIZATION A D Dyn Range gt 110 dB 20 20kHz TTL Word Clock Input 5 Ohm BNC THD 00276 self terminating loopthru CMRR gt 50dB TTL Word Clock Output Low Z BNC Crosstalk 1Khz lt 100qB Falling edge marks start of frame ANALOG OUTPUT Connectors Impedance Level at O ABFS Freq Response 48K Freq Response 96K D A Conversion D
36. to radio or television reception which can be determined by turning the equipment OFF and ON the user is encouraged to try to correct the interference by one or more of the following measures e Reorient the receiving antenna e Relocate the computer with respect to the receiver e Move the computer away from the receiver e Plug the computer into a different outlet so that the computer and receiver are on different branch circuits If necessary the user should consult the dealer or an experienced radio television technician for additional suggestions The user may find the following booklet prepared by the Federal Communications Commission helpful How to identify and Resolve Radio TV Interference Problems This booklet is available from the U S Government Printing Office Washington DC 20402 Stock No 004 000 00345 4 Acknowledgements Dolby Dolby Surround Pro Logic and Dolby Digital are trademarks of Dolby Laboratories Super Audio CD and SACD are trademarks of Sony Electronics Inc THX and Home THX Cinema are trademarks of Lucasfilm Ltd H A4 LexiconLogic and 3DPM are trademarks of Lexicon Inc Logic7 Lakon Ing i Tal 731 289 0200 werw LEON CONT 3 Ok Pak l Fax 8 HG l amal inigzi exicon com BA Hana nml aray Bo lod WA 01730 USA Customer agpcgi Pa 781 2X7 10 00 Lexicon Part No 070 14345 filler e Rev 2 0 2000 Lexicon Inc All Rights Reserved Printed in the United States of America 96
37. to 16 channels of physical input consisting of analog and or AES EBU digital Each DSP card supports 8 inputs Each of these 8 inputs on the DSP card can be sourced from any of the physical inputs on your 960L If a second DSP card is installed in your 960L the outputs of one DSP card are available as inputs to the other DSP card allowing you to cascade from one DSP card to the other Input routing is performed on the same screen as the con figuration selection discussed in the previous section Each DSP card input source is determined by selecting the input type AES analog the outputs of the other DSP card OFF etc and the channel of the selected input type For example on a 960L with a single DSP card and two AES EBU digital I O cards installed the available types will be OFF AES 1 and AES 2 To mute a desired DSP card input simply select OFF as the input type for that DSP card input Each configuration available in the system has its own input routing that is saved with the configuration When a configuration is loaded the last input routing used for that configuration is restored Any change to a configuration s input routing is automatically saved with the loaded con figuration To route an input l Load the desired DSP configuration See the sec tion on configurations if you are not sure how to load one 2 After the configuration is loaded press the Right arrow to scroll to the input routing control shown
38. to Floppy When 2 is pressed the contents of Register Banks 101 110 are written to the floppy disk For safety the user is prompted before the load is executed 3 Format Floppy When 3 is pressed the floppy is formatted in IBM 2HD format For safety the user is prompted before the format is executed 4 Clear Floppy Banks When 4 is pressed Register Banks 101 110 are cleared For safety the user is prompted before the clear is executed he files written to the floppy disk can be read and archived on any PC running Windows 95 98 or NT BAK CATEGORY Halls 1 2 Halle 4 3 lzgesChambar PROGRAM Larga Hali Mad Langa Hal Med Ghomber THE CD ROM Software updates will be made available on CD ROM Instructions on how to load from CD ROM will be provided MACHINE MODE If the 960L is configured as multiple machines which can be seen from the bottom line of the System Status Display pressing the MACHINE key on the LARC2 s Control Surface will show you which Program or Register each machine is running Fig 4 46 The currently selected machine will be highlighted in the list in the Main Operating Display and in the System Status Display To switch to a different machine enter its number on the Numeric Keypad or scroll up or down with the Numeric Arrow keys to select it and press the ENTER key The fader and joystick assignments on the V Page will then change to those for the machine you ve sel
39. will be heard in the surround reverb field and also in any reflection delay whose source is the Left Surround Input Echo Master Delay multiplies all echo delays by a percentage This allows this single control to scale a complicated echo pattern Early Master Delay multiplies all reflection delays by a percentage For example if Left Surround Delay is set to 24 msec and EDIyMST is at 5076 the actual Left Surround Delay time will be 12 msec and that figure will appear on the display This allows this single control to scale a complicated reflection pattern Early Level Master multiplies all individually selected early reflection levels by a percentage This allows this single control to set the overall level of a complicated reflection pattern Early Rolloff controls the cutoff frequency of a dB per octave low pass filter on the output of the early reflections Echo Feedback Some reflection delays have echo capabilities These appear as part of the input path echoes are passed to the reverberators as well as the reflection outputs Also echo signal is fed back through the input diffusors This means that each echo will be more diffuse and spread than its predecessor The control EchoLS sets the duration of an echo that is a feedback path on the Left Surround Input and FbckLS sets the amount of feedback for that path Any echo pattern set with EchoLS and FbckLS will be heard in the surround reverb field and also in any reflection delay wh
40. 0L Introduction Table Of Contents Section 1 The Mainframe Description 424 6 varier en 209 0 XP areis NG DAANG WA 1 3 PDOUT TINS FOOL 4b kaba bed m Eo a a Baha Baasa 1 3 Unpackipg IME Fol iu odia ad age slc DR tcs 1 3 The Rear Panel 0 cece eee ees 1 3 JO Clock Card 6 64 244 4 649458 044060545 4002 1 4 Remote Control Connectors 1 4 OPHION FOl PAT 1 4 Analog Input Card WEEN 1 4 Analog Output CAD BEE 1 4 RESON AA 1 4 Mains Power SWICK ca na maa 00 48 deduc a ra eae 1 4 Mains Voltage Selector 1 4 IEC Power CONNeECtOF gi ERR NG wees 1 4 The Front Panel cee ee ee eee 1 5 Floppy ABA eed mous RSS x sere oo cacwa ere 1 5 TUMOSI O Wo os oud ame oak RESTCPEPISa SS 1 5 Standby Switch and Indicator 1 5 Behind the Front Panel 1 6 SPEC ONG EE 1 6 Ee er er eee ee ee eee 1 6 Installation llli 1 7 Moumtmg a 1 7 Clee AA AA AY 1 7 POCONOS AAP AY 1 7 IEC Power CONNECIO umapaw bak aede od Ji ee 1 7 Analog Audio Connections 1 7 Digital Audio Connections 1 8 MIDICONNECIIONG 26564440 acne KI ec 1 8 Word Clock Connections 1 8 Section 2 The LARC2 Remote The LARC2 Remote 0 0 00 ee eee 2 3 About the EEN 2 3 Unpacking The LARC2 0 ec ee ee ee 2 3 LARC2 Control Sutoce aaea 2 4 Getting What You Want 2 5 LARC2 Connections
41. 10 e Control the overall shape and density using Shape Spread and Size 960L Using the Reverb Programs PARAMETERS USED IN THE 960L ALGORITHMS Parameter AmbPreD AmbSize Amb Lvl BassMult BassXOV Contour CirRvb Definition Diffus dL gt L dLS gt RF dR R dLS RS dL R dRF LF dR gt L dRF gt LS CLF gt LF dRF RF dLF LS dRF RS dLF RF dRS gt LF dLF RS dRS LS dLS gt LF dRS RF dLS LS dRS gt RS Description Ambience PreDelay Ambience only controls the time of a predelay that precedes the early reflec tion ambience component of Stereo Ambience In the same algorithm RvbDly controls the pre delay that precedes the reverberation component Ambience Size scales all the delay elements of the early reflection and early energy components of Ambience and Ambient Chamber algorithms To keep the early reflection energy within the 15ms 50ms window this control should be set no higher than about 6 or 7 Ambience Level sets the overall level of the early reflection and early energy components of Ambience and Ambient Chamber algorithms Bass Multiply controls the low frequency reverberation time relative to MIdRT If for example Bass Multiply is set to 2X and MidRT is set to 2 seconds the effective low frequency RT is 4 seconds For natural sounding results use settings of 1 5X or less Note that values less than 1 0X produce a low frequency RT that is shorter than MidRT Bass Crossover sets the fre
42. 6 channels of physical output consisting of analog and or AES EBU digital Each DSP card supports 8 outputs Each of these 8 outputs on the DSP card can be routed to any of the physical outputs on your 960L If a second DSP card is installed in your 960L the card s outputs will be available as inputs to the other DSP card allowing you to cascade from one DSP card to the other Output routing is performed on the same screen as the configuration selection discussed in the previous section Each DSP card output destination is assigned by selecting the output type AES analog OFF etc and the channel of the selected output type For example on a 960L with a single DSP card and two AES EBU digital I O cards installed the available types will be OFF AES 1 and AES 2 To mute a desired DSP card output simply select OFF as the output type for that DSP card output Each configuration available in the system has its own output routing that is saved with the configuration When a configuration is loaded the last output routing used for that configuration is restored Any change to a configura tion s output routing is automatically saved with the loaded configuration Operations in Detail Lexicon Inc EE When a second optional DSP card is installed the output 4 Use the Up Down Arrow keys to scroll to the out routing control will appear slightly different With a second put type box on the selected DSP channel The DSP card in the sy
43. 60L loading the effects you want To simplify the selection of an appropriate effect the 960L programs are organized as 24 Banks of up to ten related effects see the Appendix for Program Descriptions There are 100 Banks available for Registers and 10 Banks for Floppy storage and retrieval Loading Programs When you first install the 960L it will contain only factory Programs There are several ways to select and load Programs The simplest is designed to be familiar to users who know the Lexicon 480L e Press the PROGRAM key then the BANK key to bring up a list of Program Banks Fig 4 1 e Scan the list of Banks to find one you want e g Halls e Select that Bank by entering its number on the Numeric Keypad or by scrolling to it with the Navigation Arrow keys Yellow shows that this Selected Bank and menu is not in focus ETENLTTTE Halls 2 3 Stage Hall Lera Ha g Program are highlighted EH m Li O gem AF T E Z k TZ Es m m C s8 IG NLA T CHICOT 7 and FROG EU LM rM NCMO d eie inu a ite e Press the PROGRAM key to get to the list of Programs e Select the desired Program by entering its number on the Numeric Keypad or by scrolling to it with the Navigation Arrow keys and pressing the ENTER key Nolte When you change Programs the display will change and the motorized faders will move to the positions corresponding to that Program s para meter settings If you alre
44. 960L With Ext Power Up fo100 feet Up tfo1 000 feet POWER Requirements 12 VDC 2 A max DIMENSIONS Size 12 7 L x 8 25 W x 5 0 H 323mm x 210mm x 127mm Weight 4 lbs REGULATORY APPROVALS FCC Class A CE EN55103 1 EN55103 2 TUV EN60065 ENVIRONMENT Operating 5 to 40 C Storage 30 to 70 C Humidity 95 Max non condensing 960L Appendix Lexicon Inc Product Warranty Lexicon Inc offers the following warranty on its products Duration of This Warranty This warranty will remain in effect for one 1 year from the date of original purchase Who May Enforce This Warranty This warranty may be enforced by the original purchaser and subsequent owners during the warranty period provided the original dated sales receipt or other proof of warranty coverage is presented when warranty service is required What Is Covered What Is Not Covered By This Warranty Except as specified below this warranty covers all defects in material and workmanship on this product The following are not covered 1 Damage resulting from Accident misuse abuse or neglect Failure to follow instructions contained in the Owner s Manual Repair or attempted repair by anyone not authorized by Lexicon Inc gt Failure to perform recommended periodic maintenance Causes other than product defects including lack of skill competence or experience of the user mage occurring during any shipment of this product Claims for shipping damag
45. A Dyn Range THD Crosstalk 1kHz A A PERFORMANCE Freq Response 48K Freq Response 96K Dyn Range THD DIGITAL AUDIO IO Connectors Format Word Size SAMPLE RATES Internal Accuracy External Lock Range Eight Male XLR 50 Ohm balanced 24dBu 20Hz 20Khz 1dB 20Hz 40Khz 1dB 24 bits 8x oversampled 44 1 48kHz 4x oversampled 88 2 9 6kHz gt 110 dB 20 20kHz lt 002 lt 100dB 20Hz 20Khz 1dB 20Hz 40Khz 1dB gt 107 dB 20 20kHz lt 002 Four Male XLR Outputs Four Female XLR Inputs AES EBU 24 bits 44 1 48 88 2 9 6kHz within z10ppm 44 1 48 88 2 9 6kHz 1 CLOCK JITTER Intrinsic Jitter Gain Exceeds AES3 Amendment 1 Exceeds AES3 Amendment 1 CONTROL INTERFACES LARC2 Ports 2 MIDI In Out Thru supports program change ALGORITHMS Ambience 48K Stereo amp Surround Chamber 48K Stereo amp Surround Plate 48K Stereo amp Surround Reverse 48K Stereo amp Surround Random Hall 48 96K Stereo amp Surround Ambient Chamber 48K Surround STANDARD HARDWARE CONFIGURATIONS DSP CPU Card Compartment One System CPU Card One Reverb DSP Card Two Spare DSP card slots One MIDI Card Standard I O Card Configurations Option A Analog Input Card Analog Output Card AES EBU Digital I O Card I O Clock Card Spare I O Card slot Option B AES EBU Digital I O Card I O Clock Card Three Spare Slots Hard Disk 3 5 Floppy Disk Drive CD ROM Drive Storage Media Appendix S
46. AIN ANY COMBINATION OF THE FOLLOWING CARDS ANALOG INPUT CARD The 960L s analog audio input card has eight female XLR connectors all electronically balanced For impedances and signal levels see the Product Specifications located in the Appendix Section of this manual ANALOG OUTPUT CARD The 960L s analog audio output card has eight male XLR connectors all electronically balanced For impedances and signal levels see the Product Specifications located in the Appendix Section of this manual AES I O CARD The 960L s digital audio inputs and outputs are com bined on one card holding four XLR two channel female connectors for AES input and four XLR two channel male connectors for AES output Mains Power Switch This switch turns the power in the 960L completely off or on Mains Voltage Selector If your 960L is equipped with a mains voltage selector switch before connecting the Mainframe to power mains make sure the setting matches your local mains voltage Refer to the Installation guidelines on p 1 7 for more information IEC Power Connector Accepts IEC power cords with mains plugs specific to your country 960L The Mainframe THE FRONT PANEL Floppy Drive This is a 3 5 High Density IBM Format compatible floppy drive This is primarily used for saving user Registers Thumbscrews To gain access into the front section of the chassis unscrew both thumbscrews and lower the hinged panel 960L DIGITAL E
47. Commands X X AUX Local ON OFF X X Messages All Notes OFF X X Active Sensing X X System Reset X A Notes Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO O Yes OX Selectable Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO X No Common Problems and Their Solutions My 960L will not power up when press the stand by switch on the front panel Make sure that the main power switch located on the rear of the 960L is in the on position If not set the main power switch to the on position and press the standby switch on the front panel of the 960L The 960L should then power up I m having trouble seeing my LARC screen Try adjusting the LCD contrast by turning the con trast knob located on the rear panel of the LARC2 Im running a cable length greater than 100 ft between my 960L and LARC2 and the LARC2 does not function properly A cable length greater than 100ft between the 960L and a LARC2 requires that the LARC2 be powered by an external power supply in order to function properly My 960L seems to be running very hot Verify that the system fans are running and that air filters are not blocked Check the fan mounted on the processor of the Main PC card and the fan mounted on the right side of the chassis Verify that they are not spinning in slow motion or not spinning at all Additionally the filter for the fan mounted on the right side of the chassis should be clean and dust free Remove the filter periodically
48. FFECTS SYSTEM Figure 1 2 Front panel closed Standby Switch and Indicator This switches the 960L between on and standby the indi cator LED lights when the unit is on When your 960L is in standby the power to most circuitry is removed To completely disconnect power from the 960L either turn off the power by using the switch located on the rear panel of the 960L or unplug the power cable from the wall outlets 1 9 The Mainfr ame Lexicon Inc BEHIND THE FRONT PANEL DSP Card Slots CPU Card The 960L comes standard with one Digital Signal Processor NLX type montherboard DSP card and support for an optional second DSP card a CAUTION IMPORTANT The motherboard has a lithium battery Lithium is a Do not plug any cards into these slots except hazardous substance The battery should be those made by Lexicon for the 960L replaced only by qualified service personnel and Se disposed of properly Card slots for DSP cards The cards can be removed for service when instructed by Lexicon Customer Service 7 E P pi a N HJ O E at m m Hu i LN RA Floppy drive for CD ROM drive for Reset Standby saving registers software upgrades Switch switch Figure 1 3 Front Panel Open 1 6 960L The Mainframe INSTALLATION Mounting Use a flat screwdriver to move the switch to the desired The 960L mounts in stationary racks with four screws Make sure the 960L Mainframe i
49. Hal m Use Baiki O 25 ages He p User Bank 2 a itage Hall Ny Stage Halls Wal 3 Small StagetHal User Bank 4 4 Brite Stage Hall User Bank 5 KA 5 Small NT Stage R EGIS s 3 Verb Behind reu n Front Row a Bright Stage Figure 4 2 Register Load Screen Alternative Loading Techniques e You can use the Left Right Navigation Arrows to move between Banks and Programs or Banks and Registers e You can use the buttons or the Up Down Arrows to scroll through Banks e You can use the buttons or the Up Down Arrows fo scroll though Programs and Registers Press the ENTER key to load the Program e You can repeatedly press BANK PROGRAM or REGISTER to scroll through the Banks Programs and Registers 4 4 Programming Machines Depending on the configuration see below the 960L can be used as one two or four processing machines per DSP card The number of machines available in the current configuration is shown on the Machine Status Display The machine whose settings you are currently altering is highlighted Machines that are muted have a blinking red M super imposed on their machine number You must program each machine individually To switch to a different machine press and hold the MACHINE key then enter the desired machine number on the Numeric Keypad 960L Operations in Detail CONTROL MODE The LARC2 s CONTROL key provides access to the 960L s Word Clock inp
50. ING lt a4 2 4 44 6n0usenond EE 6 4 Bank and Program Mapping s 6 4 Card Configuration llle 6 4 Continuous Controllers eee eee 6 4 MIDI SYSEX 6 5 MIDI Implementation Chart 6 6 6 1 MIDI Lexicon Inc 6 2 960L MIDI MIDI The MIDI implementation for the 960L is very basic Since the implementation is fixed there is no user interface for modifying it Nomenclature Numbering in MIDI i e channel number program num bers etc can be confusing since some sources start counting from zero and others start from one This descrip tion will start from zero If for example your MIDI con trollers lowest channel number is 1 rather than 0 you should add one to the values found in channel table below MIDI Channel Allocation The 960L uses a fixed channel allocation All channels are used or reserved which means that 960L should be the only device on its MIDI cable Program change for machine 2 if present in current configuration Program change for machine 3 if present in current configuration Program change for machine 4 if present in current configuration Program change for machine 5 if present in current configuration Program change for machine 6 if present in current configuration Program change for machine 7 if present in current configuration Program change for machine 8 if present in current configuration Channel Usage
51. S B PO Gutter Chamber Chamber Drum Chamber Chamber Pulot Chamber Vocal Breeze Chamber Snare Stramer Ambience Mame Algorithm Large Room Random Hall Medium Room Random Hall Smal Room Random Hall Very Small Random Hall Large Wow Room Random Hall Small Wes Room Random Hall La Brite Room Random Hall Mech Brite Room Random Hall Small amp Bright Random Hall Music Club Fandom Hall Medium chamberwith some complementary reflections Useful gor coco sho guitars Medium chamberwith some complementary reflections Useful for drums very small ambient rflectons give the mmectote sound of beng under ihe canopy of a pulpit wih the rewarberant paca of fhe church around you Strong large ambience with rewarb gives an cay qualify fo vocals Use serinag y fer natura effec Useful for adding more stfreimer lo a gare That is oll attack aereo Rooms Descriplion Large Room resembles a qgood szed lecture mam Hp maler than Musc Club ond more colored with comb Ahering and dep echoes Medium Room is a smaller version of Large Room Small Room fs much smaler end less reverberant then the Large and Medium Rooms Eresembles a typical Amerncan living man Very Small Room has ihe intimate close feel of a bedroom or den Large Wood Room is sm dos to Large Room but has a low er Boss Multiply smulating a room wih thin wooden paneling ora cheaply made w amhouse or auditorum Small eod Room isa smaller version of Large Weed Room Simp
52. Stereo Out machine To select a configuration enter its number with the Numeric Keypad or scroll to it with the Navigation Arrows and press ENTER DSP INPUTS To select individual DSP inputs from the available cascade and physical inputs on the 960L use the navigation arrows to position yourself on any of the input selection boxes The top row of boxes selects the input type and the second row selects the channel from the selected input type Use Input Type Input Channel of Selected Type rs Hing pa Ore dindcul Cire H inl out WORDCLK STATE CONFIG the Increment Decrement keys to cycle through the available selections or use the numeric keypad for direct entry Note Cascade inputs are only available when two DSP cards are installed in the 960L Cascade inputs are the outputs of the other DSP card DSP OUTPUTS To select individual DSP outputs from the available physi cal outputs on the 960L use the Navigation Arrows to posi tion yourself on any of the output selection boxes The top row of boxes selects the output type and the second row selects the channel from the selected output type Use the Increment Decrement buttons to cycle through the available selections or use the Numeric Keypad for direct entry 1 ad m Eu EC r Ki NOT ee N Yi EE QUTEUT E ROUTE G E RDiECARDA DSPi1 Figure 3 4 Configuration screen for 88 2 96 kHz clock rate stereo in out selected two m
53. URCE has a blue background The name of the inac tive control RATE has a yellow background If the RATE control was active pressing the Left Arrow would activate SOURCE e Press the number on Numeric Keypad for the clock source you want Refer to Chapter 4 Operations in Detail to find out more about clock SOUICesS e Use the Right Arrow to move to the RATE display e Press the number corresponding to the sample rate you want Note A small padlock symbol in the System Status Display shows whether the 960L is locked 1o the clock source If the 960L is not locked to the selected clock source the padlock box will blink red and the 960L will mute until lock is established RATE ATE al Led EST A J L wesen i WORDCLE SYSTEM CONFIG es E A LE Ti L s Wei t n EE ME EUR o a An 2 kre J 11 B5 L pa e g r n 2502 SH CONFIO z Figure 3 2 Control mode Word Clock selection 3 4 gent Basic Operation Next press the CONFIG soft button to select the inout out 1 Stereo In and Out using up to four machines DUT configuration 2 One machine with 5 channels In and 5 Out and another with 2 channels In and 5 Out Depending on the sample rate and input output configu 3 Two machines each with 2 channels In and ration you select the 960L can be configured as up to four 5 Out virtual machines each of which can be programmed indi 4 Two machines each with 4 I
54. a single source from the total sonic input To do this we must be able to detect when a single phone starts and when it stops Detecting the start of sound events is easy we just look for a rapid increase in level How do we know when one phone stops and another starts There are only two ways possible we can detect the stop of a phone or we can assume it has stopped when we detect the start of anoth er Naturally we do both But if we are to hear back ground sounds at all we must detect the stop of phones before a new phone starts How do you know if a phone has stopped We can do an experiment about a 2dB drop in level in a 20ms time peri od seems sufficient What if the level drops more slowly Experiment shows that even with a slow drop a dB change is sufficient What if the sound drops in level by 2dB and then within 30ms comes back up again This drop could be caused by a low level reflection Its turns out the level rise if it occurs within 50ms of the first drop in level tends to cancel the effect of the first level drop The brain assumes the phone is continuing In general to find the ends of phones the brain looks for a level drop and waits for 50ms to be sure the level stays down If it does the sound event the phone is assumed to have ended Now imagine another simple experiment You are listening to someone talk in a noisy room You can easily understand the person but you are aware of the no
55. able This LtRt mix is a simplified matrix that is compatible with Lexicon s Logic7 format as well as other standard encoding schemes 960L Operations in Detail THE DUAL TWO IN FIVE OUT CONFIGURATION Figure 4 13 44 1 48kHz Dual 2 In 5 Out Configuration two machines available With the Dual 2 In 5 Out configuration loaded the DSP card is partitioned into two independent multi channel surround machines Each machine has two inputs and five outputs The inputs of the two machines are discrete and the outputs are combined The output levels of each machine can be adjusted on the machine s output page Also there is an LtRt mix of the five outputs available This RI mix is a simplified matrix that is compatible with Lexicon s Logic7 format as well as other standard encod ing schemes THE DUAL FOUR IN FOUR OUT CONFIGURATION Figure 4 14 44 1 48kHz Dual 4 In 4 Out Configuration two machines available With the Dual 4 In 4 Out configuration loaded the DSP card is partitioned into two independent multi channel suround machines Each machine has four inputs and four outputs The inputs and outputs of the two machines are discrete 88 2 96KHZ CONFIGURATIONS When the sample rate of the 960L is set to 88 2kHz or 96kHz the following configurations are available THE TWO MONO IN STEREO OUT CONFIGURATION Bu Pi Medium Hall LU CA a aa Tea ee ee PSP d A alten ee ele iit Figure 4 15
56. about any source Very bright this medium szed rever accentuates high end attack transients Short and sweet This ones good for just about anything Medium to large Sge with a modest MidRT setting Good all around percussion plate Large end bright Good pop vocal plata Cawalike good for dremoatic accents er screams Long reverb with bots of motion shortened WERT gives this preset on abrupi cutoff Useful for drums when you wont That seated sound but this is a Elle more natural sounding Surround Plates Description Bosc plate program wh a deg sound Usetul fer every thing from vocas to percussion A rapid buildup ot high frequencies make tha program a favore en snare drums Anothar weriation on fhe plate theme this Program keeps out unwanted low trecquencies Produces the sound of a kanga highly colored plate Like Fat Plate but with echoes 960L Appendix Surround Bank 9 Amblence Surround Halls Ambience Number Name Algorithm Description B P Very Large Amb Sumound A amp mb ence Resesmbles a wary large embient pace that hes more utter than a concert hal or performance space Lowering the Ryb levels reduces the clutter BY P7 Lange Amibience Surmounc Ambience Smi crio Very Loge Ambience but lass spacious Provides Ihe ambience of a lange symmetrical room B PS Medium amp mbsenze Surround amp mbsence Smig to Large Ambience but smaller Lke a large courtreom er a lecture r
57. achines available 3 6 960L Basic Operation 2 Machine Selection In most configurations the 960L gives you more than one processing machine to work with each of which can be programmed individually To select the machine you wish to program use the following steps e Hold down the MACHINE key on the LARC2 s con trol surface e Using the Numeric Keypad press the number of the machine you want e Release the MACHINE key e The Machine Status Display shows which machine is currently selected e Note that you can also select machines in Machine mode see Section 4 for details 3 Program Loading This manual has already used the terms Programs Banks and Registers several times The 960L comes pre loaded with more than 200 factory Programs such as Large Hall and Bright Chamber Each Program is a complete effect that combines a processing algorithm with specific parameters settings plus brief explanatory notes and comments These Programs have been designed with parameters assigned to the eight faders and the joystick for easy rapid control Related Programs are stored in descriptively named Banks so they will be easy to find A Bank can hold as many as ten similar Programs For example the Halls Bank contains reverberation Programs that simulate large spaces while the Plates Bank contains Programs that simulate studio plate reverbs PROGRAN Larae Ha SE eS ee ee 4 pg Large
58. aduated delays widen fhe mage of choir and backing vocal Longe Hall gives pace Use Joystick fo contra the delay image Graduated delays widen the mage of choirs and backing vocal Aiedim sied Hall gives space Use Joyslick to control ihe delay image Medium daensiy short rewarb time Solo or background vocal sound great n here Bright space with about 1 second MIdRT Use Joystick fo regulate the acho component Brighi space with about 2second MIdRT Strong boom end use Spread fo control the event Long MidRT and large Ske w h long echoes a a low level Useful for single sources and dramatic accen affects B2 P2 Med Choir Hal B2 P3 Medium Yox Hal B2 Pa imal Brite Hell B2 PS Echo Hal B2 P Large Brite Hal B2 P7 Sher end Deep B2 P8 Ta mMahalDeep B2 PY Beefy Hal B2 PO Bottom heavy Rendom Hall Rendom Hall Large ste relatively short MIdRT and BassRT setting of 2 5 give ihi rom some bottom Good for drums Large see ond short MiGRT Adds baltom fo Thin source maternal Good for drums Append IX Lexicon Inc Slereo Bank 3 Stage Hall Stereo Halls wih Sage Reflections Number Mame Algorithm Descriplion B3 PI Lg Stage Hall Random Hall amio te Large Hal except that the source 8 placed al ona end of the hall and several pre echoes simulate the effects of a proscenium arch B3 P2 Med Stage Hal Random Halll Mediurm t53age is very smicr fo Large Stage but smaller B3 P3 im Soge H all Random Hall Small Stage
59. ady know the location of the Program you want you can do all this in just a few keystrokes e PROGRAM key Skip this step if going to the last Bank used BANK key Bank Number PROGRAM key Program Number If you don t know the location of the Program you want the procedure is similar except that you can scroll up and down through the list of Banks to find the one you want Blue shows that this menu is in focus Bi E Aeerustie Fill 7 Long Bribe Space 8 Jarz Hall Il a ma Large Hall HU 5 Kay Hall a Chambars ilaga hamba Fader Labels in Scribble Strip are from the currently loaded program 3 Large Church EK H Sraall Church Figure 4 1 Program Load Screen 4 3 Operations in Detail Loading Registers Loading Registers is similar to loading Programs Press the REGISTER key instead of the PROGRAM key This will bring Up a similar screen Fig 4 2 The only differences are the use of the word Register instead of Program and the addition of two soft buttons for labeling Any selection that is greyed out on any screen is unavailable Programs and Registers can be unavailable if they are empty or if they are designed for sample rates and configurations that are not currently selected Lexicon Inc EE Shortcut You can instantly load any Program or Register in the current Bank by pressing the corresponding key on the Numeric Keypad MM 03 R3 5 Small Staget
60. ally via broadcast Even some made for TV programs incorporated surround At least for home video there was now a substantial body of software with a common surround format There was also general agreement on where speakers should be placed three in front instead of two and a pair of sur round speakers on the side walls Home theater began to take off aided by the arrival of comparatively affordable large screen TVs Dolby Pro Logic which added logic steering to the basic matrix decoder and Home THX cine ma which imposed common standards on home sur round equipment Pure audio recordings with matrix sur round encoding began to appear although when repro duced with Pro Logic or THX matrix decoders these recordings could be disappointing 5 7 Using the Reverb Programs Lexicon Inc In the early 1990s Dolby Digital DTS and MPEG surround arrived These systems provided discrete digital signals for each channel and a separate Low Frequency Effects LFE that provided very low frequency sound effects Squeezing 5 1 discrete digital channels into a recording involved some data reduction but the reduction schemes used psychoacoustical principles to make the resulting artifacts less audible Dolby Digital soundtracks were the first to make the transition from movie theaters to the home via laser disc With the advent of DVD whose pop ularity rapidly eclipsed laser discs Dolby Digital and DTS tracks became more widely a
61. also switches to the left rear even without altering the reflection patterns at all Thus for producing the perception of room or depth it is not necessary to have reflection patterns that mimic a particular source position in a particular room It is only necessary that the reflections be primarily in loudspeakers NOT in the same direction as the sound source and that the time delays of the reflections in each loudspeaker should be different This makes our life much simpler we can use a two channel echo send if we wish and control the distance or depth of each sound source by controlling the amplitude of this source in the echo send But distance is not the only perception we need We need the envelopment that makes notes come alive How can we produce envelopment with a 5 1 system Once again the key is the way reflections affect horizontal localization Our brains have an exquisitely sensitive detector for differ ences in sound arrival times between our two ears These time differences are converted into perceived horizontal angles or azimuth In the presence of reflected energy particularly reflections not in the direction of the source the time differences are not constant As reflections come and go the time differences and level differences fluctu 960L Using the Reverb Programs ate with the amount of fluctuation depending on the direction and strength of the reflections When the sound source is continuous
62. and wash it with water and a mild detergent Be sure to rinse and dry it thoroughly before reinstalling My 960L seems to power up but is not operational Try restoring the factory default settings This will restore the I O routings loaded programs and machine global mix and I O settings for each con figuration back to the factory default settings Restoring the factory default settings will not erase the user registers ro bleshooting the 960L RESTORING FACTORY DEFAULT SETTINGS You can restore the factory default settings by fol lowing the procedure below Note Restoring the factory default settings will not erase the user registers 1 Press and hold both the PROGRAM and MACHINE buttons on the LARC2 2 Power on the 960L After a brief period of time the 960L boot menu will appear on the LARC2 display 3 Select option 6 Restore Factory Default Settings by pressing the number 6 button on the numeric keypad on the LARC2 control surface Note Do not select any other menu options unless explicitly told to do so by Lexicon 4 The factory default settings will be restored and the 960L will start How do erase the user registers and restore the factory default settings You can erase all user registers and restore your 960L to a factory default state by following the proce dure below Note You will erase all user registers by executing this menu option Troubleshooting Lexicon Inc ERASING
63. as A 10 Program Descriptions Stereo Banks A 11 BARK rael MEET A 11 BONKA GIS uaque d 9 hoes Gees oes bees A 11 Bank 3 Stage Hall ec ee eee A 12 Bank 4 Chambers 0 0 0c ee eee eee A 12 Bank 5 Stage Chambers A 13 BANKO ROOMS an0so6debe4 60404443244 00 A 13 Bank 7 Plates ee ee eee A 14 Bank 8 Plates 2 sc6 see Siu aad ed A 14 Bank 9 Ambience A 15 Bank 10 Wild Spaces A 16 Bank TI POST It EE A 17 BORK IA POS da har GG Ob oo bo DECRE A 18 Specifications 7a ba wahaaha Ve adag E ND NGA KG A 19 ZOUL Ce Ma e nt A 19 LARC2 Remote 0 0 0 00o A 20 Lexicon Product Warranty A 2 Append IX Lexicon Inc A 2 960L Appendix Banks d 2 3 4 5 A 7 8 5 o 1 Large M cen amal Ate al Large kay Acci Lore Brite Pom Leahey Frill Hali 1 Fel Hat Hal Hel Heil Fal Spcx g amp Hell Church Church 2 Lee Med Chez Med wi Echo Ba small Brite Sof eh Te Moh Bes Bottom Hallsz ChorHal H l Hal Hel Kat Hal ones S Deep Hal Hanc ey wag L stge Medslage Sm State Wie Soe SmelMI verb Behind From Bright Big uM Hal 4 Heil Hell Hal Stexge You Row Stage Stage de Fourie Bright sl Short Tigre Golelw slo BL tk CT Iw Hotel Chamben Chamber Chamber Chamber Chamber Chambe Chamber Chomber Chamber Bock Wal Payer Ba e Lange Mag ndles Big Enly Med ved Big Brain Pulpit Waed Sore gu Chambe
64. ative phase between these sources is fluctuating Ideally these sound sources should be repro ducing decorrelated reverberation The optimum direc tion for these two sound sources loudspeakers depends on frequency Once again below 7OOHz the optimum direction is from the side and as the frequency goes up the optimum angle moves toward the medial plane clos er to the front or closer to the rear Although envelopment can be perceived at all frequen mes Omsec BO meer 5 6 cies psychologically the low frequencies are particularly important For example even in a dead room a standard two channel loudspeaker system 30 degrees from the front can produce envelopment if the sound source is decorrelated and contains primarily frequencies above 1000Hz such as strings or applause But low frequency envelopment the life blood of lower strings and basses is missing Add low frequency uncorrelated reverberation to loudspeakers at the sides and the life magically returns For a more thorough overview of this subject see David Griesinger s web page at www lexicon com links 960L Using the Reverb Programs SOUND IN SPACE A SHORT HISTORY OF STEREO AND SURROUND The earliest efforts to improve sound reproduction con centrated on broadening frequency response and reduc ing distortion and noise But even by the late 1930s it was obvious that eliminating those barriers to sonic realism weren t enough the spatial
65. ays io ihe toni Usei for peco eifecii BIO PS Ekce all Reoamch Surround Plata Set fo sand andividua delays consecutively to each cufput Tha one steris a FL and goes around toa RS Use Joystick fo control dela n and lime BIO P Ekoz ai Round Surround Plate Same os Ekoe all Roundk Gui this one starts at FR and goes around tors Use Joystick fo contra delay gain and tima BID P7 Gaon Cricket Surmeund Ambsenzce Longe ambience setting spaces out sony reflections Use on shert auratien transent materol and these reflections are heard as closely spaced echoes BIO P sica Beds Sorcund Chamber This one iges the line between o reverse reverb a plata ond widely poced ombsant reflections BIO PY Long Shadow Surreuncd Chamber Provides phantomdike reiteraitien ef source end smooths il cut wi h reves Chostly on vocals BIO PO Ricochat Sura md Chomber Ricochet emulates a forly large space with a dangerous dapbeack echo A 9 Appendix Lexicon Inc Surround Stylized Spaces for Post Production Surround Bank 11 Post 1 Environments Number Name Algorithm Description Bll PI Longe Close Surround Chamber Bigwalksn Use Rollo kiHicut and MeckT to fil it up or empty at out Bil Ri Madum Closet Surround Chamber Mediuni med closet Use Roll RtHicul and MackT fo gl up cr empty amp cui Bll Pa imal Closes Surround Chamber amp mall cleses User Rollo RiHicut and MIaRT te fil it ug or empty t out Bil P4 Big Liang Room Surround am
66. ck Wal The difference is that Buckram doesn t sound as dense as the Brick Wall and has a longer reverb tai Big Bottom has a relatively short MidET and a much lenger bass reverb ime This produces a big boom from iow frequency materi whde leaving the high end more or lass untouched This amp useful for adding a kag bas and fom drum sound io an existing mi o to a dnm mashna wh premked stereo outputs 159 43 emulates the sound of an cd drum IF your kacdily lacks an ol gum wired for sound yeu wil be pleased fo discover thal Lexicon has supplied one before you even knew vou needed A mare aggressive oll erum Hang en Large ambience setiing spaces out sory reflectons Use on shiort duration fonden malera and these redactions ere heard as clesely paced echoes The one malas the line between a reverse reverb a plata ond widaly 33aced ambient reflec tons Provides phantom ike reiteration of source end smooths outwith revert Ghosthy on vocals Richechalt emulates a fafi large space wih a dangerous dapback echo 960L ereo Bank 11 Post 1 Number B11 B11 B1 B11 B11 B11 B11 Bl B11 B11 PI P2 P3 P4 PA P7 P amp PY PO Mame Lange Closet Madum Close imal Closet Big Liang Room Lang Room Parler Paolrmam Poolhal Bathroom Big Ballroom Algorithm Chamber Chamber Chamber Ambience Ambience Ambience Ambience Ambience Chamber Chamber Append
67. d numbered channels are on the left channel of each AES stereo pair the even numbered channels on the right The word length is 24 bits at sample rates of 44 1 48 88 2 or 96 kHz To use the digital inputs the 960L can be synchronized to AES input 1 2 or to the TTL Word Clock input Note that all digital inputs must be synchronized to the same master clock for operation without artifacts For routing and panning see Section 4 Operations in Detail 1 8 MIDI Connections Use standard 5 pin DIN MIDI cable assemblies available from your local dealer Chapter 6 MIDI describes the 960L MIDI functionality Word Clock Connections Use standard 75 ohm BNC cobles available from your local dealer The self terminating loop thru TTL input facili tates daisy chained clock distribution The 960L will refer its internal Word Clock to the falling edge of the input square wave The 960L output is a TIL compatible square wave with the falling edge aligned with the start of the 960L sam ple period iMi pag TEE The LARC2 Remote 0 2 02 0 eee ee 2 3 ADOULING ARE sd ccc dade ba dod od eg 2 3 Unpacking Ihe LARC a pa mb aNg Wan NGALANG 2 3 LARC2 Control Surface A A 2 4 Getting What You Want 4 2 5 LARC2 Connections 2 5 MOTEO BEER 2 5 dg Tr oe DOG SEE 2 5 External Power Connector 2 5 Navigating Typical Display Screens 2 6 Ab
68. d to create a bit of space around the original signal Large values of Spread and Shape can create inverse effects see note under Reverse algorithm See also Contour Steering Stereo algorithms only controls a matrix encoder that affects only the reverberant tails This provides a reverberation that will decode into surround without strong early components that might trigger phase correction devices Steering is not continuously variable but offers the follow ing choices Mono Mono sum tail Narrow between mono and stereo Stereo Wide Expanded Stereo Lex LexiconLogic a matrix that includes separate left and right surround signals when used with a LexiconLogic decoder but is also compatible with other commercial matrix codings and with stereo and mono e Matrix 4 2 4 encoding Wander and Spin introduce small random variations within the reverberation continuously altering the reverb timbre to create a more natural sound Spin controls the relative rate of motion and the speed with which changes occur expressed in arbitrary units Wander controls the amount of change At extreme settings these parameters can introduce slight pitch wobbles that are audible in critical material such as classical guitar or piano 5 15 Using the Reverb Programs Lexicon Inc 5 16 MIDI pPT 6 3 NOMPCNICIONUICS PC 6 3 MIDI Channel Allocation 6 3 Programi LOGG
69. ded more and more with close miked multi track techniques that did not capture the original ambience and in studios where there was little or no ambience to capture This accounts in large measure for the popularity of reverb processors such as the Lexicon 480L Even with stereo some spatial elements were missing In real life we hear sounds and ambience from all around us not from just the front of the room Adding additional channels at the sides or rear of the room seemed the answer and suround sound made its appearance in movies and in the home in the 1970s In films where it served a dramatic purpose and where a three channel front speaker arrangement was standardized it succeed ed For several reasons surround sound flopped in the home There was a confusing array of recording formats each requiring slightly different playback gear The few quadra phonic recordings available were split among these for mats reducing the choice still further for listeners who were not equipped for every format Record producers could not decide whether to use the extra channels to encircle the listener with performers or to provide a front sound stage with surrounding ambience Most surround setups placed the extra speakers in the rear corners of the room despite the ear s low sensitivity to lateral directional cues from behind And many consumers balked at the idea of placing two more full sized speakers in their rooms A major reason for t
70. des For parameters assigned to faders e Touch the fader you want to change When you do that parameter and its setting will be high lighted in yellow on the Scribble Strip and will appear in larger lettering on the Action Display Move the fader to get the desired setting e fyou can t move the fader in small enough incre ments to get the precise setting you need get as close to that setting as you can then press the FINE ADJ key and adjust the parameter with the fader in vernier mode Press FINE ADJ again to leave Fine Adjust mode e You can move several faders at once The settings indicated on the Scribble Strip will change for all When you release the faders the last one you touched will be highlighted and appear on the Action Display For parameters assigned to the joystick e Press the JOYSTICK key on the LARC2 then adjust the joystick until the Joystick Status Display shows the desired settings Fig 3 6 E User Bank 4 05 User Bank 3 n NES SCH am zur E SE f S Ke p AG SE eae D Dm Epsom JL Siete BS D T e LM FN al Ge Lj Edere aer dw b LL E ng a Lexicon Inc 5 Storing Your Edits Your edits will stay in force until you change them again or load another Program or Register To save them for future use press the STORE key The STORE key will blink to remind you that the Store operation is pending Figure 3 6 Joystick Status Display e If you
71. dicator indicates a level of 5 5ABFS The overload indicator labeled OVL counts the number of samples that have reached O 5dBFS Up to 99 samples indicating an imminent overload situation will be count ed In this case we have had three samples at O 5dBFS When a channel overload has occured the overload counter box turns red and indicates the number of over loads otherwise it remains black Pressing the Clear soft button in the meter options will clear the overload counters Three types of input metering are available peak peak hold and peak decay To select the type of metering you desire press the Options soft button and press the metering type you Y desire The type selected is dis played in the meter type box to the right of the meters Figure 4 26 Single DSP Input Meter ge Hall Li mix rro Cee eet moll om p iota Figure 4 27 Meter Screen with Options Selected 4 13 Operations in Detail Lexicon Inc METER OPTIONS Select any of the following options by pressing its associ ated soft button Peak Selects peak type metering Peak Hold Selects peak hold type metering where the highest peak bar is held since the last time the peaks were cleared Peak Decay Selects peak decay type metering where the peaks of each meter are held for 5 seconds and then slowly decay Clear Clears the meter peaks channel over load counters and the DSP overload count
72. don t pan output signals unless you keep them moving or finally place them in one speaker Figure 4 36 Editing screen for output panning and levels with joystick key off 4 18 960L Operations in Detail Center Senter Right vc Kasi Je ve Ee le ALL L1 L 2 A EX A Le 4 L4 e e s Apparent a Source dp D Location E Position 1 li lA k las Ie is CZ N pL i c Mt A nM SEENEN Do R e oo Sena 3 oS RSPan 000 N p f f e bd c Apparent EI Source V F Location gi I1 at li o f 2 j3 3 3 N z L L Figure 4 37B 4 Channel Panning Rules The 960L Surround Panning Rules The 960L does not produce a phantom center in 5 Channel surround modes and no signal will appear in both the left and right output channels no matter where you set the joystick In other words panning across the TYPE genium A porilhim A gorithm JA bled PARAMETER RebLul Med RT RtHicut OLITFLTE Algeriin T gone B Algocithmn 9x M gornithen DY AL amba front is either between Left and Center or between Right and Center For example an output signal panned to position 1 in Fig 4 37 would appear in the left and center front channels and the left and right surrounds but would not appear in the right front The 960L has true constan
73. dramatically changes the acoustics we perceive as short notes excite primarily early reflections and long notes excite the later reverberation For example in real rooms the direct sound is primarily per ceived at the onsets of sound events notes When a sound starts abruptly there is a brief instant where we can hear the direct sound all alone before it is corrupted by or overwhelmed by reflected energy In this brief interval we can detect the direction and sometimes the elevation of the source The so called early reflections are only audi ble after a note starts They are sometimes audible as a change in localization or timbre while a note is held but in general they affect perception most strongly only after a note ends These reflections are heard in the space between notes and then often only as a tendency to make the notes sound longer than they actually are Reverberation also is nearly always heard after the ends of notes either in the space between notes or at the end of whole phrases Reflections alter our senses of direction distance and hall shape in ways that depend on the 5 3 Using the Reverb Programs Lexicon Inc duration and complexity of the notes and on the proper ties of the spaces between notes But human perception is more complex than just direction distance and room shape We are reacting to the music on quite a different plane Directional localization is not an object in itself it i
74. e an effect used to create an inverse sound see Reverse To avoid colorations the signal is randomized by the Spin and Wander parameters The randomizers controlled by the Spin and Wander parameters principally affect the perceived acoustics of the space High settings can be used to break up small room modes as when recording a voice over in an announce booth but extreme settings can have pitch effects 960L Using the Reverb Programs Surround Hall Surround Hall is a surround version of Random Hall having 16 delay voices one for each possible channel pairing LF to C C to LF LF to LS etc It may be useful for Foley work by giving a more precise sense of a space s size Chamber amp Surround Chamber Chamber is a complex miniature space effect resembling an echo chamber at its smaller settings and at its larger ones a small performance space with a more rapid build up of reflection density than Random Hall Reverberant tails are randomized Plate amp Surround Plate 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 Ambience amp Surround Ambience Ambience generates the strong
75. e Never connect a LARC2 to anything but the 960L Mainframe e Never connect either Mainframe Remote Port fo anything but the LARC2 Doing so may damage your equipment Host Port For connection to 960L Mainframe External Power Connector For use when cable run to 960L mainframe exceeds 100 feet Reset Button LARC2 hard reset switch It is recessed to avoid accidental activation Figure 2 1 LARC 2 Rear Panel 2 3 The LARC2 Remote Lexicon Inc LARC2 CONTROL SURFACE E785 a pe SE Signal present i a a lexicon a oun dB and overload Nous 8 8 som 5 5 Si 2 indicators a Color LCD Display Soft buttons Anm Navigation arrows L ommo mm Numeric keypad Joystick Mode keys i j Increment decrement Mute Machine buttons key Joystick key Mute All Fine adjust key Lexicon key compare Touch sensitive motorized faders Figure 2 2 The LARC2 Control Surface 2 4 960L The LARC2 Remote GETTING WHAT YOU WANT In general the LARC2 s faders and joystick are used to control audio parameters of your choice while all other buttons select operations and parameters That means you have several fast ways to operate the 960L e Mode Buttons give you direct access to the most frequently used control actions These buttons are PROGRAM REGISTER BANK STORE EDIT CONTROL and MACHINE The funct
76. e set ting dot is green to confirm that the joystick is locked Quick Comparisons via the Lexicon Button he Lexicon button provides a quick way to switch between the edits you have made to a Program or Register and the effect as originally loaded When the Lexicon button is pressed the original Program or Register will load and a red banner will be displayed at the bottom of the screen saying Listening to Original Preset Fig 4 32 When the button is released your last edit state will be reloaded and the red banner will disappear ca aaa s MoDume Fill Lee Bite Spes Jarr Hali Lange Chess Zrent Gray oh LISTENING TO ORIGINAL PRESET Figure 4 32 Comparing edited with original Program or Register 4 16 960L Operations in Detail Editing Inputs and Outputs The LARC2 s joystick can be used to place any input or output signals anywhere in the soundfield Input and out put levels can also be set using the faders Input Panning To edit inputs press the EDIT key then the Inputs soft but ton to bring up the screen shown in Fig 4 33 You can see from the System Status Display at the upper right that four machines are in use and you are editing the inputs for Machine 1 The Main Operating Display shows that the current machine has five inouts and where each input signal is positioned in the soundfield INPUT PLACEMENT a pOprtup Input levels now controlled by faders Assigns cu
77. e unit s power cord CAUTION Tis s ange which appears on your component alerts yog ba importent opening and ep vena ne hee im Has comparing E terabese Iris trame whick appear on your comgqsent Ser you bo Gee pinne oF aE Hager woktage imde tx ende lage Ghat mag be sufficient w comb bate a ask of shock RISK OF ELECTRIC HOCK GO ROT OPEN e Do not overload wall outlet extension cords or integral convenience receptacles as this can result in a risk of fire or electrical shock e Route power supply cords so that they are not likely to be walked on or pinched by items placed on or against them paying particular attention to cords at plugs convenience receptacles and the point at which they exit from the unit e The unit should be cleaned only as recommended by the manufacturer Communications Notice This equipment generates and uses radio frequency energy and if not installed and used properly that is in strict accordance with the manufacturer s instruc tions may cause interference to radio and television reception It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Subpart B of Part 15 of FCC Rules which are designated to provide reasonable protection against such interference in a residential installation However there is no guarantee that interference will not occur in a particular installation If this equipment does cause interference
78. eat heheh ici tare doe 4 13 System Screen 0 ee een ee 4 14 Editing 4 15 Editing AlgorithMS ac Fm acabeeeu Edo x FERE E 4 15 Editing With the Faders esses 4 15 Fine Adjust llle 4 15 Editing with the Joystick 4 16 Quick Comparisons via the Lexicon Button 4 16 Editing Inputs and Outputs xicxexsc xw 4 17 APUL CMMI reisse Uds e EAE Aedes WG AWA Bs 4 17 Output Panning llle 4 18 won Danan ans ace E nme nup xxxn MME zx M Operations in Detail The 960L Surround Panning Rules 4 19 Setting Level 4 19 Avoiding Overload llle 4 19 Assighing New Parameters to Faders or the JOVSNCK adu du dc ante eeu oe ook TS 4 20 The V Page and Parameter Reassignment 4 20 Using the Edit Algorithm Screen 4 20 Storing and Labeling Your Edits 4 22 HOO ca aare ay unam aoe eee NG Ga eg 4 22 Naming and Annotofmg 0 eee 4 22 Organizing Your Registers L 4 23 Edit Tools for Registers 4 24 Using the Floppy Dmve 0 ce ee ee 4 24 Ihe CD ROM 25520655 6569 62444 case eda Ama ES ER 4 24 Machine Mode 4 24 4 Operations in Detail Lexicon Inc 4 2 960L Operations in Detail LOADING PROGRAMS AND REGISTERS With more than 200 factory Programs to choose from plus up to 1 000 Registers for your own creation you ll probably spend most of your time with the 9
79. ected MACHINE SHORTCUTS 1 If you know the number of the machine you want to access simply press and hold the MACHINE key on the LARC2 and enter the number It is not nec essary to wait for the Machine mode screen 2 Hold down the MUTE MACHINE button and on the Numeric Keypad press the number of the machine you wish to mute or unmute 3 Hold down PROGRAM or REGISTER and press the number of the machine you want on the Numeric Keypad This will show the PROGRAM or REGISTER mode for that machine 4 Hold down STORE and press the number of the machine you want and you will be storing the edits currently on that machine B03 P4 Fat Pl JC CA NN dinaig Figure 4 46 Machine Mode 4 24 E ate oa m vc mus 23 ij the Reverb Programs Using the Reverb Programs 5 3 Reverberation and Reality 5 3 Sound in Space A Short History of Stereo and Surround 0 0 cee eee eee 5 7 Algorithms 5 8 RONGON MN ais tnd oh eee oe ae Oe ee 5 8 SUMOUNC FIG lt 4 ag nba EE eae aes 5 9 Chamber 8 Surround Chamber 5 9 Plate amp Surround Ke LCE 9 7 Ambience amp Surround Ambience 5 9 Ambient Chamber PPP 5 9 Reverse amp Surround Reverse 5 10 AMEN geek ace S Ro RIEN E 5 10 Parameters Used in the 960L Algorithms 5 11 Using the Reverb Programs Lexicon Inc 5 2 960L Using the Reverb Programs
80. ed character will be outlined in red on the name line and in the character matrix below Characters on the name line are selected with the increment and decrement keys hence the and flanking the name line Characters within the matrix below that line are selected with the navigation arrows For faster text entry a PS 2 keyboard can be plugged into the AUX jack on the back of the LARC2 The keyboard should be connected before power is applied to the 960L Mainframe Just below the character matrix is a line that shows whether the system is in Insert or Overwrite mode When editing the information display the screen will show the relevant Name Bank number and Registers and Register Banks can be given any desired name of up to 16 characters and can be annotated with up to 150 characters per Register and 100 characters per Bank Register number if applicable at the upper right When finished editing either press the Save soft button or the ENTER key if you ve annotated a Bank or store the CURRERT INEO Register if you ve annotated a Register Figure 4 42 Register Information Edit 4 22 gent Operations in Detail ORGANIZING YOUR REGISTERS and then the Option soft button Two soft buttons are dis The 960L provides tools to help you organize the registers Played Edit and Floppy see Fig 4 43 you make To access the tools press the REGISTER key SI CATEGORY 7 REGISTER EGISTE ora eie e HE
81. eft of the screen In this screen used for edit ing algorithms it shows four algorithm pages each con sisting of parameters and their settings The currently selected page has its page number highlighted with a red outline Action Display Parameters in the rows not highlighted are not assigned to the faders and are set to the values shown Touching any fader will select the parameter controlled by that fader At that point the selected parameter and its setting will be highlighted on the Scribble Strip and also on any page of settings visible in this display It will also be dis played in larger type on the Action Display You can also scroll to any desired parameter whether on the current page or not with the Navigation Arrows If you scroll up or down to a different page that page and all its parameters will be connected to the faders Note that you can also select a page by pressing its number on the Numeric Keypad Once a new page is selected the faders automatically position to the appropriate value auto nulled You can move as many faders at a time as you like All the connected parameters will be affected If you touch sev eral faders the last fader you release will then be dis played as the selected parameter In this mode Algorithm Edit you can use the buttons to make fine adjustments on the selected parameter The Paging Arrow along the right side of the Main Operating Display shows that more items
82. elected because its title bar will turn blue other wise it will be yellow 2 Enter the number of the configuration shown in the left column of the configuration control 2 Press the ENTER button while previewing a config uration See To preview the available configura tions described above When a configuration is loaded the previous I O routing and programs in each machine along with the Mix and I O states for each machine will be restored to the state they were in when the configuration was last loaded 960L Operations in Detail 44 1 48KHZ CONFIGURATIONS When the sample rate of the 960L is set to 44 1kHz or 48kHz the following configurations are available THE FOUR MONO IN CONFIGURATION Wi sc Ez Mer Figure 4 5 44 1 48kHz Mono In Stereo Out Configuration four machines available With the Four Mono In configuration loaded the DSP card is partitioned into four independent Mono In Stereo Out machines Each machine has an independent mono input and independent stereo outputs This configuration is similar to the mono split configuration on the 480L Nolte If you desire mono outputs you can map both outputs of a machine to the same destination as described in The section on output routing THE FOUR CHANNEL CASCADE CONFIGURATION Figure 4 6 44 1 48kHz Four Channel Cascade Configuration two machines available With the 4 In Cascade configuration loaded the DSP card is partitioned in
83. element was missing The first attempt to restore this missing element was stereo phonic sound introduced to the American public via the Walt Disney film Fantasia in 1941 Its three channel process could simulate surround directionality by steering signals to speakers around the theater but was not true surround Progress in stereo stalled during World War Il but in the early 50s stereo reappeared with the advent of CinemaScope and similar widescreen processes Shortly thereafter stereo became available for home listening first via tape then phonograph records and finally via FM radio Stereo added directionality and ambience The direction ality was useful in movies and opera but otherwise of min imal concern to listeners Room ambience proved to be stereo s real selling point for music helping create the illu sion that the listener was in a better acoustic venue than his living room Some of that illusion had been created in mono days by the inclusion of reverb in the final mix large ly produced in echo chambers small hard surfaced rooms containing speakers to reproduce the original sound and microphones to pick up the added echoes But in mono reverb levels had to be limited to avoid mud dying the sound With stereo the listener could more read ily pick out specifically positioned performers from the general ambient background enabling the amount of reverb to be increased At the same time music was being recor
84. els stretching or compressing this contour in time to make reflections closer together or further apart With complex material it may be advisable to use a moderately high value for Shape and a moderately low one for Spread to create a bit of space around the original signal See also Contour RShape Shape and Spread Reverberation Time High Cut In real rooms the timbre of the reverberant tail becomes darker over time due to the air s absorption of high frequency sound energy This control models that behavior though over a much wider frequency range When you set the cutoff to very low frequencies the duration of the reverb will be much shorter than the value shown by MidRT Reverberation Level controls the level of the Reverberant tail allowing its level to be set relative to the early reflection levels It is normally set to Full but may be reduced for effects where pre echoes should dominate In surround algorithms this is a master control for CtrRvb FrRvb and RearRvb Reverb PreDelay sets the number of milliseconds between a sound and the onset of the reverbera tions it excites equivalent to the time of first reflection In the algorithms that include the Shape and Spread controls it is better to extend the time period before reverberant decay using Shape and Spread In general we recommend leaving the Reverb PreDelay set at the preset value Shape works with Spread to control the profile of initial reverberant energy growth Shape
85. eral map to the LARC2 s control keys and the ways they take you through the 960L s user interface sehen LANZ H D eme mom L B a Paa RERX E g D BE ums HS MEC em em ep ep rm mp n N T w ROTA a b P Figure 3 1 Overview of 960L control system Tort ghom herd OEF perad b arria ka Dedicated control keys shown with square comers soft buttons with rounded comers and Option soft buttons with dashed outlines Controls with in their labels initiate no action 3 3 Basic Operation Lexicon Inc A QUICK GUIDE TO OPERATION Basically using the 960L involves only the following 1 Setting up the system for the job 2 Selecting a machine 3 Loading the Programs and Registers you want 4 Editing the Program or Register parameters with the faders and joystick 5 Storing your edits for quick recall at any time To make this overview as clear as possible only one screen will be shown per operation In practice you may see slightly different screens depending on the selections you make These are discussed further in Section 4 Operations in Detail 1 Setup Control Mode Press the CONTROL key and then the WORDCLK Soft Button on the LARC2 control surface to bring up the screen shown in Fig 3 2 You can tell Fig 3 2 is in Word Clock mode by the red high light around the WORDCLK soft button You can tell that Source Selection is the active control because its name SO
86. es must be made with the carrier mage to any unit which has been altered or on which the serial number has been defaced modified or removed B C D E 2 Da 3 Da What Expenses Lexicon Inc Will Assume Lexicon Inc will pay all labor and material expenses for covered items Payment of shipping charges is discussed in the next section of this warranty How To Obtain Service If your Lexicon product needs service please e mail write phone or fax us and we will advise you where the unit should be taken or sent If you write us include your name complete address and daytime telephone number and a description of the problem Also indicate the product model number and serial number Please do not return your unit to Lexicon Inc without our prior authorization If It Is Necessary to Ship The product for Service 1 You must pay for any initial shipping charges If the necessary repairs are covered by the warranty Lexicon Inc will pay the return shipping charges via the carrier of our choice to any destination in the United States 2 The unit should be packed securely We strongly recommend that you insure the package 3 Do not include accessories such as power cords or manuals Whenever warranty service is required a copy of the original dated sales receipt must be presented Limitation of Implied Warranties Any implied warranties including warranties of merchantability and fitness for a particular purpose are limited in duration
87. from the front reverberation and the room seems less natural Rear Rolloff Surround algorithms only Like Rolloff in Stereo this controls the cutoff frequency of a 6dB per octave low pass filter at the output of all processing but affects the rear LS and RS chan nels only A separate parameter FrRoll controls the rolloff for the front LF C and RF channels 5 13 Using the Reverb Programs Lexicon Inc Parameters Used in the 960L Algorithms cont RearRvb RShape RSpread RtHicut RvbLvl RvbPreD Shape Shelf Size 5 14 Rear Reverb Level Surround algorithms only Like RvbLvl in Stereo this controls the level of the rever berant tail but only for the LS and RS outputs This allows their levels to be set relative to the early reflection levels and the other reverb tails RvbLvl is a master control for CtrRvb FrRvb and RearRvb Rear Shape Ambient Chamber algorithm only sets the contour of the initial reverberant energy growth for the rear channels Low values produce a very rapid onset as you d find in a small cham ber With larger values the reverberation blooms over a few hundred msec much as it would in a good Romantic era concert hall and the listener s perceived position moves farther back into the hall See also Contour Rspread Shape and Spread Rear Spread Ambient Chamber algorithm only works with RShape to control the profile of initial reverberant energy growth for the rear chann
88. front dry and focused while large space envelops the listener and gives great distance behind B3 P7 Froni Row Surrouncd Ambence Acus reverb and ambience levels to bing yourself closer io or foriher from ihe stoge B3 PE Bagh Stage SuTOUnd Ambeence Fary bright stage with a dorker large hall B3 Pe Big Stoga Sunod mbisnce Eady reflections mimic a very large stage oreo end reverb supplies the large hall around a B3 PO On Stage Surreunecd Ambssnce With outputs panned to the sides and reverb levels adjusted accordingly his emulates the sound of being on a stage wilh the reverb decaying in front Surround Bank 4 Chambers Surround Chambers Number Name Algorithm Description B4 PI Round Chamber Surrouncd Chamier Big emeliy space wilh streng bottom end Consider using ihi en anylhing irom choalog to Tem Toms B4 P2 Bright Chamber Surrounc Chomber Medium sied faimy brighi space with about a ene second MidRT Good al cround chamber Ba Pa small Chomber Surrounc Chomber small bright poe About holisecond MIdRT reat on drums B4 P4 Short Chamber Surrounc Chomber Patry mall room Size ond amp ezET of around D7 second Good multi purpose uldliv chamber B4 PS Tighi Chamber Surrounc Chamier Very small bright gace Shortened MIBRT lamas a more abrupt release good forwhen you w ant the reverb short but don iwant lo use a gated effect B4 PA Galehy Chamber Surrounc chamber Extremely short MFT selling gives a very abrupt cutoff but
89. ft buttons allow quick and easy navigation through the rest of the user interface Each screen has space for explanatory notes Some of these notes are help messages while others can be customized by the user using either the LARC2 s own text entry interface or a user supplied PS 2 computer keyboard Aux Port For user supplied PS 2 Keyboard Note Hot plugging the keyboard is not recommended The keyboard should be connected before power is applied to the 960L Contrast Knob For adjusting LCD contrast De LEC ET PE Strain Relief For the External Power Supply cable if used ek eoo Tel Unpacking the LARC2 The 960L system is shipped in two cartons one containing the 960L Mainframe the other containing the LARC2 ded icated remote After unpacking save all packing materi als in case you ever need to ship the unit Thoroughly inspect the LARC2 system and packing materials for signs of damage Report any shipment damage to the carrier at once The following accessories are packed with the LARC2 for the 960L Mainframe carton see Section 1 LARC2 remote console 50 foot cable for connection to 960L Mainframe Registration card CE compliance certificates Note You will find the LARC2 to be a robust and reliable product It contains complex electronic and elec tro mechanical assemblies We suggest handling it with the same care you would apply to the use of a laptop or notebook computer Important
90. he failure of home surround was the rec ommended four channel format Without a center chan nel Quad sound did not improve the listening area over two channel stereo To hear a recording one had to be in the sweet spot a requirement that was greatly reduced in cinema surround Surround s salvation came from the movies and the devel opment of stereo VCRs The widescreen films of the 1950s carried multi track sound on magnetic stripes but rear speakers mainly carried effects and were often shut off between effects to reduce noise from the narrow hissy mag stripes With the advent of 70mm film which had more room for soundtracks mixers began using offscreen channels to carry low level effects on a continuous basis adding to the films sonic realism But most theaters were equipped only for standard 35mm films In 1976 Dolby Labs introduced Dolby Stereo a matrix process that encoded surround sound into two channel optical soundtracks that were compatible with standard cinema projectors This enabled a single release print to be used in theaters with mono stereo or surround sound systems When these films were released on stereo video cassettes in the early 1980s the surround information encoded in their two channel soundtracks was carried over to the home With the addition of a low cost matrix decoder and additional amplifier and speaker channels a consumer could now have surround when watching movies at home via tape and eventu
91. hombes Chamber Chamber Chamber Chamber Crambe Chamber Chomber Chamber Chamber Chomber SC a Large Ae al nc zs Bighrpty Med ved Guitar Drurri Vaca Tere Chombe Chamber Chamber Chamber Church Chusch Chember Chamber up Breeze Sicher Ler ces Moesdium smal Very Large Weed Snail Wood Lg Brite Med Ere Smal a Musee Rooms Room Room Ronm Still Room Room Foam Room Bighi Club 7 Lore Moeclurm small Druin Dese Zeveg Pension Wee ol Long Bite PIriled Piates 1 Pate Phas Plate Plate Aa Dote Piette Ficit ace Gale B A Ple ance Thin Frat Perr Plates 2 m Plate Plate Pleste Perte 8 Very Large Large fel chur Kl Sirene H civy Amber dee PE crag Ambience Ark Ambance Ambience Ambience Ambience Ambience Heil Ambience 10 Bi E pr F aon GO cO Long Wild Breck Wal Buckrem T LO dO X 5G ec ee S Bags Ricochet Spoc es 11 Large Medium Srl Ba Living Big Pork Pocroar Fock Bath Post Closet Closet Closet L t Roem Roem n CC Besilfiiesm 12 Cor Hogsilal Yo hil T Leier smal Reve Pott 9s iiemet Helveay Club EENEN Cel Foley Tai a a eon A 4 960L Surround Bank 1 Halls 1 Number B Pl Bl P2 Bl Pa B P4 Bl PS B P B P7 Bl Pa Bl P7 Bl PO Surround Bank 2 Halls 2 Number Bz Pi B2 P2 Bz PI B Pa B P5 BS Pe Bz P7 Bz PB B2 PY B2 PO Name Large H all Medium Hal imal Hal hAed Large Hal Key Hal Acoustic Fil Long rte Space jazz Hall Large Church amp mall Church Name Large
92. i channel surround machines at 48 kHz or two stereo or one multi channel surround machine at 96 kHz The 960L supports up to 16 channels of I O in various configurations The 960L comes standard in either of two I O configurations 1 With eight channels of balanced analog input and output and eight channels of AES EBU 4 pairs 2 Digital only with eight channels of AES EBU 4 pairs I O cards are available separately The 960L is controlled by a new dedicated remote called the LARC2 and can support a second LARC2 purchased spearately Its user interface is fashioned after the original LARC controller so 480L users can get up to speed quick ly but it was also designed for fast intuitive operation by those who have never used the 480L Extensive visual feedback and a wide variety of input devices hard and soft buttons motorized faders and a joystick provide access to everything you need to control The 960L and LARC2 were designed for maximum flexibili ty and control The 960L s reverberation algorithms based on Lexicon s 3DPM for 3 Dimensional Perceptual Modeling technology embody the accumulated knowl edge of more than 20 years of research and study into how humans perceive spaces With the 960L engineers working in surround can create convincing 5 1 channel spaces even spaces that sound better than real ones from a reverb designed for the purpose rather than an unconvincing assemblage of multiple s
93. in Fig 4 22 When the control is selected the title bar turns blue INPUT Fi Figure 4 22 Input Routing Control 3 Use the Left Right Arrow keys to scroll to the DSP input Channel for which you would like to select the source The input is selected when if turns black 4 Use the Up Down Arrow keys to scroll to the input type box on the selected DSP channel The top row is the input type and the bottom row is the channel of the selected input type 5 Use the Increment Decrement keys to scroll through all available input types on your system The input types available depend on the O cards installed on your system NOTE If there are two DSP cards installed on your system the out puts from the other DSP card will be available as inputs These are direct outputs and arrive unmixed and unpanned 6 Use the Up Down Arrow keys to scroll to the input channel box on the selected DSP channel Once again the top row is the input type and the bot tom row is the channel of the selected input type 7 Use the Increment Decrement keys to scroll through all available channels of the selected input type Shared Inputs When a physical input is being utilized as an input source by another DSP card input anywhere in the system the input is said to be shared When an input is shared with another DSP card input in the system an S will appear next to the channel number OUTPUT ROUTING The 960L can support up to 1
94. ions B4 P LG Dot Chamber Chamber Drew the curtains and put carpeting on the floor of LS Brite Chamber end im would sound Ike this B4 PA LG vocad Chamber Chamber Low diffugen sethng with delays and echoes God Starting peint for o pop vocal B4 P7 Huge Chamber Chamber ae sel ot do meters with about 25 second MIdRT This ona s huge B4 PO Sap Chamber Chamber Small low ciuson wah delays and sbghi echoes This ones dote Good starting peint for a Rockabdly type vocal seuncd 960L Slereo Bank 5 Sage Chambers Number BS Fl BS P2 BS PA BS Pa BS PS Name Algorithm Lage Chamber Ambience Med Chamber Ambience Smal Chamber Ambience Big Empty Church Chamber Med Wood Church Chamber Appendix Stereo Chamber Sage Reflections Description A Large recital hal wh a stage Medium sized anbience up front with aout a 1 75 second MdRT seting make this ke a 40 20 sea recita hal sSmall sized ambient reflections coupled with a chamber rewerb give ihi Program an intimate feel Good for ndividual acoustic instruments Large ambience up front with long Asch sedtings emulate a high ceilinged ater and large rewerberant seating area Large ambience in freni spreads out early reflections Lend a nica doubling etfec to tallen up sources Great for choirs and back up WOCHE B5 Bs B5 SE P P7 PE Pe PO ereo Bank 6 Rooms Number B F B Po B P3 B Pa B PE B F Be P7 B FB B F
95. ions of some buttons are implied by their names and all are explained below When selected each but ton glows red e ENTER is used to complete an action e The Numeric Keypad lets you quickly select any numbered option on the display Navigation Arrows let you move up down or sideways within the display to select the action you want e Increment and Decrement Buttons can be used to select items from lists or to make fine adjustments to parameters e Soff Buttons are context sensitive Their labels therefore change dynamically and appear at the bottom of the LCD display just above each button Additional LARC2 controls include e Joystick primarily for input and output panning but assignable to any desired parameters e JOYSTICK Button activates and deactivates the joystick e FINE ADJ Button toggles faders to and from fine adjustment mode e Lexicon Button temporarily returns operation to the most recently loaded Program or Register for quick sonic comparison e Faders are touch sensitive and motorized Their positions are automatically updated auto nulling to reflect the current values of their assigned parameters The parameters controlled by each fader and their current settings are shown on the display just above the soft button labels Touching any fader highlights its parameter and setting on the display e MUTE MACH and MUTE ALL buttons flanking the numeric keypad s O mute the output of the curren
96. irs and backing vocas Meckum sred Hall gives space Use Joystick fo contral the delay mage Medium daensiy short reverb time Solo or background vocal sound great in here Use ioystick fo regulate the acho component Use in small amounts short seuncing Brighi space with about 1 second MidRT Strong bottom end Use Spread te control the event Long MidRT and large 5ge w h long echoes a a low level Useful fer single sources end dramatic accent effects Large ste relatively short MIdRT and BassRT sailing of 2 5 give ihi room some bottom Good for drums Large Ste ond short Mach Adc bottom to thin source material Good for drums A 5 Append Ix Lexicon Inc Surround Bank 3 Stage Hall Surround Halls Ambience Number Name Algorithm Description B3 PI Lg Stage Hall Surmounc Ambesnce A stage in the font ond hall around you This one is about a 33 meter stage end a 38 meter hal B3 P2 Med Stage Hal Surmounc Ambience A stage in the front end hall around you This one is about o 14 meter stage end a 25 meter hal BS P Armel Hoge Hal Surmouncd A amp mbssnce A stage in the font and hall around you This one is about a ten meter stage and a 15 meter hall B3 P4 Brde Sage t Hal Surmouncd amp mbence Medium szed bright stage and a barly large hall B3 PS Small MAT Stage Surraunc Chomber Empty perfomance space with an empty stage B3 P Verb Behind gou Surrounc Chomber Strong reverb sent fo the rear channels keep
97. ise in the room which is perceived as continuous How can this be It is clear that during the phones of the per son who is talking you are unable to hear the room the phones are masking the background Yet you perceive the background as continuous The brain is clearly separating the sound of the room into a separate stream the background stream The neurol ogy that detects the background stream works in the spaces between phones Thus it cannot work without the participation of the mechanism that determines the ends of phones Again we can experiment It turns out that the background detection is inhibited during phones as we would expect andi is still inhibited for the first 50ms after the end of each phone After this time the inhibition is gradually released so the background detector has full sensitivity within 150ms after the end of each phone The loudness of the background is then perceived through a standard loudness integration taking about 200ms for full loudness to develop It is the background perception of reverberation that gives us the sense of envelopment Clearly it is the reflection level 150ms and more after the end of sound events that matters Note that the relevant time is after the END of sound events We are conditioned by years of looking at impulse responses to think about reflections as always coming from hand claps or pistol shots In speech and music it is the behavior of reflected energy at the ends of
98. ix Stereo Stylized Spaces for Pod Production Environments Description Big walkan Use Relloff RiHicut and amp ckT to 8l it up ar empty it out Medium szed closet Use Rolet RiHicut and MeckT To ald up ar empty hi cut small closet User Rellotf RiHicut and ART To el it up or empty it out Large ary bright living ream with hard floors end lots of ue Use Roloff RiHizut and MART to add drepenes and cametina Like Big Ling Room only smaller A mali parton with hany capeng end cirepenes A wcoocHpaneled room wh a high ceing and enough soccer oneregulation ized table A folny loge spocaew ith wood floors low celng and about 10 tables Medium sted foro bathroom and bright with fled walls Some os Bathroom only larger Appendix ereo Bank 12 Post 2 Number Manne Algorithm BI PI Gar Interner Ambience Biz P2 Haspital Halway Chamber BI PA Tach Club kondom Hall BI Pa Kitchen Chamber BIZ PS Kellar s Call Chamber BI P amall Foley Chamber BI P7 Rewer Tod Chamber BI2 PA Airhead Ambience BI PY Woreho se Ambience BIZ PO Coin Ambience A 18 Lexicon Inc Slereo Stylized Spaces for Pod Production Environments Description so 4 doeor Rome the value of Sape te make amp a station oon or SU v Rose the pre echo level to close the windows Jus down the hal rem ihe ER A large empty sas wih many audible reflections Con you find your dapol sound affectis Ho snot the padded cell imal deep and
99. k mounted Mainframe designed for remote mounting in machine rooms or elsewhere and a dedicated controller the LARC2 UNPACKING THE 960L The 960L system is shipped in two cartons one containing the 960L mainframe the other containing the LARC2 remote After unpacking save all packing materials in case you ever need fo ship the unit Thoroughly inspect the 960L system and packing materials for signs of dam age Report any shipment damage to the carrier at once The following accessories are packed with the 960L Mainframe for the LARC2 carton see Section 2 Lexicon 960L Mainframe with cards installed IEC power cord CD ROM 960L Software This User Guide Registration Cards CE compliance certificate License Agreement Bumper feet 4 I O Option plate THE REAR PANEL The 960L mainframe s rear panel holds four I O cards together with power connections the mains power switch mains voltage selector switch and option plates The I O cards can be removed for service and or upgrades with out removing the chassis from the rack In addition the I O is configurable The 960L supports 16 channels of I O in var ious configurations The standard configurations include e Cards 1 2 and 3 as shown in Fig 1 1 or e Card 1 only not shown Cards 1 2 and 3 can be positioned in any order in the three slots Additional I O cards can be purchased sepa rately Larc2 Remote Mains Mai Analog in MIDI Word Clock EAM La M
100. l for adding a room sound to recorded music or speech making it easy to match a studio recording of dialog to a typical room envi ronment At delay settings of roughly 100 to 500 millisec onds it can be used to simulate the ambience of very small rooms without the colorations often found in actual spaces of that size When set to deal with the first 50 m sec of the signal the range perceived as being part of the ini tial phone it can be used to realistically add distance to a close miked signal without diminishing clarity If an ensem ble has been recorded with close miking and pan pots Ambience can provide the missing blend and depth increasing apparent distance while preserving the appar ent positions of the instruments It is also useful in matching a closely miked accent microphone to the overall ambi ence of the recording this allows a soloist s level to be increased without changing the apparent distance The Ambience algorithm does not include extensive provi sions for modifying the characteristics of the late reverber ation the Shape Spread and Bass characteristics are fixed However the apparent size of the late reverberation is adjustable with the size control High settings of the Size control can be very effective at generating the sound of a large space with high clarity The lack of the BassMult control can be compensated by adding a low frequency shelving boost of 2 to 6dB below 200Hz to the reverbera tion sends or
101. ll hear artitacts on the non clock channels while the system detects the disconnect Use the Right Navigation Arrow to get to the Rate display For internal Word Clock you must select the exact rate as shown in Fig 4 3 For external Word Clock via the BNC or AES inputs you need only select 44 1 48 kHz or 88 2 96 kHz range The 960L will then lock onto your source 4 5 Operations in Detail Lexicon Inc WORD CLOCK LOCK STATUS A small padlock icon in the System Status Display shows lock status If the Word Clock becomes unlocked from the signal the icon s background flashes red Fig 4 4 and the 960L outputs are muted This lock indicator is visible in the System Status Display during all operating modes DSP Configuration Configuring a DSP card divides the card into a number of machines and selects the audio routing between these machines Each machine acts as an independent effects processor and can be programmed separately The 960L supports up to two DSP cards Each card is configured independently The number of machines available varies per configura tion and is dependent on the sample rate Only the con figurations available for the selected sample rate will be available for selection Machines are numbered starting with the first DSP card For example a 960L with a single DSP card configured as four stereo machines will have machines numbered one through four A 960L with two DSP cards each DSP card
102. ly lange and bright A bit smale than Lg Brita Room Small and Bright adc presence To a sound without adding a lot of obvious reverbaration Music Club is similar fo jazz Hall but is smaler end lass rewarberant especially at high raquencies Append IX Lexicon Inc Slereo Bank 7 Plates 1 Stereo Plates Number Name Algorithm Description B PI Lange Plate Plate A standard large plate Plantv of sizzle This program is great on pop voces end guitars B P2 Medium Plata Plate Larger version of amp mall Plate Useful on most sources B PA Small Plate Plate Another plate variation As ifs name impbas this program produces ihe sound of a maler plata B7 P Drum Plate Plate Yery bright this medium szed rever accentuates high end attack transient B7 PS Dessert Plate Plate short and sweet This one s good for just about enything B7 P Wovey Plate Plate Medium to langa See with a modes MidRT setting B P7 Percussion Plate Plate Good all around percussion plate B7 PA Wacol Plate Plate Large and bighi Good pop vocal plata B PS Long Brie Space Plate Covealike good for dramatic accents er ceama Long rewerb with bots of motion BY PO Plated Gaje Plate Shortened MART owes his preset an abrupt cutoff Useful for drums when you want thai galed sound bu this is a Ete more natural sounding Slereo Bank B Plates 2 Stereo Plates Number Name Algorithm Descriplion BB PI amp Plate Plate Bosc plate program wih o dea sound
103. ly saved your work Bear boat A4 Hr ECiyMET T5008 ETINTAXDUE Figure 4 41 Select Algorithm screen 4 21 Operations in Detail STORING AND LABELING YOUR EDITS When you ve edited a Program or Register until it meets your needs you can store it as a Register and label it for futu Sto re use ring Press the STORE key on the LARC2 Control Surface If you ve edited a Program the 960L will select the next empty Bank or the Register Bank you last stored to and Register If you ve edited a Register the 960L will offer to overwrite the original version To accept press the STORE key again To change the storage location press the BANK key and enter the number of the desired Register Bank or scroll to it with the Navigation Arrows Then press REGISTER and select the desired Register in that Bank Pressing STORE again will store your edits to that location The Register you select can be an empty one or you can choose to overwrite an existing Register Naming and Annotating Lexicon Inc Press REGISTER to bring up the Register load screen see Fig 4 2 on page 4 4 Press BANK to name or add information to a Register Bank Otherwise you will be working with the selected Register Press the Info soft button to bring up the annota tion screen Fig 4 42 which shows the informa tion for the currently selected Bank or Register Pressing NAME brings up a similar screen The currently select
104. mp Surround Reverse Reverse is a new algorithm that is somewhat different from the effect other processors call Inverse Unlike traditional Inverse which is a gated reverb whose reflection density increases until a cut off time is reached Reverse s reflec tion density decreases over time while its reflection level increases over time as if you had recorded a signal through a reverb device then played the recording back wards This is the exact reverse of normal reverberant behavior exactly like the time honored effect of reversing a tape The effect begins with a quiet dense reverb and gradually becomes louder and thins out to reveal the orig inal signal It s important to remember that in Reverse all the parame ters work backwards For example if RtHicut see parame ter listing below is low the reverb will become brighter as it develops Reflections play an important part in this effect They should be adjusted so that they occur at or near the end of the reverb In other words they play the role of the orig inal signal so they come last For Reverse to work as designed the Mix parameter must be set 100 wet both at the 960L and at the mixer 5 10 Inverse The traditional inverse effect can also be achieved if desired by using any of the Hall Chamber or Plate effects and doing as follows e Select a very large room Size e Bring Midrt all the way down e Set the Contour parameter to a high value like
105. n and 4 Out vidually In the configuration screens each machine is 5 One machine with 8 In 8 Out shown as a separate numbered rectangle in the Main 6 Stereo cascade 1 Two stereo machines cascad Operating Display The number of machines in the current ed with two additional stereo machines configuration can be read from the Machine Status 7 Dual stereo cascade A pair of cascaded stereo machines Display at the upper right of the screen 8 Two 5 In 5 Out machines cascaded If you selected a clock rate of 44 1 or 48 kHz you ll get Two 4 In 4 Out machines cascaded a screen as in Fig 3 3 which gives you a choice of ten 10 Four Mono In Stereo Out machines processing configurations JI Machine Cg 1 IMKPHOGHAM Status Display TEBE ag TELANG Tr n Figure 3 3 Configuration screen for 44 1 48 kHz clock rate 2 In 5 Out selected two machines available 5 5 Basic Operation Lexicon Inc If you selected a clock rate of 88 2 or 96 kHz you ll get a screen as shown in Fig 3 4 which gives you a choice of six processing configurations 1 Stereo In and Out using one or two machines 2 One machine with 5 channels In and 5 Out 3 One machine with 2 channels In and 5 Out 4 One machine with 4 In 4 Out 59 Asingle 8 In 8 Out machine with a pass through algorithm which performs no processing but is useful for wiring checkout and diagnostics 6 Two Mono In
106. nd levels after panning with joystick When you press the JOYSTICK key the input position jumps to the joystick position and the setting dot turns from red to green highlighting the joystick cursor as shown on the Joystick Map and on the smaller map of the selected input The legend Joystick Locked appears in the Action Display Moving the joystick pans the selected input To pan a different channel choose its number with the Numeric Keypad or select it by using the Navigation keys and press the JOYSTICK key to lock Output Panning To edit outputs press the EDIT key then the OUTPUTS soft button to bring up the screen shown in Figure 4 36 You can see from the System Status Display at the upper right that two machines are in use and that you are working on settings for Machine 1 The Main Operating Display shows that five outputs are in use and where each output signal is positioned in the soundfield In Fig 4 36 the Left output channel 1 is selected so its header is highlighted and its pan position is indicated on the Joystick Map The Joystick has not captured the para meter indicating that the JOYSTICK key is off Note If you pan an output keep the joystick moving Panning an output signal permanently between channels causes a loss of spaciousness Due to the Haas effect such signals will collapse into the speaker whose output reaches the listener first You can pan and position input signals at will but
107. nd most input settings performed at the console However controls are provided within the 960L for situations where this is not possible or convenient For optimal performance maintain balanced connec tions and use high quality low capacitance shielded twisted pair cables such as Belden 8412 microphone cable with braided shield or Belden 9461 foil shield All connections should be Pin 2 high For unbalanced operation Pins 1 and 3 should be grounded Be careful to keep inputs and outputs of all channels wired consistently Out of phase wiring can produce audible effects For I O panning and level control see Section 4 Operations in Detail IMPORTANT Analog I O connectors must be wired consistently we recommend Pin 2 high or channels will be out of phase L nl ver xad Engl fh Power Factor Correct P li Figure 1 5 Universal Input Wi 7 The Mainframe Lexicon Inc 2 High 3 Low 1 Ground 1 Ground 3 Low 2 High Digital Audio Connections The AES interface requires balanced connections using high quality low loss controlled impedance shielded twisted pair cables designed for data communications such as Belden 9860 braided shield or Belden 9271 foil shield The use of ordinary microphone cable can cause digital interfaces to work unreliably Remember that the maximum recommended length for AES cabling is 100 feet 30 meters Following AES conventions the od
108. ngs assigned to the faders and joystick See Chapter 3 Basic Operation and Chapter 4 Operations in Detail Fader labels are in the Scribble Strip just above the Soft Button Labels These display the parameters currently assigned to each fader and their settings When a fader is touched the associated parameter is highlighted in yellow ABOUT THE FADERS AND JOYSTICK The faders and joystick always control some aspect of the audio no matter what mode the 960L is in It is the active control mode that determines which audio parameters are controlled This table shows the mapping JOYSTICK MODE FADERS Program V Page V Page Register V Page V Page Machine V Page V Page Control V Page V Page Edit Algorithm Algorithm Parameters V Page Edit Inputs Input Levels Input Panner Edit Outputs Output Levels Output Panner Edit V Page V Page V Page 2 7 The LARC2 Remote Lexicon Inc AUDIO INDICATORS A simple meter bridge above the display holds three LEDs per channel The lowest LED indicates that a signal is pre sent defined as a level of 60 dBFS or more When levels exceed 6 ABFS the middle LED lights as a warning of reduced headroom Above 0 5 dBFS the top LED lights to indicate imminent overload If all eight overload LEDs are illuminated an overflow has occurred in the DSP accumulator This can happen even with modest signal levels if the delay reverb feedback coefficients which are set by the algo
109. nning e Adjusting input and output levels e Assigning new parameters to any fader or to either joystick axis Edits stay in effect until a new Program or Register is loaded or can be saved as Registers You cannot over write factory Programs but you can save edited Programs as Registers Registers like Programs reside on disk and can be recalled anytime They can also be saved on flop py disk for archiving or for copying to a second 960L Editing Algorithms A Program or Register becomes edited any time you alter the curent parameter settings with the faders or joystick To save these or any other edits just press the STORE key Check to be sure the storage location is correct then press STORE again Editing With the Faders 1 Use the Numeric Keypad or Navigation Arrows to select the Edit page that contains the parameter you want to change 2 Check the Scribble Strip to find the parameter to edit 3 Touch the corresponding fader That parameter will be highlighted on the Scribble Strip and its al TT TITI e uu dET e Hi E EL e 136 FrRcdi 4 29 He 5 name and setting will appear in large characters on the Action Display at the upper left of the screen 4 Adjust the fader to the desired setting Fine Adjust For some parameters the range of possible values is so large that the smallest possible fader movements change the value too much To make fine adjustments set the faders to the appr
110. nvenient grouping of para meters to simplify operation but you can group them any way you find convenient There are two ways to assign new parameters to the LARC2 controls e Assigning parameters from the V Page e Assigning parameters as an Edit option ine V Page and Parameter Reassignment Press the EDIT key on the LARC2 control surface e Press the V Page soft button The screen Fig 4 38 shows the assignments for each of the eight faders and the joystick s X and Y axes e Use the Navigation Arrows to highlight the Type or Parameter to change You can also select a fader or joystick axis with the Numeric Keypad but you still have to navigate to the Type or Parameter e Make your selection by cycling through the avail able Types or Parameters with the keys or touch the fader of the desired parameter The types are None Algorithm Input and Output Some algorithms can have more than 50 parameters e The fader or joystick axis is now assigned to what ever parameter you ve selected Using the Edit Algorithm Screen This alternate method is a useful shortcut the joystick e Push the EDIT key then the Algorithm soft button which brings up the Algorithm Edit screen This holds all the parameters for the current algorithm Ses acl HART 14i ap FrRub oo naga WART BL Dou e ep FrRa Glib D C Kril T MG tire l ALU Map If you re in the midst of editing algorithms inputs or outpu
111. on the inner contact See the Lexicon web page www lexicon com for a current list of external power supplies and vendors O 0 12VDC 2A 2 5 The LARC2 Remote Lexicon Inc NAVIGATING TYPICAL DISPLAY SCREENS The use and navigation of the display will be illustrated with the screen shown in Fig 2 4 from Algorithm Edit Mode Bring up this screen by pressing EDIT and then the Algorithm button Note that the parameters currently assigned to the faders and their current settings are shown on the Scribble Strip just above the Soft Button Labels The Action Display which occupies the left half of the dis play s top line will show the current operating mode when you first enter that mode When you touch a fader if will show the name of the attached parameter and Its current setting and will continue to show that information until you touch another fader The action indications are sticky in that they remain on the display until another action indi cation is displayed In Fig 2 4 the Action Display shows Edit Mode because pressing the EDIT button was the most recent action The Effect Display which occupies the right half of the top line identifies the Program or Register loaded in the active machine Here it shows that the 960L is using Large Hall which is Program 1 in Bank 1 The Main Operating Display which changes from mode to mode always occupies the same area shown i e the center and l
112. oom B Pa Small Amb ance Surround Amesence mig to Madum Ambience bu smalar typica lobby or mmal lounge B PS GSirong Ambience Sumound Reverse The roam sze is larger han Medium Armmkoence bus the By levels are reduced fo provide a strong wash of ambsenca WER a alely hort decoy DN P Heowy Ambience SuTound Ambience Resembles a large rectangular space wilh performers in fhe middle Microphone proximiby cen be smulated by adjusting the weffdry mi BN P7 Ambient Hall Surround Hal Fass dense cmbien attack Reverberan characierstics of Large Hal BY PH Annournicer STNG Ambiance Agda a very useful ament soaciousness to a ary annauncer s dcg track B PF Close Surmcounc Ambience Just as yoo would magne ii even feels crampaci B PO Goted Ambiance Surround Ambience Wery sinong ambience wih fas decay iust acad your tawornte snare cim Surround Bank 10 Wild Spaces Surround Unnatural and Special Effect Spaces Number Name Algorithm Description BIG P Brack Woll Surcuncd mbsence Best described es a subtle gated inverse mom Its uses ness extends beyond ius crum sounds BIO P2 Wels end Japs Surreuncd Chamber Delays and echoes with not much reverb Use joystick Te control delay tme and feedback BIO Pa Back up Surreuncd Reverse A Reverse reverb with an abrupt release Good fer specia esfectsor you need o really long gated sound BIO Pa Big Back up Sorcund Reverse Big Reverse Program that orimates in the rear end dec
113. ose source is the Left Surround Input Echo Feedback Master scales all the echo feedbacks by a single percentage allowing this one parameter to set the feedback of a complex pattern Front channel Rolloff Surround algorithms only Like Rolloff in stereo it controls the cutoff frequen cy of a dB per octave low pass filter at the output of all processing In the Surround algorithms there are separate controls for the front LF C and RF channels FrRoll and rear LS and RS chan nels RearRoll Front Reverb Level Surround algorithms only controls the level of the reverberant tail but to just the LF and RF outputs This allows their levels to be set relative to the early reflection levels and the other reverb tails We recommend setting the Front Reverb Level and the Rear Reverb Level approxi mately equal with the Center Reverb Level less by about 4 5dB RvbLvl is a master control for CtrRvb FrRvb and RearRvb Front to Surround Delay Ambient Chamber only In surround ambiences there is a signal path from front inputs to rear early reflections and also from rear inputs to front early reflections The level of this path in both directions is set by FSLvl The high frequency rolloff is set by FSRoll The delay in the path in both directions is set by FSDly Front to Surround Level Surround Ambience and Ambient Chamber only In surround ambiences there is a signal path from front inputs to rear early reflections and also from rea
114. out the Faders and Joystick 2 7 Audio Indicators 2 8 The Lexicon Button 2 8 Fine AGIUS aah GO ery rie TUS s BG GG UNA 2 8 The LARC2 Remote Lexicon Inc 2 2 960L The LARC2 Remote THE LARC2 REMOTE About the LARC2 The 960L is controlled from the LARC2 While the LARC2 is a completely new remote its operation will seem familiar to users of the LARC remote used with the Lexicon 224XL and 480L Like the original LARC the LARC2 is compact enough to rest on or near the center of the console while keeping the 960L Mainframe out of the way hundreds of feet away in the machine room if necessary The 960L s user interface and the LARC2 were designed to be helpful to new users and fast to learn for experienced 480L users The LARC2 s joystick and eight touch sensitive motorized faders are always connected to and controlling audio parameters The assignment of audio parameters to each of these controls has been individually optimized for each of the more than 200 factory Programs that ship with the 960L Further you can easily customize these assign ments to put the parameters you use most at your fingertips System status input levels machine configuration clock source and lock status mute state etc is always visible on LARC2 through an LED meter bridge and a dedicated region of the color LCD display Dedicated function keys a numeric keypad screen navigation arrows and eight so
115. oxi mate values you want then press the FINE ADJ button When this button is pressed the faders all move to the center of their travel but their parameter settings do not change The faders then operate in a vernier mode with a limited adjustment range and far fewer steps per inch of travel so that full range movement of the fader will alter the parameter value only a little from its coarse value This makes it easy to tweak the setting to the exact value you want On entering Fine Adjust mode the Action Display says Fine Adjust Enabled The centering of all faders is an additional indication Pressing FINE ADJ a second time will return the system to normal operation The faders will return to their appropri ate full range positions When in the Edit Algorithm mode to make fine adjust ments of a single parameter simply touch the appropriate fader to select the parameter then use the Increment Decrement keys to get the setting you want Each press of these keys will change the parameter by its smallest possible increment B01 P1 Large Hall qe D T aaa EINST Wa I T 3 4 M 1EPE aaa eer ce en ED Ers Kee m ee D ET i d See All een k n m po a mga Figure 4 30 Algorithm Edit Screen with one fader parameter selected 4 15 Operations in Detail Lexicon Inc Editing with the Joystick Check the Joystick Status Display to see what parameters a
116. p mbsence Longe folly bright living room with hard floors end lots of file Use Ralloff RtHicul ond MEGRT to add drepenes and cametina Bll PS Liang Room Surmouncd Ambiance Like Big Laing Room only smaller Bil P amp Parr Surrounci amp mbsence Asmoallperlor with heo competing end dregeries Bll P7 Pealmem Sumouncd AmEence Awenchooneled room wash a high celing and enough spece for oneregulciion azec table Bll PH Poolhdl STO AmEence A foinylarge pace wih wood iba low ceiling and about 10 fables ii P7 B oihroom Surround Ambsence Medium zed bor o bathroom and bright wiih Hed wals Bll PO Large Bathroom Surrounc Chamber Some oai Bathroom only largar Surround Stylized Spaces for Post Production Surround Bank 12 Post 2 Environments Number Mame Algorithm Description BI PI CH Tonk Surround Heil Use Size to vary the resonance coretul with revere tima BIZ P2 Boita Kaliway Surreunc chamber Jus down ine hal rom ihe ER BIZ P3 Yacht Club Surround Hall A large empty maze wah many audible retec tions BI Pa Low offices ot Surround Chamber Jacoby end Price BI PS Street Echo Slap Ambien Chomber Famous police ssund BIZ P Lobby Surraunc Chamber Bright and airy mik reium level for perseeciive B12 P7 Colege Lecture mun Ambience Lewvel of retum realy sets tha feeling BIZ PA Bai Cove Ambien Chomber Helo i anybody there BIZ P Are house Ambien Chamber Lower rever tme io fl up ihe worehouse BIZ PO Coffin Surround Armibence
117. particular role which is to supply the dry sound at the end of the apparently reversed tape The Reflection Delay is connected to Size Changes in Size will scale this delay See also Reflection Level Reflection Level Reverse algorithm only operates very much like the levels for reflection delays in other reverbs In Reverse it has a particular role which is to supply the dry sound at the end of the apparently reversed tape See also Reflection Delay Rolloff Stereo algorithms only sets the cutoff frequency of a ech per octave low pass filter at the output of all reverberation processing Rolling off high frequencies with this filter can result in more natural sounding characteristic For a shelving characteristic use Shelf Rolloff does not affect the frequency response of the early reflections See RefHicut Rear PreDelay Surround algorithms only is an additional predelay that can be added to rear input path to recreate the effect of the space s rear wall being farther from the listener than the front The total rear channel predelay is the sum of RvbPreD and RPreD so the latter s values are always preceded by a on the display E g with RPred of 20 and RvbPreD of 100 the onset of rever beration from the rear will occur 120 msec after the initial acoustical event For best results we rec ommend that the RPreD control be set to values less than 20ms Greater values tend to make the reverberation from the rear separately audible
118. pecifications 960L Mainframe cont SECH CARD CONFIGURATIONS PER CARD Stereo Machines Four 1 In 2 Out Machines Four 2 In 5 Out Machines Two 4 In 4 Out Machines Two 5 In 5 Out Machines Two 96K Stereo Machines Two 1 In 2 Out Machines Two 2 In 5 Out Machines One 4 In 4 Out Machines One 5 In 5 Out Machines One INTERNAL HARD DISK STORAGE Factory Programs 240 User Registers 1000 REMOVABLE 3 5 FLOPPY DISK STORAGE User Registers 100 POWER 100 120 220 240 VAC 50 60Hz 300W max Requirements Connector 3 pin IEC Selector switch included on some units DIMENSIONS Rack Units AU Size 19 0 W x 7 0 H x 17 4 L 483mm x 178mm x 442mm WEIGHT 35 Ibs REGULATORY APPROVALS FCC Class A CE EN55103 1 EN55103 2 UL UL1419 cUL C222 TUV EN60065 ENVIRONMENT Operating 10 to 40 C Storage 30 to 70 C Humidity 95 max non condensing A 20 Lexicon Inc LARC2 REMOTE DISPLAY Type Passive Matrix LCD Resolution 640x240 Colors 256 Backlight Fluorescent Contrast HW controlled rear panel Brightness SW controlled LED METER BRIDGE Configuration 8 channels x 3 levels Levels 60dBFS Signal 6dBFS O 5dBFS Overload CONTROL SURFACE Faders 8 60mm throw motorized touch sensitive Joystick Two axis Dedicated Function Keys 29 12 backlit Soft Buttons 8 CONNECTORS 960L 9 pin D sub Aux PS 2 Keyboard 6 pin Mini DIN Ext Power concentric 2 5mm OPERATING DISTANCE With power from
119. pproximate the longest dimension of the reverberant space in meters In practice perception of room size is also strongly determined by Shape Size strongly affects the overall timbre of the reverberation Values less than 25 have a noticeable small room coloration For the most neutral sound with the programs that have Shape and Spread controls set Size to about 30M and the adjust the apparent size with Shape and Spread 960L Using the Reverb Programs Parameters Used in the 960L Algorithms cont Slope Spin Spread Steering Wander Slope Reverse algorithm only multiplies low frequency energy and is similar in its effect to Bass Multiply Spin and Wander introduce small random variations within the reverberation continuously altering the reverb timbre to create a more natural sound Spin controls the relative rate of motion and the speed with which changes occur expressed in arbitrary units Wander controls the amount of change At extreme settings these parameters can introduce slight wobbles that are audible in crit ical material such as classical guitar or piano Spread works with Shape to control the profile of initial reverberant energy growth Shape sets the contour of the energy growth and Spread stretches or compresses this contour in time to make reflections closer together or further apart With complex material it may be advisable to use a moderately high value for shape and a moderately low one for sprea
120. quency at which the transition between MidRT and Bass Multiply takes place Except for special effects there is seldom a need for this parameter to exceed 500 Hz Contour controls the profile of the energy decay in the reverberation tail At a value of zero this decay will be smooth and featureless Large positive and negative values will add noticeable bumpiness of the decay Use non zero values with great caution Center Reverb Level controls the reverberation level of the Center output in surround algorithms This allows the Center Reverb Level to be set relative to both early reflection levels and the Front and Rear Reverb Levels We recommend that the Center Reverb Level be set about 4 5dB lower than the Front Reverb Level and the Rear Reverb Level RvbLvl is a master control for CtrRvb FrRvb and RearRvb Definition is found only in the Chamber and Reverse algorithms It models the irregularity of reflect ing surfaces in the space In Chamber turning Definition up makes reflections more discrete making the reflecting surfaces seem less diffuse Except for special effects it is recommended that this be set to zero In Reverse Definition controls density buildup lower values produce more density Diffusion models the effect of iregular wall surtaces in a room by changing echo density Very low values produce sharp discrete early reflections Higher values produce groups of reflections that are smoother but less articulated Except for
121. r Charber Cheormmber Church Church Fron Rear Breeze Scene Chambe ha Stucke c Kockn Waarriy cited smell Tiny AMberce d kockn Lul Zeg Reoms Room Room Room Foarn 2 Rom Horns Eh st Rom Face T Large Median Gr Dn zm Decor woes Petis est ol Long Bite RHlolec 7 Piohes 1 Pleats Fiat Plate Plate Pica ie Pate Piete Fiche Gr Cas Gehe A A Fiel Scr Tira Pa Bat Mates2 Plate Flats Plate Pleite 9 Very Large Large he churn Sricdl Sirene Liew Arres EE Close crea Ambience Ari Ambence Amber Ambiance Ambience Arbseoce Hell Ariens 10 Wals and By Ekar Al Ekor Al Gil siia Lor ITE J 4 i hel end B ck Well saps BackUP goe Up Bord Reuedl Cricket Bene Shed Pooch n lags Medium Smeil Bag Living Bia Pork PoOnkocor Paba Baute Post Clases Closet Clase Living Room Reon de CONO Bathroom 12 He s ile ehi Lena CFI ms ore College CH Ton Lobis Beat c Gi io Goffn Post Hihii Club ct Echa deg os Lecke ee S A 3 Appendix Lexicon Inc Banks 1 2 3 4 E A 7 8 D la Large ies ari Srl Plein Lca types Km Aic rie Aus Bem Large rell Halls 1 Heal Heal Heal Heal Heil Fal Pork Heil Church Church zx Large Med Chey Med Wm Echo Large Brite ndi Bribe Sher Io Moana Bas ely Bottom Hols Char Hal Hal Hal Heal Hell Hal and Deep Deepa Hal Heu LI Lg Hage Med jore pm Bage Bite Mage pl MT Papilal Fral Erigh Big Multi Naga Hal 4 Heil Hedl Heal Stoye e Row Stee Stage i de A gch wn Sne Mire Seri Brite Soft Lg Bre La Derk Ly Vocal Huge Slap C
122. r inputs to front early reflections The level of this path in both directions is set by FSLvl The high frequency rolloff is set by FSRoll In Ambient Chamber the delay in the path in both directions is set by FSDIy Front to Surround Rolloff Surround Ambience and Ambient Chamber only In surround ambiences there is a signal path from front inputs to rear early reflections and also from rear inputs to front early reflections The level of this path in both directions is set by FSLvl The high frequency rolloff is set by FSRoll In Ambient Chamber the delay in the path in both directions is set by FSDIy 960L Using the Reverb Programs Parameters Used in the 960L Algorithms cont InLvi LvL gt L LvR R LvL gt R LvR gt L LvLF gt LF LvLF gt LS LvLF gt RF LvLF gt RS LvLS gt LF LvLS gt LS Mid RT Mix RefDly RefLvl Rolloff RPreD RearRoll IVLS RF LvLS gt RS LvRF gt LF LvRF gt LS LvRF gt RF LvRF RS LvRS gt LF LvRS gt LS LvRS gt RF LvRS gt RS Input Level sets level for all input channels simultaneously Used to prevent processor overload by counteracting gain increases caused by high RTMid BassMult and Delay feedback levels Unless extreme values of these controls are used we recommend that you leave InLvl set at the factory preset position Reflection Levels In many real spaces distinct reflections and echoes are an important part of the sound so many of the 960L s re
123. re currently assigned to the joystick and what their cur rent settings are Note whether the JOYSTICK key on the LARC2 control sur face is illuminated or not If the key is illuminated the joy stick is locked to the current parameter and moving it will change the current settings The setting dot is green and the joystick cursor will be superimposed on the Joystick Map section of the display as shown on the right in Fig 4 31 e Move the joystick This immediately changes the parameter settings e The new settings can be read from the left half of the Joystick Status Display If the key is not illuminated the joystick is not locked and moving it will not affect parameter settings The red setting dot and joystick cursor will normally be separated on the Joystick Map as shown on the left in Fig 4 31 e Maneuver the joystick so its cursor lies near the red setting dot e Press the JOYSTICK key on the LARC2 control sur face to capture the parameter The setting dot will turn green and the JOYSTICK key will light If the joystick cursor is not near the current values the values will jump to the joystick position ask CATEGORY o du f agp pii Chanbers Figure 4 31 Joystick Status Display with joystick not locked left and locked right Note AS it is possible for the Joystick cursor to overlay the setting dot when the joystick is not locked check that the JOYSTICK key is illuminated or that th
124. respond with the standard descriptor as defined in the MIDI 1 0 Detailed Specification published by The MIDI Manufacturers Association MMA Incoming Inquiry MIDI Byte Description FO Sysex header 7E Non real time header XX Device ID The 960L will always respond to its own ID 0 or to 7F 06 General Information 01 Device Inquiry F7 EOX 960L s response MIDI Byte Description FO Sysex header 7E Non realtime header XX Device ID Always 0 in 960L Software V1 0 06 General Information 02 Device ID message 06 Lexicon ID OC 960L Sysex ID Device Family Code LSB 00 Reserved Device Family Code MSB 00 Reserved Device Family Member Code LSB 00 Reserved Device Family Member Code MSB XX Major Software Revision XX Minor Software Revision XX Revision type A Alpha B Beta R Release OO Unused Revision information F7 EOX 6 5 MIDI MIDI IMPLEMENTATION CHART LEXICON 960L DATE 20 APRIL 2000 VERSION 2 0 Function Transmitted Recognized Remarks Basic Default X 1 16 Channel Changed X X Mode Default X Mode 1 Messages X X Altered X X Note Number True Voice X X Velocity Note ON X X Note OFF X X After Keys X X Touch Channel X X Pitch Bend X X Control 1 119 A OX Bank Change Only Change Program Change X 0 9 0 63 Channel 1 uses 0 63 Bank Select X System Exclusive Device ID Device Inquiry Device ID System Song Position X X Common Song Select X X Tune Request X A System Clock X A RealTime
125. returns This type of boost is often very useful when working with music that includes both vocals and instruments Ambient Chamber Ambient Chamber is a hybrid of the stereo Ambience and Chamber algorithms It applies front left center and right signals to the ambience algorithm and front LCR plus rear signals to the chamber algorithm This can be used to change the apparent microphone distance of the front signals or to provide different acoustics for the front and rear e g a stage house in front and a more reverberant auditorium behind it that join into one integrated rever berant field The advantage of Ambient Chamber over the Ambient Surround is that there is more control over the late rever beration with the inclusion of the Shape Spread and BassMult controls However the early reflections generat ed by Ambient Chamber are more limited There are no early reflection generators for signals coming into the rear inputs of the Surround version of this program and the early reflections generated by the ambience section of the program are directed only to the front three loud speakers Later reverberation is provided to all the loud speakers and all inputs will generate appropriate late 5 9 Using the Reverb Programs Lexicon Inc reverberation Ambient Chamber is particularly useful in two channel mode and whenever a surround program Is being designed to play back primarily in a two channel matrix form Reverse a
126. rithm parameters combine to create some path with a gain greater than unity Generally you should mute the outputs MUTE MACH or MUTE ALL and then find and correct the offend ing parameter settings This should not occur with factory Programs unless they have been edited Note More comprehensive metering can be done using the meter screen described in Section 3 of this manual THE LEXICON BUTTON he Lexicon button is used for quick A B comparisons between the current version of a Program or Register including your edits and the effect as originally loaded When the button is held down the original stored Program or Register will be loaded and the display will show a red banner that says LISTENING TO ORICINAL PRE SET When the button is released your last Edit state will be reloaded and the red banner will disappear 2 8 FINE ADJUST It is difficult to set parameters with large value ranges to precise values with the faders For example the fader range for some delays must allow for the fact that delays of 1 000 milliseconds are not uncommon yet the value often needs to be set within a few milliseconds or even samples To make such fine adjustments set the faders to the approximate values you want then press the FINE ADJ button When this button is pressed the faders all move to the center of their travel but their settings do not change The faders then operate in a vernier mode with a limited adjustment range
127. rity Using a knowledge of these mechanisms we can create reverberation devices that can give the desired acoustic impressions rooms that sound plausibly real but that give the recording engineer complete control over the sense of distance and the sense of envelooment These rooms seem real but they are not They are designed and adjusted by the engineer to the specific needs of the recording and they create their magic uni formly over a wide listening area To see how this works consider a concert space a large hall In this space we hear a sonic event as a whole pack age of sounds consisting of direct sound various early reflections and finally the reverberant tail The sound that reaches us directly from the performer tells us the horizon tal and possibly the vertical direction of the sound source the reflections that follow give us cues for deter mining the distance to the source and give us some infor mation about the space Yet describing acoustics through the concepts of direct sound early reflections and reverberation is misleading from the point of view of human perception Direct sound early reflections and reverberation are only meaningful when the sound source is a very short impulse like a pistol shot Real sound sources produce sound events of finite duration notes The duration of a note is typically longer than the time between the direct sound and the early reflections The length of time a note is held
128. rrent selection to V Page joystick In this case pressing the J Stick soft button will assign LS In to the V Page joystick In Fig 4 34 the Left Surround input channel 4 is currently selected so its header is highlighted and its pan position is indicated on the Joystick Map The JOYSTICK key is off so the joystick has not captured the parameter note the separate positions of the cursor and the setting dot When the I O Type is set to Program the I O settings con tained in the Program or Register will be used when loaded When the O Type is set to Machine the current settings I O pan positions and levels will be used for every Program and Register loaded essentially overiding settings in the Programs or Registers when loaded Input currently mapped to joystick B01 P1 Larc 1 r E la CR m T KEE E aa a a a e Joystick position Parameter currently controlled by joy stick not captured JOYSTICK key off Figure 4 33 Editing screen for input panning and levels with joystick key off Machine Da Mmm Status CH Display bn Toggles I O Type between machine and program for the current machine Current state is displayed in the Machine Status Display Figure 4 34 The Left Surround input channel 4 is currently selected 4 17 Operations in Detail Lexicon Inc Note new position of selected input Joystick has captured parameter d Figure 4 35 Editing screen for input panning a
129. ry Preset Controller O 0 Controller 32 0 19 2048 2147 User Registers Controller O 16 Controller 32 0 99 8192 Floppy Disk Controller O 64 Controller 32 0 9 16383 highest Bank Card Configuration The DSP card Is partitioned through Program Change mes sages on channel 1 The highest Bank number 16383 Ox7f on Controller O and Ox7f on Controller 32 is used for this purpose Other Bank numbers are reserved for future use Here are the values Program 44 1 48K O Stereo 4 stereo machines 2 In 2 Out 2 Surround machines 5 In 5 Out and 2 In 5 Out 2 2 Surround machines 2 In 5 Out 3 2 Surround machines 4 In 4 Out 4 4 Stereo machines 1 cascaded pair 5 4 Stereo machines 2 cascaded pairs 6 2 Surround machines 5 channel cascade 7 2 Surround machines 4 channel cascade 8 4 Mono In machines 1 In 2 Out 63 Diag partition 8 In 8 Out Continuous Controllers he 960L does not respond to continuous controllers except those used for Bank change 6 4 Card configuration For Channel 1 DSP card 1 or Channel 2 DSP card 2 88 2 96K 2 Stereo machines 1 Surround machine 5 In 5 Out 1 Surround machine 2 In 5 Out 1 Surround machine 4 In 4 Out 2 Stereo machines cascaded No configuration No configuration No configuration 2 Mono In machines 1 In 2 Out Diag partition 8 In 8 Out 960L MIDI MIDI SYSEX The only Sysex message supported by the 960L is the Inquiry Message The 960L will
130. s a tool that helps us separate one musi cal line from another and thus helps us grasp the intellec tual and emotional content of the music The sense of space is also not particularly interesting in itself It is the emotional effect of the space that makes the perception worth the trouble It is hard to separate the awe inspired by the sound of a Gothic cathedral from Gregorian chant chant was developed to work alongside this awe and to enhance it Listen to the cellos and basses play a pizzica to bass line in a dead opera house and feel how each note falls liteless Add an enveloping reverberation and each note takes a life of its own swirling around us as the notes decay and pull on our heart with sadness or joy Are we aware of these effects A trained listener can be but most listeners can only describe the emotional impact This impact can be very real The sense of distance has a similar emotional effect When the direct sound is too strong voices and instruments seem to be stuck to the speaker up front and in your face This perception is particularly strong when a engi neer tries a 5 1 mix for the first time Put the vocals in the center speaker and Bam they whack you in the face The up front perception is psychologically important But you want to use it with great caution Sometimes it is just the effect you want but after a sustained period the listener can tire and psychologically back away This is probably one of
131. s securely screwed into the rack For moving and in roadcases be sure that support is pro vided for the rear of the chassis to avoid possible damage Ventilation Provide adequate ventilation if the 960L is mounted in a closed rack with heat producing equipment such as syn thesizer modules effects units or power amplifiers Avoid mounting the 960L Mainframe directly above power amplifiers Location It may be desirable to place the 960L Mainframe in a loca tion remote from the listening environment The mainframe can be located up to 1 000 feet from the LARC2 controller with a remote power pack See Section 2 for more information IEC Power Connector The 960L is equipped with a 3 pin IEC power connector and detachable cord providing chassis grounding to the AC mains line Plug the female end of the power cord into the 960L Mainframe and the male end into a wall outlet MAINS VOLTAGE SELECTOR If your 960L has a mains voltage selector switch as shown in Fig 1 4 be sure the setting matches your local voltage before connecting the Mainframe to the mains Figure 1 4 a Setting for 100 120 VAC Figure 1 4 b Setting for 220 240 VAC voltage If there is no selector switch Fig 1 5 it does not need set ting and will operate on mains voltages from 100 240 VAC Analog Audio Connections if present For best results the 960L should be connected to your con sole s Aux sends returns with wet dry mixing a
132. sets the envelope of the energy build up and Spread stretches or compresses this contour in time Low val ues of Shape produce a very rapid onset as you would find in a small chamber With larger values the reverberation blooms over a few hundred milliseconds much as it would in a good Romantic era concert hall Large values of Spread and Shape can create inverse effects see note under Reverse algorithm Shelf Random Hall only controls a shelving low pass on the reverb output It modifies the low pass characteristic of the rolloff control turning it into a shelving filter Both the pre echoes and the rever beration are affected For example if Shelf is set to 6 dB frequencies below approximately Roll 2 will be boosted by 3 5 dB while above approximately Roll 2 response will be flat For realistic musical acoustics Shelf should be set between 12 and 6 dB and Roll should be set between 700 Hz and 1 5 kHz While this control can occasionally be useful to increase the apparent low fre quency content of the returns it does so at the expense of eliminating the overall rolloff charac teristic that typically begins around 2kHz Thus it is probably best to leave Shelf set to zero If more LF is desired in the returns use console equalization to increase the low frequency content by about 3dB below 200Hz Size is a scale factor that alters the length of most of the reverb s delay elements This control is cal ibrated in units that a
133. stem the output routing control will top row is the output type and the bottom row is show arrows with numbers in them on the DSP card out the channel of the selected output type puts Fig 4 23b These arrows represent the cascaded outputs that can be selected as inputs on the other DSP card Fig 4 23a shows the output control with one DSP 5 Use the Increment Decrement keys to scroll through all available output types on your system The output types available depend on the I O card installed in the system cards installed on your system EDEN an oni sut beni ani Dani annt 6 Use the Up Down Arrow keys to scroll to the out ma FH Er A E E23 Ii FH put channel box on the selected DSP channel Once again the top row is the output type and Figure 4 23a Output control with one DSP card the bottom row is the channel of the selected installed in system output type TAPER ES 7 Use the Increment Decrement keys to scroll KE Kal E through all available channels of the selected OUTPUT ROUTING Foe OS CARD ED ERE output type Figure 4 23b Output control with two DSP cards installed in system Shared Outputs When a physical output is being utilized as a destination by another DSP card output anywhere in the system the To route an output output is said to be shared When an output is shared 1 Load the desired DSP configuration See the sec with another DSP card output in the system an 3 will tion on config
134. t power panning As you pan a sound from one channel to the next the sum of those channels output powers will not change Setting Levels In Input and Output Edit modes moving any fader changes its associated signal level The maximum level indication is 0 0 dBFS digital full scale You can move sev eral faders at once The channel assignments are grouped to facilitate this With outputs set to OdB a 4dBu analog input will pro duce a 20aBFS signal This provides 20d0B of headroom Optimum S N is achieved when input levels are kept as close to digital full scale as practical Avoiding Overload If all eight of the Overload LEDs on the LARC2 s meter bridge light called accumulator overflow the DSP is overloading internally Certain combinations of parame ter settings can cause this Reducing input levels may or may not solve the problem If your edits create feedback press the MUTE MACHINE key on the LARC2 s Numeric Keypad to mute the output of the current DSP while you solve the problem If you re not sure which machine is causing the problem press the MUTE ALL key on the Numeric Keypad TA come Tha sc Figure 4 38 Editing the V Page 4 19 Operations in Detail Lexicon Inc Assigning New Parameters to Faders or the Joystick Except in Edit mode the parameter assignments of the faders and joystick make up what we call a virtual page or V Page This is simply a co
135. tereo and mono reverbs The 3DPM algorithms Lexicon developed for the 960L take the principles of physics and psycho acoustics into account Introduction Lexicon Inc Vi Description uuum e o Ope Pet po o a RR M e a n 1 3 About UE 1 3 Unpacking The Pep paaa anakan mna baha 1 3 The Rear Panel 1 3 Jesse vedo sae te EE EE se 1 4 Remote Control Connectors 1 4 Option e AA 1 4 Analog Input Cord 1 4 Analog Output Card 2 5 5 etch ahh RC NAA AN NG 1 4 ASVO COO EP 1 4 Mains Power Switch es accu d ice td 1 4 Mains Voltage Selector 1 4 IEC Power CONNECIOD amag pA obese eee ds 1 4 The Front Panel 0 cee eee eee ees 1 5 Floppy Drive 1 5 TADS CLOWNS P EE 1 5 Standby Switch and Indicator 1 5 Behind the Front Panel 1 6 DSF COMA SIONS EE 1 6 ob Gel eege gege SC 1 6 Installatioli c2 AKALA oe ee ebb eaten eae RES Ig MOURINO auster Uca ia MAA MA WG ERR rich d 1 7 Mee P o s ara he te OE eee ee eee as a 1 7 Eea aioin essed E ew eu oun aetna ees 1 7 IEG Power COD CTOD waa paa Gana dod arf hes bad Analog Audio Connections 1 7 Digital Audio Connections 1 8 MIDI COMMECTIOINS eat E we ara dures ernie 1 8 Word Clock Connections EE 1 8 1 1 The Mainframe Lexicon Inc 1 2 960L The Mainframe Description ABOUT THE 960L The 960L system consists of two components a rac
136. the reasons many engineers raised on two channel stereo prefer a phantom center to a hard center The phantom may be just as up front but there is no speaker in that position so it seems more acceptable here is another solution Humans perceive distance in large part through the strength and time behavior of reflected sound In a typical room the direct sound arrives uncorrupted by reflections If the sound has a fast rise time the ear is able to determine the direction of the sound by using the interaural time delay and the interaural level dif ferences as cues After 10ms or more reflections start to arrive contaminating the time and level differences and making localization difficult Our brains are able to use this reduction in localizability of the sound as a distance cue the degree to which precise localization is reduced after the onset of a note is a cue to both the size and the fur nishings in a room Reflections from almost any direction EXCEPT the direction of the sound source can create this sense of distance and they can come at a great variety of times after the direct sound However there are optimal directions and optimal times The optimal direction is frequency dependent For 5 4 frequencies below 700Hz the optimal direction is from the side 90 degrees from the front At about 1500Hz the opti mal direction is 30 degrees from the front The standard front speaker angle Reflections that arrive earlier
137. the reflection pattern from a specific source point in a real space to a specific receiver position and reproduce this pattern through five loudspeakers One might expect this technique would yield the most accurate sonic represen tations of halls and rooms Alas the illusion of reality is not so easily achieved First real spaces are themselves a compromise Small rooms and stage houses tend to provide a sense of blend and distance to music but provide little warmth and envelop ment and often can make the sound colored or muddy Large rooms can provide envelopment but often the sound can be too clear and present with the instruments seemingly stuck in loudspeakers To make matters worse in a real space every musician will have a completely different reflection pattern from every other musician and every listener will have a different pat tern from every other listener In addition reproduction of a given sound field through a loudspeaker array is only possible if the listener occupies a single known position If our goal is to create a believable room impression over a wide listening area and this should be our goal then we better do something else Our solution has been to study the physics and the neurol ogy of human hearing to discover the mechanisms by which reflected energy patterns create the useful per ceptions of distance and envelopment and to discover how to recreate these perceptions without compromising cla
138. the spatial aspects of a recording so it can be delivered on a two channel format There is no data reduction of the sound waveforms themselves so the sound quality can be very high Competing with Logic7 and the current data reduced dis crete technologies are two audio disc formats based on DVD technology DVD Audio and SACD These promise to deliver discrete 5 1 channel surround without data reduc tion These encoding technologies promise higher fidelity than CD thanks to 96 kHz 24 bit recording a signal for mat for which the 960L is already prepared The eight channel design and modular construction of the 960L make it ready for future surround advances whatever they may be 5 8 ALGORITHMS Random Hall Random Hall is a hall effect with gradual build up well suit ed to complex sounds like orchestral music Its reverbera tors change over time in controlled random ways to avoid the buildup of tinny grainy metallic or other colorations The early reflections are user adjustable in amplitude and delay Some skill is needed to set useful reflection pat terns Since the reflections are adjustable they are not randomized Once set the reflection pattern is fixed The pattern can be expanded or contracted in time using the Delay Master control and the overall level of the pattem can be set with the Early Level control The most important user parameters for Random Hall are the level controls the Early Level and
139. tly selected machine or the outputs of all machines LARC2 CONNECTIONS Host Port This port connects LARC2 to the 960L Mainframe For dis tances of 100 feet or less use the Lexicon 50 foot cable supplied with LARC2 For longer distances up to 1 000 feet use computer grade cable with shielded twisted pairs for example Belden 9860 or 9271 Do not use micro phone or other audio cable The cable pin assignment is shown in Fig 2 3 For distances over 100 feet LARC2 requires an external power supply as described below 6 QD o D Q HBAS Pin Assignment Pin Assignment Chassis Shield Ground 6 Receive Data Transmit Data Transmit Common Power Supply Receive Common Receive Data Transmit Data Power Supply Ground Hu cw D Te cs LO DUUM Not connected if external power supply is used Figure 2 3 LARC2 Connector Pin Assignments Aux Port You can connect a standard PS 2 computer keyboard to LARC2 via this port This will allow faster text entry in NAME and INFO fields see Chapter 4 Operations in Detail Hot plugging the keyboard is not recommended The key board should be connected before power is applied to the 960L External Power Connector he LARC2 must be powered by an external power supply when located greater than 100 feet from the 960L The power supply should deliver 12VDC at 2A and should have a 5 5 mm O D 2 5 mm I D concentric female barrel con nector with the positive voltage
140. to the length of this warranty Exclusion of Certain Damages Lexicon s liability for any defective product is limited to repair or replacement of the product at our option Lexicon Inc shall not be liable for 1 Damages based upon inconvenience loss of use of the product loss of time interrupted operation commercial loss or 2 Any other damages whether incidental consequential or otherwise How State Laws Relate to This Warranty Some states do not allow limitation on how long an implied warranty lasts and or do not allow the exclusion or limitations of incidental or consequential damages As such the above limitations may not apply to you This warranty is not enforceable outside of North America This warranty gives you specific legal rights and you may also have other rights that vary from state to state Lexicon Inc 3 Oak Park Bedford MA01730 USA Tel 781 280 0300 Fax 781 280 0490 e mail info lexicon com www lexicon com A 21 NN
141. to two independent cascaded four channel surround machines Each machine has four inputs and four outputs The four outputs of the first machine are fed directly into the four inputs of the second machine The four outputs of the first machine as well as being used as inputs to the second machine can be rout ed to any physical output on the 960L In a cascaded configuration the unpanned outputs of the first machine are fed into the inputs of the second machine at full level That is why the second machine does not show any controls on its input page THE FIVE CHANNEL CASCADE CONFIGURATION Figure 4 7 44 1 48kHz Five Channel Cascade Configuration two machines available With the 5 In Cascade configuration loaded the DSP card is partitioned into two independent cascaded five channel surround machines Each machine has five inputs and five outputs The five outputs of the first machine are fed directly into the five inputs of the second machine The five outputs of the first machine and the five outputs of the second machine are combined The output levels of the five outputs of the first machine and the five outputs of the second machine can be adjusted independently using each machine s output page In a cascaded configuration the unpanned outputs of the first machine are fed into the inputs of the second machine at full level That is why the second machine does not show any controls on its input page THE EIGHT IN
142. ts it enables you to quickly pick a parameter and assign it to a fader or Fr Feli d EIE Hr Cir Reb in up to ten pages of up to eight parameters apiece The highlighted down arrow to the right of these pages shows that there are more pages below the screen these pages can be reached by scrolling with the Navigation Arrow keys or if you know the number of the page you want entering that number on the Numeric Keypad e Pick the parameter you need from this menu by navigating to it which will highlight it e Press the Options soft button This changes the soft buttons to Select used for selecting algorithms V Page for assigning parameters to faders and J Stick for assigning parameters to the joystick and the soft button background will change to yellow See Fig 4 39 Note In Edit mode the parameters and settings on the Scribble Strip are not a V Page They are the selected algorithm edit page the row whose number is highlighted in larger characters for easier reading On the Main Operating Display parameters assigned to the V Page appear in blue all others are in black FROM THE EDIT ALGORITHM INPUTS OUTPUTS Gelee SCREEN Press the V Page soft button to view a numbered list of the eight faders and their assigned parame ters Fig 4 39 To assign your newly selected para meter to a fader type the fader s number on the Numeric Keypad or touch the desired fader Note You must already have
143. und machine The machine has five inputs and five outputs Also there is an LtRt mix of the five outputs available This LIRT mix is a simplified matrix that is compatible with Lexicon s Logic7 format as well as other standard encod ing schemes THE EIGHT IN EIGHT OUT CONFIGURATION Figure 4 19 88 2 96kHz 8 In 8 Out Configuration one machine available 4 10 With the One 8 In 8 Out configuration loaded the DSP card is partitioned into one eight input eight output machine Currently this machine is used for diagnostic pur poses only THE STEREO CASCADE 1 CONFIGURATION BOT Pe MedimHal Figure 4 20 88 2 96kHz Stereo Cascade 1 Configuration two machines available With the Stereo Cascade 1 configuration loaded the DSP card is partitioned into two independent stereo machines Machines one and two are cascaded where the outputs of machine one as well as being routable to any physical output are fed directly into the inputs of the second machine This configuration is similar to the cas cade configuration of the 480L THE DUAL STEREO CONFIGURATION Figure 4 21 88 2 96KHz Dual Stereo Configuration two machines available With the Dual Stereo configuration loaded the DSP card is partitioned into two independent stereo machines Each machine has independent stereo inputs and inde pendent stereo outputs 960L Operations in Detail INPUT ROUTING The 960L can support up
144. urations if you are not sure how to appear next to the channel number load one 2 After the configuration is loaded use the arrow keys to scroll to the output routing control shown in Fig 4 24 You will know the control is selected when the title bar turns blue Figure 4 24 Output Routing Control 3 Use the Left Right Arrow keys to scroll to the DSP output channel for which you would like to assign a destination You will know the output is selected when it turns black 4 12 960L Operations in Detail Metering Screen Along with the simple LED Meter Bridge located above the LCD display a more comprehensive input metering screen is available Fig 4 25 This input metering screen is accessed when in Control mode by pressing the meter s soft button Ch oe Fe Ez ES enn t a ang D z om z TI x l gt i Li T 1 P Pin D E E D L p ru D Figure 4 25 Input Metering Screen The meter screen consists of eight plasma style meters which show the input levels of the currently selected machine s DSP card NOTE If a second DSP card is installed in your system select a machine on the second card to view the input levels of that DSP card Each of the eight meters has a level indicator a label and an overload OVL counter Fig 4 26 AS you can see in Fig 4 26 the label AN 1 1 indicates that we are metering input type Analog 1 Channel 1 The level in
145. ut output configuration and system infor mation The faders and joystick remain assigned to what ever audio parameters are on the V Page B03 R3 Small Stag CORFIG Figure 4 3 Control Mode Word Clock Screen Word Clock Entering the clock source number will select that source From the Control mode screen press the WORDCLK soft You can also select a source with the Up Down Navigation button then the number of the source you want Arrows or the Increment Decrement keys 1 Internal Crystal controlled Use only with Note analog inputs or if your digital inputs Use of the internal Word Clock with digital inputs are from sources that are locked to can introduce audible artifacts due to sample slip the 960L even if the nominal sample rates are the same When the 960L detects slipped samples in the AES input stream the audio outputs are muted To 2 BNC For locking to your studio s master clock avoid this do one of the following Used with analog or digital input Na e Slave both the digital source and the 960L BNC or AES to a common Word Clock 3 AES Clocked from AES input 1 2 Used with e Allow the 960L to slave BNC or AES to the analog or digital input Note that if you digital source s Word Clock are using AES as both the clock and e Slave the digital source to the 960L using the audio source and disconnect AES input 960L AES or BNC output 1 2 the clock source while other inputs remain active you wi
146. vailable for home theater The discrete digital technologies require specialized hard ware for playback and the original source material can not be recorded on home tape recorders VCRs or broad cast over conventional broadcast equipment More importantly more and more consumers were installing sur round sound systems in their homes and there was a great need for a technology that would allow standard two channel recordings to be reproduced in a surround sys tem Not with Dolby Pro Logic which narrowed the front image and provides a monaural surround signal but with a system that offered a wide front image over a large lis tening area and the listener envelopment present in the original recording location To solve both problems Lexicon developed Logic7 matrix technology which provides a method for releasing sur round recordings on standard stereo compatible CDs More importantly Logic7 and LexiconLogic provide a method of playing the millions of standard two channel music recordings with all the advantages of discrete sur round Logic7 also allows Dolby surround films to be played with a wide frontal image and full rear envelopment Logic7 encoded recordings can be broadcast or played on any currently available reproduction equipment and yet they provide full five channel surround on a device with a Logic7 decoder and decent four channel surround when played with Dolby Pro Logic Logic7 uses matrix technolo gy to compress
147. ve been editing a user created Register the 960L will highlight the current Bank and Register If you wish to replace that Register with your edited version press STORE a second time to save your edit e f you ve been editing a factory Program the 960L will look for the first Register Bank with space avail able or the Register Bank you last stored to and the first empty Register within that bank e If you d prefer a different Register Bank press the BANK key and enter the number of the desired bank or scroll to it with the Navigation Arrows e lf you d prefer a different Register press the REGIS TER key and enter the number of the desired Register or scroll to it with the Navigation Arrows e To name a Register or Register Bank press the NAME soft button and follow the directions below e To add explanatory information to a Register or Register Bank press the INFO soft button and fol low the directions below e When everything target Bank target Register NAME and INFO is the way you want it press STORE again to save ng GN EE DEER SEENEN d Tate WI Figure 3 7 Storing 3 8 960L To enter Name or Information Using the LARC2 use the Increment Decrement keys to scroll between character positions in the Name or Information display and use the Navigation Arrows to select the desired character from the matrix below then press the ENTER key to finalize your selection
148. verbs have reflection delay and echo paths with appropriate con trols The Reflection Delays set the delay time For example dLF gt RS is the delay time in a path from the Left Front Input through the diffusor through a delay of dLF gt RS duration and finally to the Right Surround Output Each of these delay paths has its own level control as well as a master control for all of the ErlLvl The level of the example delay path is set by the related control LVLF gt RS Midrange Reverberation Time The basic control for setting the duration in seconds of the reverber ant tail This is the control that is most like the physical RT60 parameter The perceived time will also be affected by RtHicut and Bass Generally MidRT should be set to a value of about 1 2 seconds for small rooms and up to 2 4 seconds or so for halls Wet Dry Mix Each of Lexicon s factory programs are typically shipped at 10076 wet and we rec ommend controlling the mix at the console rather than on the LARC2 Where a console is not avail able this control can be used to adjust the wet dry ratio When a console is being used to adjust the mix of the reverberation returns be sure the wet dry mix control is set at 10076 Otherwise the direct path through the 960L will interfere with the direct path through the console and severe combing will occur Reflection Delay Reverse algorithm only operates very much like the reflection delays in other reverbs In Reverse it has a

960L Digital Effects System

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