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1. 6 3 THE REAR PANEL DIGITAL MODEL 5 THE REAR PANEL DIGITAL AND ANALOG MODEL 7 USING THE PCM96 SURROUND 9 Powering Up the PCM96 4 9 The Preset Screen 9 Selecting Your Audio Source and Clock 10 Roading a 10 Changing Categories 10 System Presets and Machine Presets 11 The configuration 12 Editing a Presets 13 Storing a Prestas nnii 14 Initializing formatting a Compact Flash 15 Creating a new System 15 DSP 65 16 Preset availability within the various surround configura NOLS 16 Signal distribution inside the 16 Single Stereo Mono 17 Single aan 17 Dual Stereo Mono 2 17 17 Cascade Stereos tec Mase 18 eR ECR 18 Quad neei 18 Cascade MON Op 18 Dual Mono Single Stereo 18 Cascade Mono to 18 Single T
2. 5 MANUAL Lexicon PCM96 Surround Reverb Effects Processor 0 123466 lexicon by HARMAN Professional Audio Equipment IMPORTANT SAFETY INSTRUCTIONS CAUTION PEN ATTENTION WARNING reouce THE RISK OF FIRE OR SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN O UE DE CHOC ELECTRIQUE NE PAS OUVRIR The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products The lightning flash with arrowpoint in an equi lateral triangle means that there are dangerous voltages present within the unit The exclamation point in an equi lateral triangle indicates that it is necessary for the user to refer to the owner s manual These symbols warn that there are no user serviceable parts inside the unit Do not open the unit Do not attempt to service the unit yourself Refer all servicing to qualified personnel Opening the chassis for any reason will void the manufacturer s warranty Do not get the unit wet If liquid is spilled on the unit shut it off immediately and take it to a dealer for service Disconnect the unit during storms to prevent damage SAFETY INSTRUCTIONS NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A POWER CORD WARNING THIS APPLIANCE SHALL BE CONNECTED TO A MAINS SOCKET OUTLET WITH A PROTECTIVE EARTHING CONNECTION The cores in the mains lead are coloured in
3. 14 15 16 O00000 00 0 0 174 18 194 204 214 224 234 24 Cable 5 Cable 4 Cable 3 Cable 1 Ground Cable6 Cable5 Cable3 Cable2 Cable1 Cold Ground Hot Cold Ground PCM96 Surround Analog Out Cable Male Cable6 Cable5 Cable4 Cable2 Cable 1 Hot Cold Ground Hot Cold Cable 6 Cable 4 Cable 3 Cable 2 Ground Hot Cold Ground 13 174 18 194 204 214 224 234 24 O 14 15 16 Cable 5 Cable 4 Cable 3 Cable 1 Ground Cable6 Cable5 Cable3 Cable2 Cable 1 Cold Ground Hot Cold Ground 51 DIGITAL DB25 CABLE DIAGRAM pT 223 0 4 5 Out Ground 6 tse 96 Surround AES Cable Male Out 3 4 Out 1 2 In 34 1 1 2 Out 3 4 Out 5 6 1 2 47 5Y 67 7 OV 107 117 127 13 14 154 164 17 184 194 20 214 224 234 244 25 1 2 Ground Ground Out 5 6 Out3 4 Out1 2 5 6 In3 4 1 1 2 Ground Ground PCM96 SURROUND SPECIFICATIONS ANALOG INPUTS Connectors Impedance Level for OdBFS Freq Response 96K A D Dyn Range THD Crosstalk 1Khz ANALOG OUTPUT Connectors Impedance Level at OdBFS Freq Response 96K D A Conversion D A Dyn Range THD Crosstalk 1kHz DIGITAL AUDIO IO Connectors Format Word Size SAMPLE R
4. 41 Room Surround Stereo and 41 Pitch Shift Multivoice 41 Pitch Shift Standard 42 Pitch Shift Multi Mono VSO 42 Post VSO sc isis 42 Sigtial 42 THE PARAMETERS 6 43 ANALOG DB25 CABLE DIAGRAMS 51 DIGITAL DB25 CABLE DIAGRAM 52 PCM96 SURROUND 5 5 53 MIDI IMPLEMENTATION CHART 56 INTRODUCTION Congratulations and thank you for purchasing the PCM96 Surround Reverb Multi Effects Processor Building on the success of the PCM96 the new PCM96 Surround offers more presets more configuration options and more inputs and outputs The PCM96 Surround gives you industry standard reverbs and effects with tremendous flexibility Use the PCM96 Surround as a plug in with your DAW or keep it connected to your mixer Either way you have a multitude of configuration options to choose from without hav ing to move any cables The PCM96 Surround is available with either 6 channels of XLR AES inputs and outputs or 2 0825 6 channel analog I O and 1 DB25 6 chan nel digital I O Both versions also feature MIDI Wordclock Ethernet and FireWire INCLUDED I
5. Pan Routes the post filter delay voice across the left right soundstage Pattern Selects a space available in the selected Category see Category parameter Pitch Shift This parameter determines the amount of positive or negative pitch shift for the shift Expressed as a percentage Pitch Trim This parameter detunes the pitch shift established by the Shift Semi or Pitch Shift parameters Expressed as a percentage Reflection Delay Delay Time A reflection delay is a delay tap taken from one of the inputs and sent to one of the outputs It is often called a delay voice Depending on the algorithm there may be one or more reflection delays for each input channel Some of the delays may mix their outputs to the same channel left to left and some may go cross channel left to right Reflection Gain Level Each Reflection Delay voice also has a gain value This gain is controlled by the Reflection Gain parameter Resonance This parameter determines at which frequency the delay voice resonates Resonance Detune Master Controls detuning of all voices in the algorithm Each voice has its nominal detune adjusted by this percentage Includes a built in ducker that attenu ates the delay output whenever signal is present at the input This can be used to keep the original signal from being muddied up by delay repeats Resonance Filter Master Controls all voices in the algorithm Each voice s resonator has its nominal cutoff freq
6. This parameter effects all filter types It allows a certain amount of unfiltered audio to be combined with the filtered audio This effectively lowers the effect of the filter Another way of looking at it is that it lessens the normal filter slope of 12 dB per octave Unlike the traditional biquad filter the shelf is effective for all filter forms Shift Semi This parameter determines the amount of positive or negative pitch shift for the shift Expressed in semitones Signal Event Freq Changes the rate of discreet signals from the signal generator This only has an effect when the signal type is set to sweep tones or pink click Signal Frequency Changes the frequency of the signal generator sine wave This only has an effect when the signal type is set to sine wave Signal Type Selects the type of signal to be created by the signal generator The types of signal are Sine Wave When this is selected the signal frequency parameter is used to control frequency e Sweep Up 20Hz to 20KHz sweep When this is selected the signal rate parameter is used to control rate e Sweep Down 20Khz to 20Hz sweep When this is selected the signal rate parameter is used to control rate e Pink Click Broadband impulse When this is selected the signal rate parameter is used to control rate e White Noise correlated sends identical white noise to all outputs e White Noise decorrelated sends decorrelated white noise to a
7. is needed to set useful reflection patterns The pattern can be expanded or contracted in time using the Delay Master control and the overall level of the pattern can be set with the Early Level control A hall is the principal venue for classical ensembles but has proven to be useful for all types of music A hall is comparatively large with wall to wall distances that are typically several tens of meters Smaller halls may be used for smaller ensembles The characteristic sound of a hall includes very low initial reflection density with little reflection energy before 60 100 mil liseconds Density buildup is more gradual because of the larger distances between reflecting surfaces Reverberation time is somewhat longer as well Finally in most halls lower frequencies reverberate longer than higher fre quencies One of its charms is a bit of irregularity in the decay In some cases very small rooms with precisely pitched instruments this modulation may not be the best choice But in general this is a time tested reverberator PLATE SURROUND STEREO AND MONO The Plate programs mimic the sounds of metal plates with high initial dif fusion 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 many people associate with the word reverb and it is useful for
8. Surround units to a single MIDI device assign a base channel to the 9 Surround Press the Back button until the Preset screen appears Press the Machine button until System View is displayed Press the Select knob to enter the System Menu Turn the Select knob until Midi Control is highlighted Press the Select knob to access the Midi Control Menu Turn the Select knob until Base Channel is highlighted Turn Knob B to select the base channel 0 15 Press the Back button twice to return to the Preset screen Now the PCM96 Surround unit is identified by the selected base channel and virtual machines 1 2 3 and 4 within the PCM96 Surround are identi fied by the base channel plus 1 2 3 and 4 respectively CHANNEL MAP HOW CHANNELS MAP TO MACHINES Use for loading System presets This is the PCM96 unit s base channel The next four channels apply to this PCM96 unit s virtual machines Virtual machine 1 Changes parameters one virtual machine a System preset the PCM96 unit with base channel 0 Use for loading machine presets and changing parameters for machine 1 Base 2 Virtual machine 2 Changes parameters one virtual machine a System preset on the PCM96 unit with base channel 0 Use for loading machine presets and changing parameters for machine 2 Base 3 Virtual machine 3 Changes parameters one virtual machine a System preset on the PCM96 unit with base channel 0 Us
9. TCP IP address is the NETWORK ID and which part is the HOST ID In subnet mask code 255 means This part of the address is the NETWORK ID Example Suppose the IP ADDRESS of a device is 192 168 xx yy and the SUBNET MASK is 255 255 x y That means 192 168 is the NETWORK ID The remaining set of numbers xx yy is the HOST ID If your network stands alone it is not part of a larger network then the HOST ID identifies each device in the network If your network is part of a venue s larger network your network is actually a sub network or subnet SUBNET A small network within a larger network For example a TCP IP network might be a subnet of a venue s network which could include computers throughout the building or a network might be divided into subnets For example in a large installation there may be one subnet per rack or room DHCP DYNAMIC HOST CONFIGURATION PROTOCOL This is a protocol for automatically assigning IP addresses to devices on a network With dynamic DHCP addressing a device might have a different IP address every time it connects to the network DHCP relies on a DHCP server to assign and manage IP addresses AUTO IP If DHCP fails the PCM96 Surround selects a number and looks for colli sions If no collisions are found the PCM96 Surround accepts that number If collisions are found the PCM96 Surround randomly selects another num ber and tries again CONNECTING THE COMPUTER DIRECTLY TO THE PCM
10. all popular music DUAL DELAY SURROUND STEREO AND MONO Dual Delay feature two delay lines for each input channel Each delay line has a single output or voice Each voice has independent delay time up to 2 seconds output level feedback control filtering and panning The feedback path includes highpass and lowpass filters In addition to this basic voice architecture Dual Delays feature parameters that provide expand ed diffusion controls 39 40 Recirculation Level Output Filter Output multimode Level Recirculation Filter multimode Tuneable Resonator Resonator w Filter RESONANT CHORDS SURROUND STEREO AND MONO The Resonant Chord algorithm uses impulsive energy at the inputs to excite six resonant voices notes The level pitch duration and high frequency cutoff of the overtones for each voice are separately controllable Each voice can be panned independently The voices resonate to some degree with any input but the most effective excitation contains all frequencies like percus sion Other instruments may give a quality of tonal ambience in which cer tain notes rise ethereally from the background The output of the resonator is then fed into a stereo plate reverb effect Recirculation Pan not present in mono Recirculation Level Output Output Filter Output Pan multimode Level not present Recirculation mono Filter multimode Tuneable R t Resonato
11. bank to the connected device TEMPO CONTROL The Tempo Control sub menu contains the following options Tempo Value Set the current preset s tempo here by turning Knob A or by pressing the Tap Tempo button at least two times Tempo Beat Tempo is expressed in BPM This control allows you to specify the value of the beat Eighth quarter and half note values are available If for exam ple the rate is 120 BPM and you select eighth note here the tempo will be 120 eighth notes per minute If you select quarter note here the tempo will be 120 quarter notes per minute The factory default is quarter note Tempo Source Select INTERNAL to determine the tempo using parameters within the PCM96 Surround or MIDI to set the tempo using MIDI beat clock Refer to your DAW s manual to learn how to transmit this value CARD CONFIG The Compact Flash Setup sub menu indicates whether a Compact Flash card is INSERTED or NOT INSERTED and gives you the options to Format erase the inserted card by pressing Knob B or initializing the inserted card by pressing Knob C NETWORK CONFIG Here you can set the PCM96 Surround Subnet Mask IP Address Gateway and DHCP information Turn the Select knob to select a three digit num ber of the DHCP value and turn Knob A to change the number or the DHCP value See the Networking section on page 24 for more details HIQNET CONFIG Set the HiQnet Negotiation Mode Static Random or Sequential an
12. preset s parameters by accessing them via the preset s sub menus or you can edit the parameters in the individual machine presets contained within the machine preset Below are all the algorithm parameters you can edit in the PCM 96 Note that sometimes parameter names are abbreviated when they appear onscreen for example Delay Level Master may appear as DlyLvlMaster and they may have prefixes indicating what channel they control for example Level may appear as RightInLvl or OutLvl To see the parameters in context refer to the charts beginning on page 47 Bandwidth This parameter lets you set the bandwidth of a multimode filter Bandwidth is specified in octaves or fractions thereof Bass Boost Room This parameter is closely tied to the Bass Crossover parameter It controls the boost or cut of signal below that crossover Depending on the type of impulse response selected the listener may become aware of an excess or insufficiency of low frequency output This parameter may be used to correct the frequency response Bass Crossover BassXOver The Bass Crossover parameter is closely tied to the BassRT parameter It rep resents the frequency below which BassRT has an effect Note that there are two of these parameters in the Room algorithm One is tied to BassRT the other is found in the Pattern settings menu and affects the BassBoost BassRT This parameter controls bass reverb time It is closely associated with th
13. selected the Cascade Stereo configuration the preset s name is Cascade Stereo Config 4 Press the Machine button to select a Machine Preset within your System Preset Press the Back button to access the Preset Category menu 6 Turn the Select knob to highlight a category and press the Select knob to choose it A flashing Machine Preset name appears 7 Turn the Select knob to choose a Machine Preset and press the Select knob to load it 8 Press the Machine Button to choose the next Machine Preset if there is one and repeat steps 5 through 7 9 Repeat step 8 for each virtual machine in your System Preset 10 Press the Machine Button until your System Preset is selected 11 Press the Store button and follow the Storing a Preset procedure described on page 14 15 16 DSP CONFIGURATIONS The 96 Surround processor can be divided in up to four virtual machines each of which can run its own algorithm This lets you route sig nals from each input through a variety of algorithm combinations The PCM96 Surround can use up to six physical inputs and six physical outputs at a time configurations for the physical inputs and outputs are described below The software plug in also lets the PCM96 Surround use up to six inputs and outputs FireWire those configurations are accessible in the software plug in and are described on page 18 FireWire streaming is supported only up to OS X 10 6 Control Only is supporte
14. stereo or surround fields e Modulated Delays Delay times may be modulated by signal level LFO or random values HALL SURROUND STEREO AND MONO A hall is the principal venue for classical ensembles but has proven to be useful for all types of music A hall is comparatively large with wall to wall distances that are typically several tens of meters Smaller halls may be used for smaller ensembles The characteristic sound of a hall includes very low initial reflection density with little reflection energy before 60 100 mil liseconds Density buildup is more gradual because of the larger distances between reflecting surfaces Reverberation time is somewhat longer as well Finally in most halls lower frequencies reverberate longer than higher fre quencies This new hall algorithm shares these basic characteristics with Random Hall and Concert Hall but is smoother with a more even decay Its initial density is also lower than Random Hall so it may be a better choice when the rever beration needs to be unobtrusive RANDOM HALL SURROUND STEREO AND MONO Random Hall is a hall effect with gradual build up well suited to complex sounds like orchestral music Its reverberators change over time in controlled random ways to avoid the buildup of tinny grainy metallic or other color ations The modulation can be noticeable and is often a desirable effect The early reflections are user adjustable in amplitude and delay Some skill
15. 28 5 5 The System Menu lets you adjust several settings in the PCM96 Surround To access the System Menu press the Select knob while a System Preset is loaded The System Menu contains swb menus and options Sub menus contain options and or more sub menus To enter a sub menu highlight it with the Select knob and press the Select knob Options contain values that you can adjust indicated by a colon followed by a value for example Audio Source ANALOG To adjust an option s value turn the corresponding knob Knob A for an option on the first line Knob B for an option on the second line and Knob C for an option on the third line Press the Back button at any time to save your changes and move one level up through the menus and sub menus AUDIO SETUP The Audio Setup sub menu contains the following options Audio Source This is a global setting that configures the PCM96 Surround to accept ANALOG or AES input Clock Source Select your clock source here Choose from INTERNAL AES and BNC Clock Rate Select your clock rate here when the wordclock source is set to INTERNAL Choose from 44 1HKz 48KHz 88 2 2 or 96KHz Analog Setup The Analog Setup sub menu lets you adjust the following parameters Analog Input Level Increases or decreases the incoming analog signal before it reaches the processor s Set to 4dBU or 10dBU Analog Output Level Increases or decreases the outgoing analog si
16. 6 31 Soft Row 5 31 SSA 31 Various parameters 31 USING MIDI sesesssssecccscccccccceccsssecccsseecccsececsesecossscecosseecosscee 32 MIDI Implementation 32 How to load presets with 32 How to assign a Base Channel to the PCM96 E A ther EET 32 Channel how channels map to machines 33 Bank DUMP 33 Reverse Bank Dump Bank 33 Continuous 33 Soft Row parameter MIDI 34 inate 34 MIDI SysEx 35 THE 5 37 Chamber Surround Stereo 37 Random Delay Surround Stereo and 37 Hall Surround Stereo and 38 Random Hall Surround Stereo 39 Plate Surround Stereo and 39 Dual Delay Surround Stereo and 39 Resonant Chords Surround Stereo and Mono 40 Chorus Flange Surround Stereo and Mono 41 Concert Hall Surround Stereo and
17. 96 SURROUND Assumptions e Using OS X 10 4 or later e Computer has a working Ethernet network adapter e You have administrative rights so that network settings can be changed if necessary 1 Connect the included Ethernet cable to both the PCM96 Surround and the computer 2 Apply power to the PCM96 Surround and wait for it to boot 3 Open the standalone application SETUP OF A SIMPLE ISOLATED ETHERNET NETWORK USING DHCP Assumptions e Using OS X 10 4 or later e Computer has a working Ethernet network adapter e You have an Ethernet switch router with DHCP capability and Ethernet cables for each connection needed You have administrative rights so that network settings can be changed if needed Ethernet network consists of exactly one computer that will be used to run the PCM96 Surround configuration software and one or more PCM96 Surround units 1 Connect the computer and any PCM96 Surround to the switch hub using normal Ethernet cables 2 Apply power to all PCM96 Surrounds and wait for them to boot 3 With DHCP enabled the Ethernet switch router should assign an IP address to each of the devices including your computer 4 The PCM96 Surround units should come up in the main window 25 26 VIRTUAL PRIVATE NETWORKS VPN Virtual private networks VPN provide an encrypted connection or tunnel between networks or between a network and a user over a public network such as the Internet Ins
18. ATES Internal Accuracy External Lock Range PROPAGATION DELAYS MILLISECONDS One 25 pin Dsub female connector 20K Ohm balanced 4dBu mode 20dBu 104 mode 8 2dBu 20Hz 22kHz 15dB 20Hz 46kHz 5dB A D Conversion 24 bits 112dB unweighted 115dB A weighted lt 0 002 20 20kHz 4dBu lt 754 at 20 20k with 20dBu input signal One 25 pin Dsub female connector 30 Ohm electronically balanced 4dBu mode 20dBu 104 mode 8 2dBu 20Hz 22kHz 15dB 20Hz 46kHz 5dB 24 bits 112dB unweighted 115dB A weighted lt 0 002 20Hz 20kHz at 4dBu lt 754 at 20Hz 20kHz with a 20dBu input signal One 25 pin Dsub female connector Two FireWire Ports AES EBU FireWire 400Mb 24 bits 44 1kHz 48kHz 88 2kHz 96kHz within 50ppm 44 1kHz 48kHz 88 2kHz 96kHz 2 of nominal SYNCHRONIZATION TTL Word Clock Input 75 Ohm BNC externally terminated to allow cascade Falling edge marks start of frame 53 54 CLOCK JITTER Intrinsic Exceeds AES3 Amendment 1 Jitter Gain Exceeds AES3 Amendment 1 CONTROL INTERFACES MIDI In Out Thru supports program change ALGORITHMS Chamber Surround Stereo and Mono Random Delay Surround Stereo and Mono Random Hall Surround Stereo and Mono Plate Surround Stereo and Mono Dual Delay Surround Stereo and Mono Resonant Chords Surround Stereo and Mono Chorus Flange Surround Stereo and Mono Concert Hall Surround Stereo an
19. Four Out Dual Mono e Single Two In Five Out e Four Mono e Single Five In Five Out e Two Mono and One e Single Six In Six Stereo Communication gt Communications Interface Firewire Driver Buffer Setting Overload Protection Moderate increases latency FireWire Setting 1 Control Only Z Cancel Accept The Setup Dialog 23 24 NETWORKING This section provides a step by step guide on how to properly connect the 96 Surround to a Local Area Network LAN for several different net work architectures The first topology is a simple direct connection using the provided Ethernet cable The second method describes how to connect and configure several PCM96 Surround units to create an isolated network using an Ethernet switch with static or with DHCP This section concludes with some further networking considerations and troubleshooting tips that will help with connecting to your PCM96 Surround via Ethernet If your appli cation is more than these simple examples we recommend that you involve a trained Ethernet network administrator in the design and commissioning of your system Careful planning needs be made before placing a PCM96 Surround on a network that provides any access to the public Some examples of public access are direct access to the unit from the Internet an unsecured or weakly secured wireless network a network jack in a public area that provides net work
20. TEMS PCM96 Surround This owner s manual Standalone Application FireWire driver CD Power Cord Lexicon Warranty Card Ethernet Cable THE FRONT PANEL 2 MACHINE BACI PCM SURROUND 10 1 1 LEDs Each row of LEDs indicates input signal strength of each of the 96 Surround s inputs If the Audio Source is set to Analog in the Audio Setup menu they show analog levels If Audio Source is set to Digital they show digital levels Range is from 18dB 12dB 6dB 3dB and OdB 2 MACHINE Button The PCM96 Surround can be configured as a single system or as 1 4 machines each of which can run its own preset The Machine button cycles the selected preset through its system and machine configurations 3 SELECT Knob Turn the Select knob to scroll through presets and menu options Press the Select knob to select the current preset or menu option Once you ve selected a menu option you can turn the Select knob to adjust the menu option s value Press the Back button to accept the change 4 A B and C Knobs These knobs adjust parameters shown in the Display Turn Knob A to adjust the parameter in the top row Knob B to adjust the parameter in the second row and Knob C to adjust the parameter in the third row Press Knob A to access additional pages of parameters when in the Soft Row Press Knob C to view the current preset s Algorithm Ba
21. WING KEEP THESE INSTRUCTIONS HEED ALL WARNINGS FOLLOW ALL INSTRUCTIONS THE APPARATUS SHALL NOT BE EXPOSED TO DRIPPING OR SPLASHING LIQUID AND NO OBJECT FILLED WITHI LIQUID SUCH AS VASES SHALL BE PLACED ON THE APPARATUS CLEAN ONLY WITHA DRY CLOTH DO NOT BLOCK ANY OF THEVENTILATION OPENINGS INSTALL INACCORDANCE WITH THE 5 INSTRUCTIONS DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS HEAT REGISTERS STOVES OR OTHER APPARATUS INCLUDING AMPLIFIERS THAT PRODUCE HEAT ONLY USE ATTACHMENTS ACCESSORIES SPECIFIED BY THE MANUFACTURER UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR LONG PERIODS OF TIME Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or third prong are provided for your safety If the provided plug does not fit your outlet consult an electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus Use only with the cart stand tripod bracket or table specified by the manufacture or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over Refer all servicing to to qualified
22. access to the PCM96 Surround or having a computer on the LAN that is not secured so that someone could use it to reconfigure the PCM96 Surround It is highly recommended that the equipment be placed on a pro tected isolated network that does not have any connection to the public to prevent unauthorized users from reconfiguring the unit Please refer to the VPN portion of this section for more information Factory defaults for the Internet Protocol IP settings for the PCM96 Surround are as follows Auto IP DHCP Address 169 254 x x where x x is determined by the PCM96 Surround box numbers Subnet Mask 255 255 0 0 Gateway 0 0 0 0 DHCP Support Enabled OVERVIEW OF TCP IP BASICS IP ADDRESS An identifier for a computer or device on a TCP IP network Each device in a network has its own IP address to identify it Example 126 126 17 42 Networks using the TCP IP protocol route messages based on the IP address of the destination An IP address is made of four numbers separated by peri ods Each number can be zero to 255 The last number should not be a zero 255 For example 126 126 17 1 could be IP address 126 126 17 0 would not valid IP address TCP IP or IP address has two parts the NETWORK ID and the HOST ID The NETWORK ID identifies the network and the HOST ID identifies either the subnet and device or just the device if there is no subnet The subnet mask is a code that indi cates which part of the
23. accordance with the following code GREEN and YELLOW Earth BLUE Neutral BROWN Live As colours of the cores in the mains lead of this appliance may not cor respond with the coloured markings identifying the terminals in your plug proceed as follows core which is coloured green and yellow must be connected to the terminal in the plug marked with the letter E or with the earth symbol or coloured green or green and yellow e core which is coloured blue must be connected to the terminal marked N or coloured black The core which is coloured brown must be connected to the terminal marked L or coloured red This equipment may require the use of a different line cord attachment plug or both depending on the available power source at installation If the attachment plug needs to be changed refer servicing to qualified service personnel who should refer to the table below The green yellow wire shall be connected directly 10 the units chassis WIRE COLOR CONDUCTOR Normal L LIVE BROWN BLACK N NEUTRAL BLUE WHITE E EARTH GREEN YEL GREEN WARNING If the ground is defeated certain fault conditions in the unit or in the system to which it is connected can result in full line voltage between chassis and earth ground Severe injury or death can then result if the chassis and earth ground are touched simultaneously WARNING FOR YOUR PROTECTION PLEASE READ THE FOLLO
24. ange the connection type and other settings while using the plug in open the PCM96 Surround Control Panel described on page 22 Note that when you add a PCM96 Surround plug in to your DAW the 96 Surround display reads Application Lockout and displays the 96 Surround unit s Node Name and Owner Node ID You can change the Node Name and Node ID with the Control Panel see page 17 for more information To exit Application Lockout close your DAW or disconnect the cable con necting the PCM96 Surround to your computer PLUG IN WINDOW CONTROLS PCM96S Streaming 2 Surround 6in gt 0 Multi Mono Up a Semitone When the plug in window first opens it shows only a single control area Here you can click the up and down Program arrows to scroll through the presets available for the selected algorithm or click the Load button to select from a list Click the Load button at the bottom of the list to load the select ed preset or click the Cancel button to cancel the selection Click the single down arrow in the lower right corner to open second plug in control area 965 Control 2 Surround 2in gt 4out 6 Auto Interior 2 farly Diffusion ErlyFreq 0 250 0Hz In the second control area you can adjust the soft row parameters by click ing on and moving the sliders Note that the soft row parameters vary from preset to preset Click the down arrow in the lower right corne
25. ased on DSP configurations see page 16 and Machine Preset categories are based on algorithms see page 37 System Presets and Machine Presets also have User and Card categories where you can access user edited presets Presets in the User category are stored on the PCM96 Surround and presets in the Card category are stored on a Compact Flash card To select a different category 1 From the Preset screen press the Back button The Category Selection screen appears Note that there are different Category Selection screens for System Presets and Machine Presets Category Selection Screen System Presets Preset Category Selection Default Configurations Combined Mono Combined Mono Effects Category Selection Screen Machine Presets Preset Category Selection Halls Small Halls Medium Halls Large 2 Turn the Select knob to scroll through the available categories An aster isk appears next to the currently selected category 3 Press the Select knob to load the highlighted category A flashing preset name appears if it is not the currently selected preset 4 Select a preset with the Select knob and press the Select knob to load it SYSTEM PRESETS AND MACHINE PRESETS The PCM96 Surround features a single powerful processor which can be used as up to four virtual machines For example you could send the left input signal through a mono reverb in one virtual machine and send the right
26. ble comb filtering takes place due to can cellation The voices are often fed back nearly to the point of instability CONCERT HALL SURROUND STEREO AND MONO This is a recreation of one of Lexicon s oldest algorithms It was essen tial part of many of the mixes of the late seventies and eighties It is a less dense reverb allowing it to add lushness to a mix without stepping on the dry source material It also has quite noticeable modulation causing strong pitch effects at higher settings The reverb tail has a life of its own desirable in pop music less so in jazz or classical applications ROOM SURROUND STEREO AND MONO A room is similar to a reverb in that it is used to create the illusion of space However it differs in important ways A room is comprised of a selectable early impulse taken from actual room measurements There are several cat egories of responses including small rooms large rooms and odd rooms impulses from unconventional sources There are parameters to allow adjustments to this response including scaling and reversing the response In many cases this is sufficient A reverb tail can be added to the room by means of an included small reverb algorithm Lexicon reverbs are renowned for smooth tails and controlled frequency response However in many cases the earlier components are more impor tant This may be true for some forms of popular music and is even more true for post production In these ca
27. d Node Address here Turn the Select knob to underscore a value and turn Knob A to change the value RESTORE FACTORY DEFAULTS Returns the PCM96 Surround to its original state as shipped from the fac tory MACHINE MENU The Machine menu lets you adjust settings for a single virtual machine To access the Machine menu press the Select knob while a Machine Preset is loaded The sub menus vary depending on what algorithm is active SOFT ROW SETUP This sub menu lets you assign parameters to a Machine Preset s soft row The soft row is the list of parameters that appears below a Machine Preset s name in the Preset screen You can easily adjust these parameters with the A B and C knobs press Knob A to see more parameters in the soft row SETTINGS Here you can adjust the following settings depending on the selected pre set Wet Dry Mix Adjusts the proportion of wet processed signal to dry unprocessed signal Ranges from 0 all dry to 100 all wet In almost all cases you will leave this at 100 and control levels on your mixer Input Level Controls the amount of signal admitted into the process from the input Ranges from 0 0dB INV to 90 04 INV or OFF INV and from 90 04 or OFF to 0 0dB Output Level Controls the amount of post mix signal emitted onto the output Ranges from 90 0dB or OFF to 0 04 VARIOUS PARAMETERS The sub menus that appear below the I O Settings sub menu depend on the activ
28. d Mono Room Surround Stereo and Mono Hall Surround Stereo and Mono Pitch Shift Signal Generator Storage Media Type I Compact Flash Can hold up to 2048 user presets MACHINE CONFIGURATIONS 44 1K 96K Single Stereo Mono In Single Stereo Dual Stereo Mono In Dual Stereo Cascade Stereo Dual Mono Quad Mono Cascade Mono Dual Mono Single Stereo Cascade Mono to Stereo Single Two In Four Out Single Four In Four Out Single Two In Five Out Single Five In Five Out Single Six In Six Out INTERNAL STORAGE Internal non volatile Flash Can hold 1024 user presets POWER Requirements 100 120 220 240 VAC 50 60Hz 26W max Connector 3 pin IEC DIMENSIONS Rack Units Size Weight REGULATORY APPROVALS FCC CE UL cUL TUV ENVIRONMENT Operating Storage Humidity RECOMMENDED CABLES dB25 Analog Input dB25 Analog Output dB25 AES I O 1U 19 0 W x 1 75 Hx 16 D 483mm x 44 5mm x 317 5mm 14 25 5 Class A EN55103 1 EN55103 2 UL1419 C22 2 ENG60065 15 to 35 30 to 70 C 75 relative humidity max Hosa DTF 803 Hosa 803 Digidesign DigiSnake Cable DB25 XLR MtF AES EBU snake DB25 to 4 XLRM output and 4 XLRF input Model MH097 P N DB XMtF 4 ROHS 55 56 MIDI IMPLEMENTATION CHART Transmitted Basic Default X 1 16 Channel Changed Mode Default Messages Altered Note Number True Voice Velocity Note ON Note OFF Keys Channel R
29. d for all versions When using the PCM96 Surround in one of its surround modes it is critical to know how audio is routed to the algorithm This applies both to the way IO connects with the outside world and the way the signals are distributed within the algorithm The inputs and outputs relate to the following cables Pp Analog AES p Analog AES PRESET AVAILABILITY WITHIN THE VARIOUS SURROUND CON FIGURATIONS In almost all cases a surround preset is usable in any surround configuration whether four or five channel 2 in or multi in Parameters which are not available in a given configuration for example center levels in a four channel config are hidden Factory presets have been written in such a way as to work satisfactorily in all configurations When creating user presets it s rec ommended that the preset be auditioned in all configurations SIGNAL DISTRIBUTION INSIDE THE ALGORITHM There are two versions of the 4 channel machine 2 in 4 out and 4 in 4 out By the same token there are two versions of the 5 channel machine 2 in 5 out and 5 in 5 out When dealing with true surround source material the choice of configu ration is simple choose the 4 in or 5 in version The algorithms are all designed to treat the inputs uniquely If the algorithm is a reverberator or room then each input will propagate into the space from the direction of its virtual source If the algorithm is a delay or effect each input will be
30. damping parameter is closely tied to the RTHC parameter It controls the strength of the hi frequency absorption and has three values Light Normal and Heavy The normal value gives filter response identical to previ ous Lexicon reverbs The other values should be self descriptive Scale This parameter is used to modify the overall time of the selected early impulse It is a multiplier that goes from 0 5x to 2 0x The actual time of the responses varies from response to response The Early Scale parameter simply scales that amount of time It s fair to describe this a rubber banding the impulse response Selected LFO This parameter determines which of the available LFOs may be used to con trol a voice The voice may use the LFO output or the inverted LFO output Shape Early Shape The Shape parameter is closely tied to the Spread parameter Shape controls how energy is injected into the reverberator A low value means that sound enters the reverb at the beginning of the spread window A high value means that most sound moves into the reverb at the end of the spread window A value somewhere in the middle means that sound enters the reverb evenly across the spread window Tip Shape will not have this effect if spread is at its minimum value But even then it can make a difference In this case it affects reverb tim bre and density Higher values of shape will be both darker and denser although the effect is subtle Shelf
31. e Bass Crossover and MidRT parameters BassRT is a multiple of MidRT that applies to signal below the frequency described by Bass Crossover If BassRT is less than 1 0 then the low frequency part of the reverb tail will be shorter than the midrange part If BassRT is greater than 1 0 then the low frequen cy part of the tail is longer Category Room This parameter lets you select a specific category from which a room response may be chosen Changes here have a direct effect on the Pattern Selector parameter 43 44 Chorus Depth Concert Hall This parameter controls the amount of randomization of the chorus tap Higher values are generally preferred in order to minimize reverb coloration Pitch effects may result and are closely tied to the Reverb Chorus Rate parameter Chorus Rate Concert Hall This parameter controls the rate at which the reverb chorus is run Low values may cause a barely noticeable undulation Higher values will cause noticeable wobble in fixed pitch instruments such as piano It is closely tied to the Reverb Chorus Depth parameter Cross Fade Time This is used to control the crossfade time of the splice In general a short crossfade is desirable but more complex material may need longer crossfade times Definition Definition controls the density of some reverbs Higher values result in lower density Delay Feedback Master Controls all delays in the algorithm Each voice has its nominal feedback ga
32. e algorithm Refer to the Parameters section on page 43 for more infor mation USING MIDI The MIDI Control menu is where all MIDI related control is changed See page 29 for information about the MIDI Control menu MIDI in the PCM Device series can be se tup in two basic configurations Setup 1 More Devices This setup is designed for the user who will e Use the PCM System Presets User or Default only for either a live studio setup Control than 3 PCM Devices the same MIDI Port Setup 2 More Control This setup is designed for the user who e wants to be able to control every aspect of MIDI on the PCM Device Only has 1 to 3 PCM Devices 31 32 SETUP DEFINITIONS Setup 1 More Devices This setup would be used in situations where you want to control more than 3 PCM Devices on the same MIDI port This setup will control up to 16 PCM Devices In this particular setup configura tion you cannot make specific patch changes on individual machines via MIDI you can only change the System Presets You would arrange the MIDI Control Menu in this way MIDI ON Sysex Device ID 0 System MIDI Ch 0 Each subsequent PCM Device would be the next number 0 15 Machine 1 MIDI Ch OFF Machine 2 MIDI Ch OFF Machine 3 MIDI Ch OFF Machine 4 MIDI Ch OFF Setup 2 More Control This setup allows the user to control all the aspects of the PCM Device that can be controlled via MIDI Ho
33. e for loading machine presets and changing parameters for machine 3 Base 4 Virtual machine 4 Changes parameters one virtual machine a System preset on the PCM96 unit with base channel 0 Use for loading machine presets and changing parameters for machine 4 BANK DUMP The Bank Dump feature lets you copy all the presets in a User bank from one PCM96 Surround to another or to another MIDI device Refer to the MIDI Control section on page 29 for information about Bank Dump REVERSE BANK DUMP BANK LOAD You can perform a reverse bank dump by recording a bank dump to your MIDI sequencer then playing that sysex back to the PCM96 Surround to restore the bank CONTINUOUS CONTROLLERS All PCM96 Surround soft row parameters can be controlled with single 7 bit controllers Each parameter is controlled with the full controller range regardless of the parameter range For example if the controller is at the 33 34 midpoint of its range 64 the parameter will also be at the midpoint of its range no matter what the actual number Continuous Controllers range from 0 to 127 If the parameter range is less than 127 then a small controller change might not result in a parameter update But the entire range of the parameter can still be accurately con trolled In addition if the actual range of the parameter is greater than 127 MIDI control might be somewhat coarse This is most noticeable with large delay
34. e upper right corner of the Display It tells you if a System Preset or a Machine Preset is loaded Press Select When a System Preset is loaded a border appears around the Configuration icon and the words System View appear in the Display below the preset s name 1 ConcertHall gt Flange System View Configuration Icon System Preset When a Machine Preset is loaded the selected machine is highlighted in the Configuration icon and three of the loaded preset s parameters appear at the bottom of the Display 0 Hall 1 PreDelay 14ms 2 ReverbTime 1 595 3 RvbOutFreq 4750 0Hz Configuration Icon Machine Preset Press the Machine button repeatedly to cycle through the virtual machines in a System Preset and eventually back to the System Preset EDITING A PRESET To edit a System Preset you must edit the virtual machines within it Press the Machine button to cycle through the virtual machines within a System Preset Each virtual machine contains a set of parameters that you can edit and adjust When a virtual machine is selected three of its parameters appear at the bottom of the Display Adjust the first parameter with Knob A the sec ond parameter with Knob B and the third parameter with Knob C To see the next set of parameters you can adjust press Knob A 0 Med Hall 14ms 2 MidRT 1 595 3 RvbOutFreq 4750 0Hz Soft Row Parameters Each virtual machine has 8 para
35. ecognized Control OX 32 Change OX 48 55 Program OX 1 127 Change OX 0 127 Select System Device ID Exclusive System Song Position X Common Song Select Tune Request System Clock Real Time Commands Aux Local ON OFF Messages All Notes OFF Active Sensing System Reset After Touch 1 OMNI ON POLY Mode 2 OMNI ON MONO Yes Mode 3 OMNI OFF POLY Mode 4 MONO X No 32 Bank Change OX 48 55 Device Device ID Inquiry Selectable 57 by HARMAN Harman Music Group Questions or comments 8760 South Sandy Parkway Sandy Utah 84070 Email us at customer lexiconpro com U S A or visit us online at www lexiconpro com Phone 801 568 7660 Fax 801 568 7662 PCM96 Surround Copyright 2012 Lexicon Professional Part 18 0661 C
36. f used If you fail to see a link light try removing and reinserting the cable or trying a different known good cable Also make sure that you are using the cor rect cable PING There is a simple utility built into OS X that tests the network connection between two devices The following steps outline how to use this utility 1 In the Applications folder double click the Terminal icon 2 At the prompt enter ping c 4 lt IP address of your PCM96 Surround gt and press Enter The data should appear something like this PING lt IP address of your PCM96 Surround gt 56 data bytes 64 bytes from lt IP address of your PCM96 Surround gt icmp_seq 0 ttl 62 time 1 118 ms 64 bytes from lt IP address of your PCM96 Surround gt icmp_seq 1 ttl 62 time 1 093 ms 64 bytes from lt IP address of your PCM96 Surround gt icmp_seq 2 ttl 62 time 1 067ms 64 bytes from lt IP address of your PCM96 Surround gt icmp_seq 3 ttl 62 time 1 042ms lt IP address of your PCM96 Surround gt ping statistics 4 packets transmitted 4 packets received 0 packet loss round trip min avg max 1 042 1 08 1 118 ms If you get a Reply from response from the IP address that you were ping ing in a timely manner it means that you have a valid network connection between the two devices If you receive a No route to host or 0 packets received message this indi cates that your computer is not communicating with the device 27
37. gnal after it leaves the processor s Set to 4dBU or 10dBU Global Mute Mutes all signals from the PCM96 Surround Set to Muted or Unmuted AES Setup The AES Setup sub menu gives you the status of the following AES infor mation Data Validity Valid indicates the data is OK Invalid indicates that the Validity bit was set in a frame of incoming data and that the data attached to it may be corrupted This bit may also be sent when the transmitting device is paused Mode Select Consumer to send information in S PDIF format Select Professional to send information in AES format Confidence Error 0 indicates no problem 1 indicates the PCM96 Surround is detecting excessive jitter or noise on the digital audio line No data has been corrupted but corrective action should be taken Sample Slip An unchanging number indicates you are not slipping samples An increasing number indicates samples are misaligned with the window defined by the Input Source This may occur when an external master changes sample rate or when it is just powering up but should not occur in normal operation Bi Phase Error 0 indicates no problem 1 indicates that at least one bit and therefore at least one audio sample was corrupted CRC Error 0 indicates no problem 1 indicates a Cyclic Redundancy Check error in the incoming data Parity Error 0 indicates no problem 1 i
38. hind a Network Address Translation NAT router One to One NAT and port forwarding will not work e Firewall Considerations The PCM96 Surround uses port 3804 udp and tcp to communicate with the System Architect software Make sure that you configure your firewalls correctly so that data sent to and from this port number can traverse your network NETWORK TROUBLESHOOTING If you are having difficulty getting your PCM96 Surround to show up in your System Architect software here are some things that you can try to resolve the problem SOFTWARE FIREWALL If the PC that you have installed the System Architect software on has a built in firewall you need to make sure that you allow the software the abili ty to talk on your network Try disabling your firewall and then going offline and back online in the System Architect software If this fixes the problem refer to your firewall manufacturer s documentation on how to reconfigure your firewall to allow the System Architect software and or port 3804 tcp and udp to pass through the firewall ETHERNET LINK Make sure that you have a valid Ethernet connection by looking at the link status lights Most Ethernet devices will have some kind of indicator that shows the link is present Check the following connections e 96 Surround device If there is a valid connection on the PCM96 Surround you will see a solid green LED running the System Architect software e Hub Switch i
39. hould be avoided e use only shielded interconnecting cables A molded mains plug that has been cut off from the cord us unsafe Discard the mains plug at a suitable disposal facility NEVER UNDER ANY CIRCUMSTANCES SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13 AMP POWER SOCKET Do not use the mains plug without the fuse cover in place Replaceent fuse covers can be obtained from your local retailer Replacement fuses are 13 amps and MUST be ASTA approved to BS1362 Private household in the 25 member states of the EU in Switzerland and Norway may return their used electronic products free of charge to designated collection facilities or to a retailer if you purchase a similar new one For Countries not mentioned above please contact your local authorities for a correct method of disposal By doing so you will ensure that your disposed product undergoes the necessary treatment recovery and recycling and thus prevent potential negative effects on the environment and human health Warranty This warranty is valid only for the original purchaser and only in the United States If outside the United States please contact the local Lexicon distribu tor 1 The warranty registration card that accompanies this product must be mailed within 30 days after purchase date to validate this warranty Proof of purchase is considered to be the burden of the consumer 2 Lexicon Professional warrants this product when bought and
40. ices varies by algorithm Output Voice Controls gt Delay Memory Recirculation Diffusion Recirculation Voice Controls Four LFOs are available in the Random Delay and Flange Chorus In addition to this basic voice architecture Random Delays feature four randomizers that provide up to one second of additional delay time for each voice Voices can be assigned to either randomizer or to no randomizer at all 37 38 Recirculation Diffusor not present Output Voice Recirculation Controls Level ee Output Output Filter Output Pan controis multimode Level not present To Output Filt multimode Delay offset is modified by values from one of four algorithm wide LFOs In Random Delay the offset is changed abruptly In Chorus Flange the offset is gradually moved resulting in pitch shifting effects Delay Memory Random Delays are similar to Simple Delays but are especially useful for Multitap Tape Loops Feedback can be used to recirculate delays Appropriate use of highpass and lowpass filters emulates the bandpass effects of multi generational tape loops hiss not included Feedback diffusion allows emulation of azimuth misalignment a hallmark of the sound Early Reflection Modeling Although different in scope from Lexicon Ambience algorithms Random Delays can be used to place early reflections in
41. if one is present 7 Press the Select knob to continue The numbered list appears 8 the Select knob to select a slot in the numbered list The preset s name automatically appears in the selected slot 9 Press the Select knob to save the preset to the selected slot Storing Preset appears briefly in the Display and you are returned to the Preset screen INITIALIZING FORMATTING A COMPACT FLASH CARD To initialize or format a Compact Flash card Press the Back button until the Preset screen appears Press the Machine button until System View is displayed Press the Select knob to enter the System Menu Turn the Select knob until Card Config is highlighted Press the Select knob to access the Compact Flash Menu Press Knob B to Format the card OR press Knob C to initialize the card DES CREATING A NEW SYSTEM PRESET One way to create a new System Preset is to edit an existing System Preset and save it to the User or Card category Another way is to start from scratch as described below 1 With any System Preset loaded press the Select knob The System menu appears 2 Highlight Machine Config with the Select knob and press the Select knob The available DSP configurations appear 3 Turn the Select knob to highlight a configuration and press the Select knob to choose it You return to the Preset Screen The preset s name indicates the configuration you just selected for example if you
42. in adjusted by this percentage Delay Level Master Controls all delays in the algorithm Each voice has its nominal gain value adjusted by this percentage Delay Time Echo Delay Delay time defines the time offset of a delay voice in milliseconds or in fractions of tempo quarter note eighth note which is defined by the tap tempo or by midi tempo It is used in many of the algorithms not just the delays In all cases it does the same thing Delay Time Master Controls all delays in the algorithm Each voice has its nominal delay time adjusted by this percentage Delay Wander This parameter determines the amount of additional delay that the LFO process add to voice s offset Diffusion Input diffusion is the first part of processing for any signal entering a reverb or delay It can be described as a smearing or softening of the signal and is typically used to lessen the impact of strong transients Bass Crossover Bass XOver Room Thus parameter is closely tied to the Early Bass Boost parameter It repre sents the frequency below which early bass boost has an effect This controls the amount of echo output that is fed back to the input of the echo buffer The actual feedback level is modified by the Master Echo Feedback param eter if present The master value is a percentage 0 100 that is applied to the Echo Feedback level Feedback Diffusion Feedback Diffusion is similar to Input Diffusi
43. in the power cord 2 Press the Power button 3 Lexicon logo appears and remains until the boot process is com plete Next the Preset screen appears showing the currently loaded pre set THE PRESET SCREEN The Preset screen is the starting point for many of the instructions in this manual so it s a good idea to know how to get to the Preset screen In most cases pressing the Back button one or more times will take you back to the Preset screen If you press the Back button while viewing the Preset screen youll arrive at the Machine or System Category Selection screen In this case just turn the Select knob to select a category the current category is marked with an asterisk and press the Select knob to load it You will then be taken to the Preset screen The Preset screen shows the current preset and configuration Note that the Preset screen has two views System view for System Presets and Machine view for Machine Presets For more information about System and Machine Presets see page 11 SYSTEM VIEW Current Preset Clock Sync icon Clock Rate re 1 Single Stereo Config System View Configuration Icon MACHINE VIEW Clock Sync icon Clock Rate Current Preset 0 Large 1 PreDelay 20ms 2 Reverbrime 2 795 3 RvbOutFreq 6500 0Hz Soft Row Parameters Configuration Icon 10 SELECTING YOUR AUDIO SOURCE AND CLOCK SOURCE 1 Press the Machine button until the words Syste
44. ine DUAL STEREO Two stereo signals are processed independently by two virtual machines 17 18 CASCADE STEREO The left and right signals are processed together one virtual machine and the resulting signal is sent to a second virtual machine where they are again processed together DUAL MONO m The left signal travels through one virtual machine and the right signal travels through a separate second virtual machine QUAD MONO Four mono signals are processed independently by four vir tual machines CASCADE MONO The left signal is sent through two virtual machines sequence while the right signal is sent through two additional virtual machines in sequence The left and right signals are J processed independent from each other DUAL MONO SINGLE STEREO Two mono signals are processed independently by two virtual machines while a stereo signal is processed by a third virtual machine CASCADE MONO TO STEREO The left and right signals are processed independently in two separate virtual machines and their resulting signals are pro cessed together in a third virtual machine The final result is output as stereo SINGLE TWO IN FOUR OUT Iwo signals are processed by one virtual machine and output as four signals SINGLE FOUR IN FOUR OUT Four signals are processed by one virtual machine and output as four signals SINGLE TWO IN FIVE OUT Two signals are p
45. ing the end of of this network with a 75 ohm BNC terminator THE REAR PANEL DIGITAL AND ANALOG MODEL 3 4 5 1 ETHERNET A FIREWIRE 6 BEUA 1 7 lt 1 POWER JACK Standard 3 pin IEC power connector 100 240V 50 60Hz automatic switching to correct voltage range 2 DB25 6 CHANNEL DIGITAL AES I O This D25 connector carries six analog inputs and outputs 3 ETHERNET INPUTS These RJ 45 connections are used to network PCM96 Surround devices and control them via Ethernet 4 MIDI IN Receives MIDI information from other MIDI equipment such as master keyboard controllers MIDI foot controllers sequencers and synthesizers MIDI THRU Passes any MIDI data received without change MIDI OUT Transmits MIDI data to other equipment 5 DB25 6 CHANNEL ANALOG IN OUT These D25 connectors each carry six analog inputs and outputs 6 FIREWIRE PORTS Connect FireWire cables here Either port can be used with the other act ing as Thru 7 WORD CLOCK INPUT This connection allows the PCM96 Surround to lock to a master system clock It is not terminated For best results we recommend using T con nectors when setting up a BNC Word Clock network and terminating the end of of this network with a 75 ohm BNC terminator USING THE PCM96 SURROUND POWERING UP THE PCM96 SURROUND 1 Plug
46. input signal through a mono delay in another virtual machine You could then send both signals through a chorus effect on a third virtual machine You could then save this configuration as a System Preset Its a preset that includes a system of virtual machines Note that System Presets are not available in the PCM96 Surround plug in See page 20 for more information about the plug in System Presets can be extremely complex and are generally tailored especially for the mix youre working on Lexicon has provided a number of these presets just to give you an idea about what you might do Who knows You might like them just the way they are Feel free to make modified ver sions of the factory presets or create your own from scratch The possibili ties are nearly endless so have fun When a preset only includes a single virtual machine it s called a Machine Preset 11 Note that pressing Back button or the Select knob have different results depending on what kind of preset is loaded The following diagram shows what happens when you press the Select knob Back button and Machine button in both System View and Machine View Preset Category Selection View System Preset Category Selection View Machine Press Machine Press Machine Preset Screen Button Preset Screen Button System Machines 1 4 Press Press Press Back Select Back THE CONFIGURATION ICON The Configuration icon appears at th
47. is pressed the edited state is temporarily stored and the preset is reloaded from the file system During this period of time editing is disallowed and the button LED blinks rapidly When the Compare button is pressed a second time the edited state is restored editing is allowed again and the LED is illuminated THE REAR PANEL DIGITAL MODEL 1 2 3 A __ ETHERNET gt 3 6 ols aa T 5 6 1 POWER JACK Standard 3 pin IEC power connector 100 240V 50 60Hz automatic switching to correct voltage range 2 ETHERNET INPUTS These RJ 45 connections are used to network PCM96 Surround devices and control them via Ethernet 3 MIDI IN Receives MIDI information from other MIDI equipment such as master keyboard controllers MIDI foot controllers sequencers and synthesizers MIDI THRU Passes any MIDI data received without change MIDI OUT Transmits MIDI data to other equipment 4 AES EBU In Out AES EBU format digital connectors conform to AES professional standards 5 FIREWIRE PORTS Connect FireWire cables here Either port can be used with the other act ing as Thru 6 WORD CLOCK INPUT This connection allows the PCM96 Surround to lock to a master system clock It is not terminated For best results we recommend using T con nectors when setting up a BNC Word Clock network and terminat
48. latency least chance of audio droput Slow higher latency less chance of audio dropout Normal medium latency medium change of audio dropout and DAW lower latency more chance of audio dropout FireWire Setting Determines if the plug in streams audio to and from the PCM96 Surround or if the plug in controls the PCM96 Surround without streaming audio Choose from Control And Audio and Control Only FireWire stream ing is supported only up to OS X 10 6 Control Only is supported for all versions Note that when the PCM96 Surround is in Control Only mode you may be prompted to Select the PCM96 Surround you would like to connect to When this happens select the channel youd like to apply the plug in to Cancel Click to cancel any changes youve made and return to the PCM96 Surround Control Panel Accept Click to save any changes youve made and return to the PCM96 Surround Control Panel STREAMING PLUG IN CONFIGURATIONS When the PCM96 Surround is used as a streaming plug in using FireWire the cascaded options will be unavailable The increased channel count of the FireWire connection lets you use up to four simple mono or two sim ple stereo virtual machines at the same time There are no cascade configura tions available although effects can still be cascaded in the DAW FireWire streaming is supported only up to OS X 10 6 Single Stereo e Single Two In Four e Two Stereo e Single Four In
49. ll out puts e Pink Noise correlated sends identical pink noise to all outputs e Pink Noise decorrelated sends decorrelated pink noise to all out puts Smart Shift This tells the shifter to use smart content based pitch shift or blind shift In most cases smart is the better choice Spread Early Spread The spread parameter is closely tied to the Shape parameter Spread is a win dow of time during which a signal is injected into the reverb Shape controls just how the signal is injected during this window 49 50 Width This parameter is present in all stereo reverbs and rooms The reverb tail all components of the reverb except for early reflections etc is passed through a simple 2x2 matrix This provides an encoding of the tail that dramatically changes its spatial characteristics The tail can be changed to feel narrower even down to mono or wider than normal stereo There are values for the parameter to encode the tail in such a way that it decodes into surround channels The parameter operates in the range of 0 to 360 degrees with an incremen tal change of 1 degree The matrix uses Sine Cosine rules so that power dis tribution remains constant This may be acceptible even highly desirable but the mix engineer must fully understand the process and its implications This is a powerful tool for audio whose release format is two channel It is not useful in any other format Formats incl
50. m View appear in the Display 1 Single Stereo Config System View 2 Press the Select knob The System Menu appears System Menu Version 1 0 48 Audio Setup Machine Config MIDI Control 3 With Audio Setup highlighted press the Select knob The Audio Setup menu appears Audio Setup Audio Source ANALOG Clock Source INTERNAL Clock Rate 48KHz Lock 4 Turn Knob A to select your audio source Analog or AES 5 Turn Knob B to select your wordclock source Internal AES or BNC 6 Press the Back button twice to save your changes and return to the Preset screen LOADING A PRESET 1 From the Preset screen turn the Select knob to scroll through the avail able presets in the current category Presets are arranged in categories within the PCM96 Surround see Changing Categories below for more information The preset name blinks after you turn the Select knob indicating that you are in preset selection mode 2 Press the Select knob to load the preset you ve selected The display briefly reads Loading Preset and the preset name appears It is no longer blinking CHANGING CATEGORIES Presets are grouped into categories in the PCM96 Surround Each category has its own set of presets When you turn the Select knob while viewing a preset you only see presets available in the current category System Presets and Machine Presets each have their own set of categories System Preset categories are b
51. meters you can adjust this way All presets have more than 8 parameters but only 8 can be edited via the A B and C knobs in this fashion You can choose which parameters are in the list by using the Soft Row Setup menu located in the Machine menu see page 31 for more information 13 14 STORING PRESET Once you ve edited a preset you can store it on the PCM96 Surround in the User category or on a Compact Flash card in the Card category Note When you first insert a Compact Flash card you may receive the message Card Needs Initializing Refer to page 15 for instructions on how to initialize a Compact Flash card 1 From the Preset screen press the Store button The Save As screen appears Select Knob gt Change Position A Knob gt Change Letter Save As Single Stereo Config 2 Turn the Select knob to select a letter to change 3 Turn Knob A to change the selected letter Press Knob A to toggle between uppercase lowercase special characters and numbers Press Knob B to enter a space Press Knob C to backspace 4 Repeat steps 2 and 3 until youve changed all the letters you want to change 5 Press the Select knob to continue If a Flash card is inserted the Location menu appears If no Flash card is inserted skip to step 8 User 6 Turn the Select knob to select a location User is the PCM96 Surround built in memory Flash is the inserted Compact Flash card
52. ndicates that at least one bit and therefore at least one audio sample was corrupted MACHINE CONFIG The Machine Config menu lets you configure the PCM96 Surround proces sor as one two three or four virtual machines in a new preset Note that once you ve selected a configuration you must then populate each virtual machine with a Machine Preset see page 11 for more information Choices include Single Stereo 1 Single Stereo Dual Stereo MonolIn Dual Stereo Cascade Stereo Dual Mono Quad Mono Cascade Mono Dual Mono Single Stereo Cascade Mono to Stereo Single Two In Four Out Single Four In Four Out Single Two In Five Out Single Five In Five Out Single Six In Six Out For more detailed descriptions of each configuration see page 16 MIDI CONTROL The MIDI Control sub menu lets you adjust the following MIDI related options MIDI Turns MIDI processing on or off Device ID Select the connected MIDI device s ID here Choose from 0 126 29 30 Base Channel Select the connected MIDI device s base channel here Choose from 0 15 Bank Dump Lets you copy an entire bank of presets from the PCM96 Surround to another device via MIDI For a map of banks and presets see page 34 to see the current preset s bank number press Knob C while viewing the Preset screen When Bank Dump is highlighted turn the corresponding B or C Knob to select a bank Press the corresponding B or C Knob to send the
53. nel machines PITCH SHIFT POST VSO This shifter shifts stereo groups independently keeping channels within the groups coherent but making no effort to maintain coherence between stereo groups It is of most value in audio post where L R LS RS are perceived as stereo pairs Center and LFE are uncorrelated In this algorithm center and LFE channels if present are treated inde pendently The lowest frequency parameter does not affect shifting in these channels SIGNAL GENERATOR This algorithm is used to generate test signals These signals may be used both for building presets and for testing aspects of recording studio function ality The sweep tone generator is good both for locating bad speaker drivers and for scaring your cat THE PARAMETERS The PCM 96 contains hundreds of presets covering just about every pos sible need But you can refine and customize any preset by adjusting its parameters Parameters are the building blocks within each preset that deter mine how it sounds and behaves Each algorithm contains a set of parameters and a variety of those param eters sometimes from more than one algorithm are combined to create a preset You can edit a machine preset s parameters via the A B and C knobs which control the Soft Row see page 11 for more information or you can access parameters located in sub menus via the Machine menu see page 26 for more information about the Machine menu You can edit a system
54. nk number Program number and MIDI channel These knob also have additional context sensitive functions when pressed 5 TAP TEMPO Button Press two or more times to set tempo for delays and modulated effects Look for presets with T in the name for effects that react to tempo 6 STORE Button Press to store a preset When pressed a menu appears in the Display where you can enter a new name for the preset 7 Compact Flash Card Slot Insert Compact Flash card here 8 FLASH BUSY LED This LED lights when the Compact Flash card is being read or written to Do not remove the Compact Flash card when this LED is lit 9 Power Button Press to turn the PCM96 Surround on or off 10 Display This high resolution high contrast and high viewing angle OLED Organic LED display shows menu and box configuration and status information 11 BACK Pressing this button moves you up one level in the menu tree Note that when a System preset is loaded this button takes you to the System Mode Category Selection menu When a Machine preset is loaded the Back but ton takes you to the Machine Mode Category Selection menu 12 LOAD Press this button to load the selected preset You can also press the Select knob to load a preset 13 COMPARE This button is used to compare an edited preset against its unedited self When a preset is loaded this button s LED is off As soon as the preset is edited in any fashion the LED lights If the button
55. on except that it is applied to a delayed signal that is being added back into the input Feedback Level This parameter determines the feedback level for a particular voice It is con trolled independently of the voice s output level Feedback Pan Routes the post filter delay voice back to the inputs of the delay lines Frequency This parameter lets you set the cutoff frequency of the multimode filter The audible effect of this is determined by the Type parameter Front Early Level This parameter acts as a master control for any early signals going to the out put channels Early signals include echoes reflections and the room reflec tion patterns Infinite This parameter captures the reverb tail as an infinite loop This may be use ful in music where a note or chord can be extended It is also useful in post production for creating ambience backgrounds Input Level Input Level controls the amount of signal admitted into the process from a single input channel Input Pan Routes the signal from an input channel into the algorithm in such a man ner as to alter its apparent location Level This parameter acts as a master control for reverb signals going to the output channels It is used for all reverbs LFO Rate Set the speed of an LFO in Hz LFO Waveform Type Set the shape of the wave the LFO will follow 45 40 Lowest Shift Freq This tells the shifter the lowest frequency that it may be required to shif
56. ply called spin It controls the speed of the reverb random izer Spin is also connected with the Reverb Wander parameter Reverb Time Hi Cut This parameter also known as Hicut or RTHC is a low pass filter in the recirculating part of the reverb It represents a frequency above which the tail dies away more quickly In some ways it represents the opposite end of the scale from BassRT and may be considered an analog of air absorption It is also closely tied to the Hi Cut Damping parameter Reverb Wander This parameter also known as just Wander along with Reverb Spin is used to control the reverb randomizer It controls the maximum size of random izer steps and is expressed in a time value typically milliseconds Room Size Room Size corresponds roughly to the length of the longest wall of a rect angular room In a more general sense it corresponds to the overall dimen sion of some mythical space This space has a geometry that causes sound to bounce around When the room size is small the walls of this space are closer together and the resultant reflection density increases When the room size is large that density decreases The most natural reverbs use room sizes that vary from about 24 meters to 45 meters or so but there are many useful reverbs that are outside of this range There is a relationship between this parameter and the MidRT parameter Please see the MidRT parameter for clarification RtHC Damping The
57. r Tavel w Filter eve Delay Memory The two algorithms differ in the way pitches are assigned to the resona tors In Res1 gt Plate pitches are assigned to the six voices chromatically in a round robin For example if MIDI note numbers are used to assign pitch the resonators will constantly be re tuned to the pitches of the last six MIDI notes received This can produce an effect similar to playing a piano with the sustain pedal depressed In Res2 gt Plate pitches are assigned to the six resonators diatonically harmonized with the key scale and root of your choice If MIDI note numbers are used to assign pitch the resonators will constantly be re tuned to harmonize with the incoming notes CHORUS FLANGE SURROUND STEREO AND MONO Chorus Flange is quite similar to other delay algorithms in the PCM96 It has four delay voices per channel each delay voice having over 9 seconds of delay The delays may be independently panned and filtered The difference is in the modulation aspect The same LFO modulators are available as in Random Delay but the voices react differently In Random Delay the voices move abruptly In Chorus Flange they move very gradually with notice able and desirable pitch effects as they move For the chorus effect the voices move somewhat independently yielding a thickening effect without too much filtering For the flange effect voices are generally paired at close intervals As they move a noticea
58. r to open the third control area PCM96S Control 2 Surround Sin gt Sout 41 Med Vocal Chamb Rear PreDelay ever Diffusion BassRT 5ms 1 385 1 0 Settings WetDryMix Left Surr Left Center Right Right Surr Left l i FULL FRONT 22 96 Control Panel Name PCM96S Audio Source AES j Clock Source Clock Rate In the third control area located at the bottom of the plug in you can adjust all the parameters in the preset by clicking on and moving the sliders You can select different groups of parameters to adjust by clicking the but tons in the row at the top of the third control area in the example above Levels Input Control Shape etc Some parameters appear as drop down menus click the menu to open it and click on an option to select it When you move parameter s slider an arrow appears where the slider s default position is To return a preset to its default click on the arrow or move the slider toward the arrow until the arrow disappears THE PCM96 SURROUND PLUG IN CONTROL PANEL You can manage various network and software related aspects of the 96 Surround with the Control Panel To open the Control Panel click PCM96SurroundControlPanel icon located in the System Preferences menu on your computer Repair Click to re initialize communication between the 96 Surround and your computer PCM96 Surround Comm
59. rocessed by one virtual machine and output as five signals SINGLE FIVE IN FIVE OUT Five signals are processed by one virtual machine and output as five signals SINGLE SIX IN SIX OUT Six signals are processed by one virtual machine and output as six signals 19 20 THE PCM96 SURROUND PLUG IN The plug in lets you add PCM96 Surround reverbs and effects to projects on your Digital Audio Workstation DAW INSTALLING THE PLUG IN SOFTWARE To install the PCM96 Surround plug in 1 Double click PCM96_Surround_Installer x x x x dmg file where x x x x is the version number on the included DVD The dmg file opens 2 Double click the PCM96_Surround_Installer x x x x dmg to begin the installer Follow the on screen instructions to complete installation 4 Ifyou require RTAS support open the PCM96_Surround_RTAS_ Installer package after installing the LexiconPro x x x x package and rebooting To uninstall the plug in software select Uninstall from the DVD and follow the on screen instructions Minimum System Requirements Mac OS 10 4 9 or higher USING THE PLUG IN Once you ve created a project in your DAW and added an audio track use your DAW to add an insert Navigate to the PCM96 Surround menu and select any PCM96 Surround algorithm from the list The PCM96 Surround plug in window appears When you first open the PCM96 Surround plug in its default connection type is FireWire To ch
60. s When MIDI is enabled the PCM96 Surround automatically sends MIDI messages through the MIDI Out port for soft row parameters and preset loads whenever those actions are performed via the front panel controls SOFT ROW PARAMETER MIDI CC MAP BANK PRESET MAP MIDI Bank Internal Flash Card PCM96 and 96 Surround Only Mono Stereo System Mono Stereo System User Presets 0 127 System User Presets 128 255 System User Presets 256 383 MIDI SYSEX IMPLEMENTATION COMMAND 0 REQUEST PRESET DUMP When this command is received by the PCM96 Surround it will respond with a preset dump of the requested preset If the preset does not exist the PCM96 Surround will not respond Only presets from User banks may be requested Factory banks will not be transmitted OxFO Syexmesage 00 Levicon Pedic w a o Bank Bank in which EEE preset _ Preses sd Preset ID ID om hx COMMAND 1 PRESET DUMP This sysex is transmitted by a MIDI sequencer or by PCM96 Surround The PCM96 Surround may transmit this dump in response to a request or by means of a front panel action The PCM96 Surround receiving this dump will store the encapsulated preset data in the designated location o pa ID Product ID A Size LSB Size is variable and is not shown in this example Preset Location in the bank where the preset is to be placed Prese
61. service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped POWER ON OFF SWITCH The Power switch used in this piece of equipment DOES NOT break the connection from the mains MAINS DISCONNECT The plug shall remain readily operable For rack mount or installation where plug is not accessible an all pole mains switch with a contact separation of at least 3 mm in each pole shall be incorporated into the electrical installation of the rack or building FOR UNITS EQUIPPED WITH EXTERNALLY ACCESSIBLE FUSE RECEPTACLE Replace fuse with same type and rating only MULTIPLE INPUT VOLTAGE This equipment may require the use of a different line cord attachment plug or both depending on the available power source at installation Connect this equipment only to the power source indicated on the equipment rear panel To reduce the risk of fire or electric shock refer servicing to qualified service personnel or equivalent If connected to 240V supply suitable CSA UL certified power cord shall be used for this supply This Equipment is intended for rack mount use only IMPORTANT SAFETY INSTRUCTIONS DECLARATION OF CONFORMITY Manutacturer s Name Lexicon Manutacturer s Address 8760 S Sand
62. ses specific types of spaces need to be invoked for convincing dialog and effects PITCH SHIFT MULTIVOICE This pitch shifter shares the attributes of all other delay algorithms mul tiple voices with independent panning and EQ and adds the ability to shift each voice by as much as an octave up or down It may be used for chords voice fatteners rising falling echos or many other effects The number of voices that appear in this algorithm is dependent on the type of machine it s loaded into In the case of Quad there will be twelve voices 3 per channel In the case of Five Channel there will be fifteen The pre 41 42 sets themselves may be loaded into either type of machine with the appro priate number of voices appearing Every effort is made to make the factory presets sound alike in both formats but it is possible to may presets that work very differently based on machine type PITCH SHIFT STANDARD VSO This simple pitch shifter provides high quality shifting by semitones and cents In stereo or surround this is the best choice for full music mixes or for any multichannel submixes Shifting on all channels is linked so that the resultant soundstage remains stable PITCH SHIFT MULTI MONO VSO This shifter shifts all channels independently making no effort to maintain multichannel coherence It is intended for multichannel material in which the channels do not share material It may be used in 4 5 and 6 chan
63. t As a general rule of thumb this should be set in the higher part of the range in order to preserve detail in the shifted material It should be lowered if arti facts appear in the low frequencies Master Echo Delay Controls all echo voices in the algorithm Each echo delay has its nominal time adjusted by this percentage Master Echo Feedback Controls all echo voices in the algorithm Each echo feedback has its nomi nal gain adjusted by this percentage Master Reflection Delay Reflection Time Master Controls all reflection delays in the algorithm Each reflection delay voice has its nominal delay time adjusted by this percentage MidRT MidRT is the mid frequency reverb time As such it is one of the primary controls affecting the length of the reverb tail At low values it models a space with absorbent walls a signal won t bounce many times before it dis sipates At high values the walls are flat and extremely reflective A signal lives a long time before dying away The parameter most closely associated with MidRT is Size A large room size with a small MidRT can easily have the same decay time as a small room with a large MidRT The value that is actually displayed is an approximate reverb time based on both of those values Mix Wet Dry Mix is the proportion of wet processed signal to dry unprocessed signal Output Level Output Level controls the amount of post mix signal emitted onto a channel of output
64. t data Nibbleized preset data ROX 35 36 COMMAND 2 REQUEST PRESET BANK DUMP When this command is received by the PCM96 Surround it will respond with a series of preset dumps for all presets in the bank Blank presets will be transmitted in a special form Only presets from User banks may be request ed Factory banks will not be transmitted Sysex message 0000 0x06 Lexicon 10 Ox Prode fex 522 4222 THE ALGORITHMS CHAMBER SURROUND STEREO AND MONO 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 a hall Reverberant tails are randomized RANDOM DELAY SURROUND STEREO AND MONO Random Delays provide no holds barred control over delays These algo rithms feature one delay line per input channel Each delay line has two out puts called voices Each voice has independent delay time up to and over 9 seconds plus an additional second provided by the randomizers described in the next paragraph output level feedback control filtering independent filters for feedback and output and panning Random Delays have the same diffusion controls as Dual Delays Delay Memory This diagram shows Input four voices each input levels channel Actual number of vo
65. tead of using a dedicated real world connection such as a leased line a VPN uses virtual connections through the public network The advantage to a VPN is that your computer can be virtually connected to a local network even though it is physically anywhere in the world where you have an internet connection This can also be done in a safe manner not compromising your local network s security If you would like to manage your PCM96 Surround units remotely you should create a secure VPN connection There are many solutions on the market today that provide VPN access These products offer different features methods of VPN complexity of setup and maintenance as well as varying levels of security It is beyond the scope of this manual to recommend a VPN solution that will best suit the needs of your network although you will need a VPN that is capable of passing UDP and TCP traffic most do The PCM96 Surround has been tested against several solutions and should work with all VPNs that meet these criteria Please work with your system administrator and Internet service provider to find a VPN that will best fit your network The 3Com OfficeConnect Secure Router model 3CR860 95 is one solution that has been tested and is both inexpensive and simple to set up It provides up to two concurrent VPN connections NETWORK CONSIDERATIONS AND LIMITATIONS e Without a VPN there can be no access from the outside world to any PCM96 Surround that is be
66. treated by itself and then possibly propagated into shared feedback paths But when dealing with stereo source material the more typical case some thought must be given to the choice of configuration The 4 in or 5 in con figuration may still be used of course and the source material will be more obviously placed in the front of the virtual space In the case of a delay or effects algorithm not all voices will be activated When the 2 in multi out configuration is chosen the input signals are also propagated to the surround inputs post level post pan This will sound different A reverb may sound more full It will still be surround of course but will not maintain the same frontward localization Delay and effects algorithms will now have all voices activated and may be considerably more complex There may be small dif ference in gain for the same presets in the 2 in or multi in configuration There s no right or wrong in this choice It s up to the user which of these configurations to use But it is important to know how the sound will change based on this choice All the DSP configurations are described below SINGLE STEREO MONO IN A mono signal is split into a stereo signal SINGLE STEREO The left and right inputs are sent through single virtual H machine DUAL STEREO MONO IN 8 The left signal travels through one virtual machine and the right signal travels through a separate second virtual mach
67. ude compact disc and radio tele vision broadcast Some of these effects are clear and noticeable without any sort of decoder Many are even more dramatic when a decoder is in place such as in a home theater Tap Slope This is an extremely subtle parameter and is useful in only a couple of cases halls and reverbs with relatively long reverb times the slope should be slightly positive 0 2 or so For rooms with very short reverb times the slope should be slightly negative 0 2 or so e Using a reverb to create gate effect or to create pseudo room sound MidRT should be at 0 Spread should be fairly high Shape should be fairly high Size should be fairly high TapSlope should be in the range of 0 5 to 1 0 Play with spread shape and size to vary the effect Type This parameter lets you configure a filter as any of 4 basic types in order e Lowpass Highpass e Bandpass Notch Band reject The filter provides a subset of filter types available to a Biquad filter Wet Dry Mix Wet Dry Mix is the proportion of wet processed signal to dry unpro cessed signal ANALOG DB25 CABLE DIAGRAMS INPUT OUTPUT Cable Channel Number DB25 Pin Number 96 Surround Analog In Cable Male Cable6 Cable5 Cable4 Cable2 Cable 1 Ground Hot Hot Cold Cold Cable 6 Cable 4 Cable 3 Cable 2 Ground 47 57 6Y 77 8Y 91 107 117 127 13
68. uency adjusted by this percentage Resonance Master Controls all voices in the algorithm Each voice has its nominal resonance adjusted by this percentage Resonance Tuning Master Affects all voices in the algorithm Each voice has its nominal resonance adjusted by this value In the musical world the tuning reference is A 440 This means that the note A above middle C is equivalent to 440 Hz Changing the master tuning causes all notes to be sharp or flat Resonator Detune This parameter acts as an adjustment to the specified frequency for the voice s resonator The calculation of cents yields a ratio which is used to modify the specified frequency of the voice This parameter is modified by the Master Detune parameter Resonator Filter Freq This parameter controls a lowpass filter inside the resonator Resonator Frequency This parameter determines at which frequency the delay voice resonates The action of this parameter is determined by the state of the Resonance Mode parameter When a frequency is calculated for this parameter it must then be affected by the value of the Master Tuning parameter Reverb PreDelay Predelay This is a delay that s added to the diffused signal before it enters the main part of the reverb For all intents it may be considered as delay that is added to the reverberated signal It is used to temporally separate the reverb from the dry signal 47 48 Reverb Spin Spin This is usually sim
69. unication Click to check the connection status between the 96 Surround and your computer and to open the 96 Surround Setup dialog described on page 23 About Click to see the names of the PCM96 Surround devel opment team and to check for software updates Name Assign a name to your PCM96 Surround to identify it on a network ID Assign a number to your PCM96 Surround for network purposes Audio Source Controls the PCM96 Surround unit s Audio Source parameter Select Analog or AES Clock Source Controls the PCM96 Surround unit s Clock Source parameter Select Internal AES or BNC Clock Rate Controls the PCM96 Surround unit s Clock Rate parameter Select 44 1 kHz 48 kHz 88 2 kHz or 96 kHz Locate Click to make the PCM96 Surround display flash so you can easily find the curently selected PCM96 Surround in a large rack full of PCM96 Surrounds Update Click to automatically update the PCM96 Surround software via the Internet PCM96 SURROUND SETUP DIALOG When you click the PCM96 Surround Communication button in the 96 Surround Control Panel the PCM96 Surround Setup dialog appears Communications Interface Select your computers connection to the PCM96 Surround here Choose from or Ethernet X where is a number corresponding to your computer s network interface card Driver Buffer Setting This control manages latency Choose from Max Latency highest
70. used solely within the U S to be free from defects in materials and workmanship under normal use and service 3 Lexicon Professional s liability under this warranty is limited to repairing or at our discretion replacing defective materials that show evidence of defect provided the product is returned to Lexicon Professional WITH RETURN AUTHORIZATION from the factory where all parts and labor will be covered up to a period of 1 year A Return Authorization number must be obtained from Lexicon Professional by telephone The company shall not be liable for any consequential damage as a result of the product s use in any circuit or assembly 4 Lexicon Professional reserves the right to make changes in design or make additions to or improvements upon this product without incurring any obligation to install the same additions or improvements on products pre viously manufactured 5 The foregoing is in lieu of all other warranties expressed or implied and Lexicon Professional neither assumes nor authorizes any person to assume on its behalf any obligation or liability in connection with the sale of this product In no event shall Lexicon Professional or its dealers be liable for special or consequential damages or from any delay in the performance of this warranty due to causes beyond its control 1 1 THE FRONT PANEL
71. wever the user is limited to a maximum of 3 PCM Devices with this setup The user can define the Machine Configuration on one MIDI channel then define what preset will be loaded in each Machine using different MIDI channels This setup also allows each Soft Row parameter on each Machine to be con trolled with MIDI Continuous Controllers You would arrange the MIDI Control Menu in this way MIDI ON Sysex Device ID 0 System MIDI Ch 0 Each subsequent PCM Device would then start on MIDI channel 5 with each machine as Channel 1 Machine 1 MIDI Ch 1 Machine 2 MIDI Ch 2 Machine 3 MIDI Ch 3 Machine 4 MIDI Ch 4 PRESET LOADING Because of the large number of potential presets in the PCM96 Surround Preset Change messages are used along with the Bank Select extension to provide MIDI preset selection Controller 32 is used to select the current preset bank Controller 32 is sent to the system to select the desired bank followed by a Preset Change message to select a preset The Bank values are sticky meaning the PCM96 Surround will remember the Bank values for each MIDI channel It is not necessary to send a Bank change with each Preset Change unless the Bank has indeed changed HOW TO ASSIGN A BASE CHANNEL TO THE PCM96 SURROUND The base channel identifies a PCM96 Surround unit to a MIDI device Add 1 2 3 or 4 to the unit s base channel to identify virtual machines within the unit You can connect up to three PCM96
72. wo in Four 18 Single Four In Four deni 18 Single Two in 19 Single Five In Five Out s sessssssssesessssssssesesessssssssesssesesse 19 Single Six in SK OUt een eiae 19 THE PCM96 SURROUND 20 Installing the 20 Minimum System Requirements 2 22 20 Usine the PW GL 20 24 Overview 24 Connecting the Computer Directly to the PCM96 Surround 25 Setup of a Simple Isolated Ethernet Network Using DHCP 25 Virtual Private Networks 26 Network Considerations and 26 Network 26 SYSTEM 28 Audio 28 Machine Config 29 29 Tempo 30 Confio tes ata 30 Network Config 30 30 Restore Factory 30 MACHINE 26
73. y Parkway Sandy Utah 84070 USA declares that the product Product name Lexicon PCM 96SUR Note Product name may be suffixed by the EU Product option None conforms to the following Product Specifications Safety IEC 60065 01 Amd 1 EMC EN 55022 2006 EN 55024 1998 FCC Part 15 Supplementary Information The product herewith complies with the requirements of the Low Voltage Directive 1 95 EMC Directive 2004 108 RoHS Directive 2002 95 EC WEEE Directive 2002 96 EC With regard to Directive 2005 32 EC and EC Regulation 1275 2008 of 17 December 2008 this is designed produced and classified as Professional Audio Equipment and thus is exempt from this Directive Roger Johnsen Vice President of 8760 5 Sandy Parkway Sandy Utah 84070 USA Date May 21 2010 European Contact Your local Lexicon Sales and Service Office or Harman Music Group 8760 South Sandy Parkway Sandy Utah 84070 USA Ph 801 566 8800 Fax 801 568 7583 ELECTROMAGNETIC COMPATIBILITY U K MAINS PLUG WARNING This device complies with part 15 of the FCC Rules and the Product Specifications noted on the Declaration of Conformity Operation is subject to the following two conditions e device may not cause harmful interference and e this device must accept any interference received including interference that may cause undesired operation Operation of this unit within significant electromagnetic fields s

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