Home

LARC Interface Owner`s Manual

1. 44 Patch Points gt When both Analog and Digital are specified to operate as MAIN Inputs we refer to it as Mixed Format The Mixed format gives you the option of using the left right or summed mono input signals of each type of input Analog or Digital In this format patch points are given up The parameters for determining what blend of Left Right is passed to each Machine A and B MA BAL and MB BAL located on Page Two of the Setup mode Mixed Format L gt wA gt MA Analog Level _ R ES gt wg Digital Level Balance R If you want to input both analog and digital audio into a Dual Mono setup Mixed format press CTRL to enter the Control mode Page One sets the input and output configuration for the current setup The INP slider will scroll you through the available selections ANALOG or DIGITAL as well as ANA L DIG R and ANA R DIG L In mixed format analog audio feeds the Input to Machine A digital audio feeds the Input to Machine B or vice versa Machine A audio comes out Analog left and digital left Machine B audio comes out Digital right and analog right System Operation A L B R 3 7 300L Owner s Manual 3 8 Setup Balances Cascade Setups Analog or Digital L gt R gt Lexicon Most Dual Mono setups have the MA BAL and MB BAL setto Left CHannel and Right CHannel respectively This assumes a fixed format
2. st tO Time Code This page may be reproduced as needed for recording any Event List you create MIDI Operation 1 300L Owner s Manual Lexicon The 300L contains innovative MIDI features that exemplify Lexicon s commit mentto using the power of MIDI to provide new functions to our users In the 300L most of these functions fall into one of four categories 1 Real time Dynamic MIDI9 control of as many as ten of the 300L s variable parameters simultaneously Two Setup patches can run on the channel specified for System changes and each machine can have four patches on user designated Machine channels 2 Automatic selection of a 300L effect via MIDI Program Change messages 3 Real time effects automation using MIDI System Exclusive or Non regis tered parameters 4 Transfer of setups effects the Event List and corresponding MIDI table to a computer other MIDI compatible device or to another 300L Each of these applications will be discussed in this chapter but first let s cover some typical installations MIDI Connections All MIDI connections described in this chapter use the MIDI IN OUT THRU connectors located on the rear panel of the 300L As with any MIDI connection use only standard MIDI cables and keep them as short as possible to avoid possible data errors Fifteen meters is generally accepted as the maximum length that should be used to maintain data integrity 300L with key
3. B4P3 LARGE AMB B4P4 MEDIUM AMB B4P5 SMALL AMB B4P6 V SMALL AMB B4P7 HEAVY ANB B4P8 BRIGHT AMB B4P9 SMOOTH AMB MA B4P0 WAVE AMB MA B5P1 INA ROOM MA B5P2 STAIRWELL MA B5P3 CAR INTERIOR BBP4 MEETING ROOM BBP5 LIVING ROOM BBPe POWDER ROOM 5 7 FULL CLOSET BBP8 PODIUM BBP9 STUDIO D BBPO OFFICE BeP1 LIVEDRUMROOM 6 2 ONSTAGE BeP8 GUITAR CAVE System Operation Single Setup Presets cont d Setup Name SoftSlider Effect Bank Program DRUM CAVE DECAY BeP4 DRUM CAVE BALLROOM SIZE SHAPE BeP5 BALLROOM SCORE STAGE LIVENESS BePe SCORE STAGE DRUM GATE DURATION BeP7 DRUM GATE LE GATE HIGH CUT BeP8 LE GATE THIN LIZZY SIZZLE BeP9 THIN LIZZY BAND IN ROOM LIVENESS BePO BAND IN ROOM SPACE amp EKOZ BLEND B7P1 SPACE amp EKOZ VOCAL STAGE DECAY B7P2 VOCAL STAGE WAVE O WALLS DECAY 7 WAVE WALLS BRAND X DECAY B7P4 BRAND X HANGAR HIGH CUT B7P5 HANGER EARLY REFLEX SPACING B7P6 EARLY REFLEX STAGE SLAP PREDELAY B7P7 STAGE SLAP HUGE SPACE DECAY LEVEL B7P8 HUGE SPACE VOCAL SHEEN SPACE B7P9 VOCAL SHEEN ALMOST VERB PREDELAY 7 ALMOST VERB RICH PLATE DECAY BBP1 RICH PLATE GLOSSY PLATE DECAY BBP2 GLOSSY PLATE WARM PLATE DECAY BBP3 WARM PLATE PERC PLATE SIZE BBP4 PERC PLATE CONTEM PLATE DECAY BBP5 CONTEM PLATE EKO PLATE EKO DELAY BBP6 EKO PLATE 5K HALL DECAY BBP7 5K HALL ROUND PLATE DECAY BBP8 ROUND PLATE SALAD
4. B4P6 V SMALL AMB B4P7 HEAVY AMB B4P8 BRIGHT AMB B4P9 SMOOTH AMB MA B4P0 WAVE AMB MA B5P1 INA ROOM MA B5P2 STAIRWELL MA B5P3 CAR INTERIOR BBP4 MEETING ROOM BBP5 LIVING ROOM 5 6 POWDER ROOM BBP7 FULL CLOSET BBP8 PODIUM BBP9 STUDIO D BBPO OFFICE BeP1 LIVEDRUMROOM BeP2 ONSTAGE BeP3 GUITAR CAVE The Presets Single Setup Presets cont d Setup Name DRUM CAVE BALLROOM SCORE STAGE DRUM GATE LE GATE THIN LIZZY BAND IN ROOM SPACE amp EKOZ VOCAL STAGE WAVE O WALLS BRAND X HANGAR EARLY REFLEX STAGE SLAP HUGE SPACE VOCAL SHEEN ALMOST VERB RICH PLATE GLOSSY PLATE WARM PLATE PERC PLATE CONTEM PLATE EKO PLATE 5K HALL ROUND PLATE SALAD PLATE VOX PLATE STEREOADJUST STEREO DELAY 3 FRAME DLY 4 FRAME DLY PHASE INVERT MS DECODE TELEPHONE MULTI CANYON LFO PANNER THIN EKOZ STEREO SHIFT OCTAVE DOWN VOX CHORUS POLE FLANGE BULKIE ROLL MR BIG ZORCH GOING GOING GTR CHORUS FADE DOWN SoftSlider DECAY SIZE SHAPE LIVENESS DURATION HIGH CUT SIZZLE LIVENESS BLEND DECAY DECAY DECAY HIGH CUT SPACING PREDELAY DECAY LEVEL SPACE PREDELAY DECAY DECAY DECAY SIZE DECAY EKO DELAY DECAY DECAY DECAY DECAY LEVEL DELAY FINE DELAY FINE DELAY PHASE MATRIX M S LEVEL DEPTH LFO SPEED FEEDBACK SHIFT DN UP NE PITCH PLIT SHIFT EEDBACK ELAY NE PITCH EEDBACK EEDBACK NE PITCH NE PITCH mmmmmuono Effect Bank Program BeP4 DRUM CA
5. 5 10 Setup Name REV REV REV DLY REV PCH REV COMP DLY DLY DLY PCH DLY COMP PCH PCH PCH COMP COMP COMP SLOW SPIN WIDEFLANG X TRAFFIC GEAR UP TWO ROOMS TWO HALLS DELAYS REVPAN UP amp DOWN MYGUITAR ENVSPOOGE FLNG amp DLYS DLY DAZE CLUSTERS 2 FLANGES incorporated in the Setup Dual Mono Setup Presets SoftSlider INPUT PAN INPUT PAN INPUT PAN INPUT PAN LFO RATE DELAY MACH A SPACE MACH A INPUT PAN INPUT PAN INPUT PAN LFO RATE LFO RATE DELAY MACH B INPUT PAN INPUT PAN INPUT PAN DELAY SPACE DECAY TIME DELAY INPUT PAN INPUT PAN DELAY MACH B DELAY DELAY MACH B INPUT PAN P101 DM REV REV MA B13P1 CHAMBER Mach A Effect MA B13P1 CHAMBER MA B11P3 DRUM CHAMBER MA B13P4 GUITAR ROOM MA B14P9 PLATE MA B12P3 CHORUS MA B11P1 BASIC DELAY MA B11P4 SPACE EKOZ MA B15P3 UP SHIFT MA B15P6 VOCAL SHIFT MA B16P5 SMAKO MA B12P8 LFO FAZEDLYS MA B12P1 OVERTHETOP1 MA B12P4 CHORUS EKOZ MA B15P3 UP SHIFT MA B13P0 JOE S GARAGE MA B14P7 RECITAL HALL MA B11P2 SLAP ECHO MA B13P7 U CHAMBER MA B15P9 HALFSTEPSUP MA B15P2 GUIT SHIFT MA B12P6 ENV PEAK MA B12P5 NEGATIVEFLNG MA B11P6 3 VOICE DLYS MA B12P4 CHORUS EKOZ MA B12P2 OVERTHETOP2 Mach B Effect MB B13P2 KEY CHAMBER MB B12P8 LFO FAZE DELAYS MB B15P2 GUIT SHIFT MB B16P1 EZ COMP 2 1 MB B12P4 CHORUS EKOZ MB B15P7 SKY DOWN MB B16P2 DRUMCOMP3 1 MB B15P8 ECHO DOWN MB B16P3
6. Setup Presets The Setup Presets are organized as follows 001 100 Single Setups 101 125 Dual Mono Setups 126 150 Cascade Setups Single Setups use one effect run ning in a single unified machine both DSP engines working as one Dual Mono and Cascade can be thought of as split configura tions and are capable of simulta neously running two different or identical effects Banks Effect Programs Effect Programs are organized as follows Single Effects Banks 1 0 BANK 1 HALLS BANK 2 ROOMS BANK 3 CHAMBERS BANK 4 AMBIENCE BANK 5 DIALOG BANK 6 INSTRUMENT BANK 7 LIVE SOUND BANK 8 PLATES BANK 9 STEREO ADJUST BANK 0 STEREO SHIFT These can only be loaded into Single Setups 0 100 Split Effects Banks 11 16 BANK 11 DELAYS BANK 12 MOD EFFECTS BANK 13 SPLIT REV 1 BANK 14 SPLIT REV 2 BANK 15 MONOSHIFT BANK 16 MASTERING These can only be loaded into Split Setups 101 150 300L Owner s Manual 2 8 Lexicon The 300L s Control Mode provides access to general global parameters and miscellaneous functions Selecting Control mode does not interrupt the audio operation of the 300 There are 9 Control mode pages 1 Input type select analog and or digital analog sample rate select digital lock digital input connector type digital input format display and digital output format selection 2 SCMS detect and select digital emphasis detect and select Effectload select
7. 3 32 Time Code Event List and Time Code Edit Add Delete 3 32 Input Output Gains ssssssseeeeeneeeeenen nnn 3 33 Contents Contents cont d 4 5 6 The Algorithms and their Parameters Single Setup AIQOrith Ms 4 2 Random Aall i 2 3 niii iem ien 4 2 Random Ambience eese 4 9 onte estupendo e cere errr 4 12 Stereo Adjust ein e been estet ete Puede 4 16 Stereo Pitch 4 22 Split Setup Algorithms sessessssseseeneeeneren nnn 4 25 Dual Delays e tu AE RnB eA Rt ix Rs 4 25 Ghamber ee niei Mr niet e 4 28 Mono Pitch 4 31 Small Stereo AdjJ st z ia ies ati aia ater 4 33 Compresso mne serate tuendis cde ines ea 4 35 PONS Psychoacoustically Optimized Noise Shaping 4 36 The Presets Single Setup Presets and Programs 5 2 Split Setup Presets and Programs 5 10 Dual Mono Setup Presets 5 10 Cascade Setup Presets sss 5 18 Effect Presets by Bank 5 26 Time Code Operation Using Time Gode hte eI 6 2 The Evant List 5n e De PH NUR tele OR 6 3 Using time code to initiate program Changes
8. Bypass Mute and Bypass function Input mute Bypass Copy Protect Purge Delete Tools for Time Code Event List All Registers All Effects MIDI Map Table and return to Factory Initialization Copy Tools for setups effects and MIDI Mod edits MIDI Mode MIDI Map Table Time Code Mode Event List Management Analog I O gain controls e Note The 300L Digital Effects System is shipped from the factory running in an Analog Input 48kHz mode with Setup Preset S P1 SINGLE running Program Bank 1 Program 1 If you are already familiar with the operation of the 300L and wish to change the Input to a Digital Type simply enter Control mode and make your selections If you have no previous experience with the 300L we suggest you remain in the analog mode and read on 3 System Operation 3 2 300L Owner s Manual Lexicon Getting Started When shipped the 300L defaults to an Analog In 48K sample rate state It also loads Setup Preset 1 Large Hall with the Random Hall Effect Large Hall Bank 1 Program 1 The Setup determines the internal I O routing configuration and contains pointers for one or two effects The three Setup types SINGLE DUAL MONO and CASCADE are shown below along with the effect types available to each SINGLE SETUP INPUT LEVEL INPUT BALANCE MACHINE LFO METERS MOD EDIT EFFECT ID SETUP LEFT RIGHT PATCH NAME Single Setups contain point ALGORITHM MOD EDIT ers to Single type E
9. D Delay Ambience Generator a gt Sz ev Oma gt Diffusion pf Predelay gt sen wan peter y gt gt D Delay Random Ambience Page One RT Reverb Time This control adjusts the reverberation time of the independent reverberator The range of action is limited Be careful both long and short reverb times may sound unnatural If a much longer or shorter reverb time than the preset provides is desired SIZ should be changed first RVL Reverb Level RVL sets the amountof reverberation in the processed signal It should normally be set between 6 and 12dB SIZ Size SIZ allows you to vary the apparent size of the space over a wide range SIZ is the most dramatic control and must be selected to match the music or program material It should be the first control that you adjust to tailor the desired space 512 also affects the reverb time in a similar way to the standard reverb programs ROL Hi Freq Rolloff ROL sets the frequency above which a 6 dB octave low pass filter attenuates the processed signal High frequencies are often rolled off with this parameter resulting in a more natural sounding acoustic space DIF controls the degree to which initial echo density increases over time High settings of DIF resultin high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZ smaller spaces will sound denser To enhance percussion us
10. Dual Mono or Cascade which is loaded System Operation Setup Select Example 300L Owner s Manual Lexicon Single Setups have only one adjustable parameter on Page 3 OMIX This control adjusts the proportion of wet signal to dry signal Most SINGLE Setup Presets have OMIX set to WET 100 wet effects Dual Mono has 2 MIX parameters AMIX and BMIX and Cascade has 3 MIX parameters AMIX BMIX and OMIX Page 4 contains the LFO Low Frequency Oscillator The LFO is a control generator which is designed to modulate patched Effect or Setup parameters TheLFOhasashapeand arate speed function The shape can be SINEusoidal TRIANGLE SQUARE or RANDOM Rate is adjustable from Off to 9 96Hz The action of the meters is also determined on this page The choices are For Single Setups ANA IN Analog In for either Left or Right channel DIG IN Digital In for either Left or Right channel FX OUT for either Left or Right channel commonly referred to as the WET BUS For Dual Mono Setups L INPUT R INPUT L FX OUT for Mach A R FX OUT for Mach B For Cascade Setups Input Mid Point Output Note If you choose Left Meter or Right Meter as Patch sources when making MIDI MOD Patches you are essentially linking the ballistics of the meter to the assigned destination Page Five is the MIDI MOD patch page for Setup parameters As an example try patching the LFO to a Balance parameter as follows 1 Load Setup P
11. Effects Return L Channel Input or Effects Return R EIAJ CP340 If you will be using a 300L as your primary effects unit and your system includes aconsole with one or more auxiliary effects sends connectthe 300L as shown above In most applications it is preferable to connect the 300L outputs to two of the console s input channel strips panned full left and right rather than the effects returns This allows the greatest flexibility in routing and equalization In this configuration the console controls are used to set the amount of effect heard the 300L s MIX control should be set for 100 wet If you are using only one effects send connect the left and right inputs of the 300L in parallel The following diagrams give a few examples of various possible configurations for interfacing to digital equipment Installing the 300L AES EBU to AES EBU DIGITAL AUDIO or DIGITAL VIDEO MACHINE AES EBU Format Source Machine Analog outputs for monitoring AES EBU Format EIAJ CP340 sAn DIGITAL AUDIO or CONSOLE DIGITAL VIDEO MACHINE Analog outputs for monitoring or HEADPHONE AMP Destination Machine S PDIF to S PDIF RDAT MACHINE or CD PLAYER S PDIF Format Analog outputs for monitoring EZ to go E i en Out S PDIF Format RDAT MACHINE Analog outputs for monitoring CONSOLE or Destination Machine HEADPHONE AMP Note These digital c
12. and Channel Selection Page Six MIDI Maps 300L Owner s Manual Page Seven Time Code Snap and View Page Fight Time Code Event List and Time Code Edit Add Delete Lexicon This page provides the top level of control for Time Code Automation OFF This slider selects Time Code modes OFF Time Code reception disabled VIEW view the running eventlist and SNAP enter an eventinto the list When SNAP is selected the button below the SNAP slider is active and will snap entries into the list This occurs if time code is running or not CLR Clear Pressing the button below the CLR slider will clear the last snapped event from the list This page allows editing of the event list EDIT TC TYPE SEL EDIT Slider 1 lets you select any event to EDIT ADD or DELete from the event list Your selection is shown on the upper display TC Time Code Offset Slider 2 allows you to adjust a plus or minus 4 second offset to the currently displayed edit event 1 50 Pressing the button below the the TC slider drops you into a sub page which allows you to enter a time code via the numeric keypad or to assign Hours Minutes Seconds and Frames via the associated sliders EXIT Press the button under the EXIT slider to return to the Event Edit page TYPE This slider selects between Setups and Effects for either Machine A or Machine B and parameter glides for MA MB or Setups SEL The SEL slider allows you t
13. with the density of the cluster set by DIF The pre echo delay parameters change the perceived locations of reflecting surfaces surrounding the source Level adjusts the loudness of the reflection For each of the LV Pre echo level parameters there is a corresponding DL pre echo delay parameter Each of these sets the delay time in ms for one of the pre echoes These are not affected by PDLY so pre echoes can be placed to occur before or after the reverberation starts Random Hall Page Four The DL pre echo delay parameters have a resolution of 2 milliseconds The LV pre echo level parameters have sixteen steps calibrated in decibels The FB feedback parameters for Delays 3 and 4 only are adjustable in 6 increments from 93 to 93 Pre Echo 1 one second maximum to left channel Pre Echo 2 one second maximum to right channel A quick double click on the DL1 or DL2 slider button will allow you to control the delay with more resolution To exit this fine control mode double click on the button again RTM sets the reverb time for mid frequency signals Because low frequency reverb time BAS is a multiplier of RTM RTM acts as a master control for the reverb time The Algorithms and their Parameters SHLF DL1 LV1 DL2 LV2 RTM Mid Frequency Reverb Time 4 7 300L Owner s Manual 4 8 Lexicon RLVL Reverb Level RI VL sets the amount of reverberation in the processed signal It is normally DL3
14. 1 300L Owner s Manual 6 2 Using time code SMPTE NON DROP SMPTE DROP FRAME EBU FILM Lexicon The 300L utilizes time code to trigger Setup and Effect changes It can also use time code to trigger parameter glides In order for any ofthe time code functions to work a time code source must be plugged into the Time Code Input on the 300L rear panel Time code is an electronic signal applied to tape or film which identifies each individual video frame The ability to uniquely identify any frame provides a reference system for fast and accurate location of any point on the tape This referencing system maintains its accuracy regardless of changes in playback or editing equipment allowing precise synchronization of an entire editing system Time code identifies each video frame by assigning it a unique address Frames are sequentially identified by hour minute second and frame For example a typical timecode address appears as 09 42 31 07 hours minutes seconds frames As each frame is advanced the time code address is increased by one frame count Because the time code signal is locked to advancing video frames both advance at exactly the same rate In the USA there are two standard frame rates one for black and white monochrome and one for color Monochromatic video runs at a rate of 30 frames per second If a black and white TV program is measured by time code the program length time code display a
15. 2 are set short with feedback and tuned diffusion gains Delays 3 and 4 are also set short and crossfeed into 2 and 1 respectively There is a small amount of post delay LDLY and RDLY and these two post echoes are patched to the SoftSlider Use the SoftSlider to adjust the post delays to match the tempo By itself Sky Delays is sort of a chorused cluster echo Very similar to a bright resonant small room Beautiful effect on stacked vocals P150 CC SPINOLA SoftSlider LFO RATE 80 MA B12P3 CHORUS MB B16P7 PANOLA This is a sort of retro sounding audio effect The Chorus preset passes into the fast panning Panola effect Mix post fader Kind of like a rotating speaker only different The LFO is controlled by the SoftSlider MA B12P3 CHORUS This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7 and 11 8ms If the LFO is advanced to values near 1 50Hz to 2 0Hz a nice chorusing effectis achieved There are no other delay lines butthe outputlines are channel swapped such that the left input passes to the right output and vice versa MB B16P7 PANOLA This preset is a stereo adjust program with the Balance set to full left The Balance parameter is patched to the LFO If loaded into a Setup which has the LFO running Panola will cause the audio to move between the left and right speakers The Presets 5 25 300L Owner s Manual 5 26 Effect Programs by Bank Bank 11
16. 5KHZ FLAT 0 1000MS PAGE TWO BAS XOV TDC DIF LNK RLVL 0 2X 2 0X 0 1 26 5KHZ 0 5 21 2KHZ 0 99 LINK UNLINK OFF 48DB UP FULL RAN DL1 FB1 DL2 FB2 NONE 1 98 MAX 0 2000MS 60 TO 60 0 2000MS 60 TO 60 PAGE FOUR DL3 LV3 DL4 LV4 RTM RLVL 0 1000MS OFF 24 0DB UP FULL 0 1000MS OFF 24 0DB UP FULL 24 64 17SEC OFF 48DB UP FULL PAGE FIVE DL5 LV5 FB5 DL6 LV6 FB6 0 2800MS OFF 24 0DB UP FULL 93 TO 93 0 2800MS OFF 24 0DB UP FULL 93 TO 93 Parameter ranges are dependent on settings of SIZ and LNK Feedback 5 1 1 gt na SETEN Reverberator High Frequency gt 1 1 1 Feedback 6 lt Rich Plate Page This control adjusts the reverberation time of the independent reverberator The range of action is limited Be careful both long and short reverb times may sound unnatural If a much longer or shorter reverb time than the preset provides is desired SIZ should be changed first SHP and SPR work together to control the overall ambience of the reverberation created by the 300L SHP determines the contour of the reverberation envelope With SHP all the way down reverberation builds explosively and decays quickly As SHP is advanced reverberation builds up more slowly and sustains for the time set by SPR Plates characteristically have small values of SHP and SPR SPR works together with SHP to control the duration of the initial ambienc
17. Adding an Event Lexicon All parameter glides are based on the effect loaded in the list immediatey preceeding the glide For example let s say that Medium Hallis Event 4 and that Event 5 specifies MA GLIDE with MID RT moving to a final value of 3 8 seconds over a duration of 18 Frames What happens if you change Event 4 from Meduim Hall to Vox Chorus A Event 5 is now being driven by an algorithm which does not have MID RT asaselectable parameter A new value will be placed based on the selected algorithm s available parameters Be careful The proper thing to do is to delete Event 5 Once you have created an Event List you can also modify it by adding events with the ADD function The ADD function is used to duplicate an event or to select an event modify it and add it back into the list To duplicate an event use the EDIT slider to display ADD There are 50 ADD slots Use this slider to select an event to duplicate Press STOre to copy the event into the list Use the EDIT ADD DEL slider to reselect the Event you duplicated Assign a new timecode number on the TC sub page press EXIT then press STOre You would typically want to do this to reproduce a Setup Machine effect or parameter glide again at a different timecode value Duplication can also be used to have several glides occur simultaneously Once you ve snapped the particular timecode when you want the multiple glides to occur select the eve
18. B12P3 CHORUS A small variation in the glide delay is used to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa B12P4 CHORUS EKOZ Chorus EKOz makes use of the flange gliding delay under the control of the Setup LFO plus several recurring long echoes B12P5 NEGATIVEFLNG This is a really stiff flange which goes almost 20ms deep Flange gain is Set extremely negative so the sound is tunnel like B12P6 ENV PEAK Similarto an OverTheTop type effect except the flange delay is patched to meter ballistics Some modification of the scaling parameter on the MIDI Mod Page 6 patch 1 may be nessessary to suit the right Meter ballistics B12P7 ENV PHAZER This program makes use of a patch between the envelope detector in the meters and the flange glide delay As signal becomes stronger the glide delay drops in the time domain eventually crossing the 5 2ms base delays As audio signal strength lessens the glide returns to its preset value of 10ms Very good on vocals To make this effect work properly be sure to drive the 300 to within 12dB of full scale dBfs B12P8 LFO FAZEDLYS Faze Dlys makes use of the LFO patched to the Flange Glide Delay FDL The base delays are set in different time domains one side at 1 9ms with a
19. Basic Delays Bank 12 Mod Delays Lexicon For convenient reference the Split Setup program descriptions are repeated here according to Bank location B11P1 BASIC DELAY Baseline effect with the SoftSlider patched to the Left and Right post delay lines in the algorithm path Their values are directly linked to the current position of the SoftSlider B11P2 SLAP ECHO In sync slaps controlled by the position of the SoftSlider No offsets between channels B11P3 STEREO SLAPS Stereo left and right slap delays with the SoftSlider patched to left and right Delays 1 and 2 as well and the Left and Right Post Delay outputs B11P4 SPACE EKOZ This program incorporates a bit of left right diffused delays along with some small delay offset between left and right delay outputs If the effectis too strong try lowering feedback levels for delays 3 and 4 B11P5 PINGO PONGO Ping Pong delays bouncing back and forth The SoftSlider controls the timing of the bounce B11P63VOICE DLYS Two taps Delays 3 and 4 are set with delay ratios of 1 2 meaning that when is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the SoftSlider B11P7 DUCKED EKOZ In this program the amount of recirculating feedback varies with the input level The SoftSlider is patched to Delays 1 and 2 allowing you to quickly adjust the echoes to match the tempo of the music or program content B11P8 CANYON EKOZ The delays int
20. MA B14P7 RECITAL HALL This medium large 44 5M space opens sound sources beautifully Made for string pads and voice No SoftSlider patches MB B14P1 BIG HALL Big and open sounding The 44ms of predelay help to separate the stage from the seating area Real good sounding on ballad vocals No SoftSlider patches P117 DM DELAYS SoftSlider DELAY SPACE 50 MA B11P2 SLAP ECHO MB B11P0 VOX DOUBLER Advancing the SoftSlider Controller will change the characteristics of each Machine preset as described below MA B11P2 SLAP ECHO Short slightly recirculating parallel delays with a no diffusion The Soft Slider lengthens and shortens the Left and Right Post Delays which relates to the slap time If you decide to increase the feedback amounts on Page 2 you should try adding additional AP Gain as well on Page 3 MB B11P0 VOX DOUBLER The SoftSlider modifies Left and Right Delays 1 amp 2 There is also a small amount of cross feedback via Left and Right Delays 3 and 4 Add Feedback and AP Gain as described in SLAP ECHO The Left and Right Post Delays are fixed at 53 513 ms P118 DM REVPAN SoftSlider DECAY TIMES 50 MA B13P7 U CHAMBER MB B13P6 L gt CHAMBER This preset has two Setup parameters patched to the LFO ABAL and BBAL Sources going into Machine A and B will cross pan between them as in X Traffic The LFO is set to 0 12Hz with a triangle waveform The SoftSlider is patched to both RTM parameters in each of the Chambers MA B
21. Machine Effect or Setup are available via the SEL slider As an example suppose the first event in the event list is to load Setup 102 REV DLY For event 2 we ll specify a parameter glide for Machine A To do this move the TYPE slider until the upper display shows 2 MA GLIDE nn nn nn nn 2 MA GLIDE MID RT then will revert to the display of time code value after 2 seconds Use the VAL sliderto setthe REVERB TIME you want atthe end of the glide For this example select a value of 14 21 seconds The display will show 2 MA GLIDE 14 21 SEC then will revert to the display of time code value after 2 seconds Use the DUR slider to specify the total number of frames the glide will take The maximum is 255 Frames gt 8 seconds The display will show 2 MA GLIDE 255 FRAMES then will revert to the display of time code value after 2 seconds Subsequent button pushes of SEL VAL or DUR will briefly display your selection The next event in the list might be another parameter glide to reduce the reverb time running in Machine A or a reload of the effect in Machine A or a parameter glide for Machine B In fact you can have a number of glides occurring simultaneously The VIEW mode will show the event the type of glide and the parameter value changing to its final value 2 MA GLIDE 14 21 SEC Time Code Operation 6 7 300L Owner s Manual 6 8 Things to Consider About Glides
22. Map and Time Code Event List Select the type of dump you want then press the STOre key DLY Dump Speed Slider 3 sets the effective speed of MIDI dumps This function is designed to facilitate dumps to receiving devices which cannot deal with vast amounts of MIDI data coming inquickly The choices are 2 50 100 and 200ms CHL System Parameters MIDI Channel Selects the MIDI channel 1 16 OMNI for System parameters including all bulk dump and SysEx messages as well as Setup Preset and Register recall CHL Machine A MIDI Channel Selects the MIDI channel for Machine A 1 16 OMNI CHL Machine B MIDI Channel Selects the MIDI channel for Machine B 1 16 OMNI All generic MIDI and non registered parameter messages follow the machine channel assignment Page 6 is a dedicated page for selecting and making MIDI program maps MAP SEL MAP Slider 1 selects a Map mode OFF FIXED or MAP to any of the 128 MIDI Map program slots Setting this control to either OFF or FIXED disables the TYPE and SEL sliders these sliders are active only when this control is set to one of the 128 slot locations TYPE Slider 3 selects Effect Machine A Effect Machine B or Setup for the current map slot SEL Select Table This slider scrolls the available choices for the type selected with slider 3 for the current map slot See Chapter 7 for additional MIDI information System Operation Page Five MIDI Automation Dumps
23. Setup contains a reference to one Single ortwo Dual Mono and Cascade effects When you store a setup whose effect s have been edited the 300L tries to automatically store the edited effects into available registers changing the effect name so the last characters show the containing setup If there are no available effect registers this message is displayed To continue you must explicitly sore the effect s by overwriting previously used effect registers then store the setup Event List Snap mode was requested with time code disabled MID RT or SPR has been assigned a target value in an Event Edit List but there is a mismatch between the current program location and the location pointed to by the glide As all glide requests point to a previous Setup or event triggered in the list use the Edit slider to move back through the list until you identify the most recent setup or program load Note the location the Setup number or the Bank and program number return to Setup or Program mode and load that location Return to Control mode and finish the Event List MIDI Implementation Details are available to assist experienced programmers in developing software for use with the 300L These can be obtained from your dealer or directly from Lexicon Request Model 300 MIDI Implementation Details MIDI Implementation Chart 9 300L Owner s Manual Lexicon 300L Digital Effects System MIDI Implementation Chart Lexico
24. and Digital Audio Selection Lexicon Note Be extremely careful when creating patches while a MIDI device is connected If you accidentally send a MIDI Program Change before saving the patches in a register the patches will be lost To avoid this possibility you may want to set the MIDI Master Channel in Control Mode to OFF or unplug the MIDI cable from the 300L rear panel MIDI IN connector Control mode provides access to general global parameters and miscellaneous functions including certain aspects of the audio configuration Selecting Control mode does not interrupt the audio operation of the 300L There are nine Control mode pages Analog and Digital audio selection Emphasis and SCMS Copy Protect on off Bypass Mute Program Load Memory Purge Offline Copy Tools MIDI Automation Dumps and Channel MIDI Maps Time Code Snap and View Time Code Event List and Edit Add Delete Input Output Gain Each of these pages is described below Page One allows you to view the status of the box STA to define clock speed CLK Digital Input connector DIN Input type INP Output type OUT and Digital Output Format OFMT STA CLK DIN INP OUT OFMT STA System Status The STAtus slider allows you to view the operational status of the system Advancing the slider scrolls through the status of Input type current clock speed digital output format SCMS output status audio mute status copy enable or disable digital inp
25. and depth of the sound It is particularly useful on material recorded with panpots or coincident and semi coincident microphone technique When most of the bass in a recording is in the sum mono channel raising SPEQ may reduce the bass level This effect can be compensated for by raising the overall bass level with BAS Since both controls use the same BXO setting The Algorithms and their Parameters BAL Balance ROT Rotate BAS Bass EQ TRB Treble EQ SPEQ Spatial EQ 300L Owner s Manual DLY Master Delay BXO Bass Crossover TXO High Frequency Cutoff TXLR Independent Treble Crossover TBL TBR Independent Treble Boost Cut SAM 1 2 sample DEMP De emphasis On Off Lexicon this compensation will be quite accurate as long as SPEQ is set to less than 3 dB boost Stereo Adjust Page Two DLY controls a 5 second stereo delay line with coarse resolution Separate mono and fine controls are on Page Five This is a post processing full level delay andis always in the circuit This is a ganged stereo control with the display showing both left and right delay values BXO sets the crossover point for BAS When BAS is set to full cut the level is 8 dB at the frequency set with BXO TXO sets the crossover point for TRB When TRB is set to full cut the level is 3 dB at the frequency set with this control TXLR sets the crossover point for TBL and TBR When either is set to full cut the l
26. definition P74 PERCPLATE SoftSlider SIZE 64 For drums and the like Not bad on piano either Bright and tight with the SoftSlider controlling the Room Size P75 CONTEM PLATE SoftSlider DECAY 65 Bright and splashy sounding Should work well to brighten a track without getting too washy sounding P76 EKO PLATE SoftSlider DELAY 66 Combines a sweet combination of recirculating pre echoes and bright sounding reverb The SoftSlider is negatively patched to RTIM and Delays 1 and 2 P77 5K HALL SoftSlider DECAY 64 This preset takes a little getting used to but has that different texture which helps to punch through a mucky mix Use the SoftSlider to vary the Mid Rt decay P78 ROUND PLATE SoftSlider DECAY 55 Soft but articulate The SoftSlider is patched to feedback paths surrounding pre echoes 1 and 2 which feedback into the reverberator P79 SALAD PLATE SoftSlider DECAY 65 Smaller than a dinner plate Very bright and somewhat thin Medium RT P80 VOX PLATE SoftSlider DECAY 60 This preset is made for adding a presence to the lead vocal track Use the SoftSlider to match the decay with the tempo and mood of the music P81 STEREOADJUST SoftSlider LEVEL 98 Sets you up to fix audio sources Null preset with controls for EQ delays phase and channel swaps and DC offset removal The SoftSlider controls the Digital Master Level parameter P82 STEREO DELAY SoftSlider DELAY 40 390 ms of delay with the initial SoftSlider preset
27. is muted regardless of selection PURGE This slider allows you to perform five types of memory purges Setup Registers Effect Registers MIDI Map Time Code Event List or Total Purge Select the type of purge you want then press STO to purge your selection Be careful These functions permanently erase user information Page 4 is an offline copy page that allows you to copy Setups or Effects from one location to another SETUP COPY gt SRC DEST Slider 1 lets you to select Setups or Effects to copy You selection is shown on both the upper and lower LARC display SRC Source Depending on the selection made with Slider 1 the SRC slider scrolls through allthe Setup and Effect locations Presets are listed first followed by Registers DEST Destination This slider allows you to select the Register location where the copy will be stored AUTO DMP DLY CHL CHL CHL AUTO Automation This slider allows you to specify mapping of MIDI non registered parameters System Exclusive messages or Program Change messages from the 300L The button below the AUTO slider allows you to view the current MIDI Automation mode Advancing the slider scrolls through the four possible states OFF Non Registered parameters SysEx and Program Change When AUTO is set to OFF the 300L will not output MIDI data DMP Dumps This slider allows you to select one of four types of Data dumps All Registers Current Setup including Effect MIDI
28. make it work for the particular signal you re feeding it The release parameter rips the signal up within 91 ms P137 CC SURRVERB SoftSlider SPATIAL EQ 60 MA B14P7 RECITAL HALL B B16P9 SPATIAL EQ Machine B Spatial EQ has three SoftSlider patches which control the spacial placement of the source audio in this case the output of the reverb effect In a surround mixing environment advancing the SoftSlider parameter will place more of the reverb into the surround channel assuming the returns of the 300 are panned hard left and right at the console MA B14P7 RECITAL HALL This medium large 44 5M space opens sound sources beautifully Made for string pads and voice MB B16P9 SPATIAL EQ This preset is a cut down version of the larger Stereo Adjust program available in Single Setups This particular preset has the Soft knob patched to three parameters Spatial EQ SPEQ Bass Left BASL and Bass Right BASR boosts and cuts P138 CC V3COMP SoftSlider NONE MA B16P6 SMALL ST ADJ MB B16P1 EZ COMP 2 1 This is a straight ahead digital stereo compressor setup Use it in a mix insert point or pre fade send or as part of a transfer MA B16P6 SMALL ST ADJ This preset is a cut down version of the larger Stereo Adjust program available in Single Setups Level Balance Rotate separate Left and Right Bass and Treble along with spatial eq are available to adjust There are no SoftSlider patches in this preset MB B16P1 EZ COMP 2 1 A soft
29. occur This is indeed true if the LFT left input and RT right input sliders are set to OdB In fact with the Output sliders set to OdB you should read exactly the same 11dBu In practice analog I O interface levels vary widely with various console types The Input and Output controls on page 9 allow the 300L to be optimized for use throughout the analog world With the Left and Right sliders fully attenuated to 10dB the 300L can look at signals as high as 21dBu For those of you who like to blast through an analog console this full attenuation may be a requirement If your console typically sends a 4dBu signal when the send meters read OVU the 300L s input will be left with only 7dB before converter saturation This is not good common rock and roll soution would be a quick trim of the send masters by 7or 10 dB to give the system a little more breathing room Some analog engineers often refer to this breathing room as headroom Technically there is no such thing as headroom in a digital system When the converter goes to full scale overload will occur Although the rock and roll solution will usually work but we suggest you trim the inputs to the 300L To do this move the LFT and RT input sliders to the required settings You may need to null these sliders at their mid travel points in order to grab the default value of 0 Attenuate them one at a time and make sure they are matched Pressing the buttons un
30. of the noise within the frequency range where human hearing is most acute is shifted to higher frequencies This is called psychoacoustically optimized noise shaping PONS because it takes advantage of the variations in the ear s sensitivity to noise within the 20 Hz 20 kHz range PONS Parameters PAGE ONE DITH OFF ON PONS Page One DITH allows you to turn the PONS dither function on or off If set to OFF dither DITH Dither noise is still present but without noise shaping This control allows you to vary the amount of dither gain with PONS on or off GAIN Dither Gain added to the signal 300L Owner s Manual Lexicon 4 38 The Presets 2 5 1 300L Owner s Manual Lexicon The Setup Presets 300L is shipped with 150 Setup presets 100 Single Setups and 25 each of the two split setup types as well as 50 setup registers for storing your modified Setups Single Setup Single Effects are only available in Single type Setups Therefore the descrip and Effect Presets tions and the names of the Setup and Effect presets are identical Single Setup Presets 5 2 Setup Name LARGE HALL MEDIUM HALL SMALL HALL SYNTH HALL DANCE HALL SOLO HALL CHURCH GOTHIC HALL GATED HALL DEEP END ROOMS REHURSAL ROOM STUDIO A STUDIO B STUDIO C LARGE ROOM SMALL ROOM BEDROOM W C INVERSE ROOM CHAMBER BRICK WALL OIL DRUM WIDE CHAMBER FAT CHAMBER CHUNKY HOMEROOM OPEN WIDE WET SUIT BASEMENT A
31. of the sound MEDIUM AMB SoftSlider HIGH CUT 60 Similar characteristics but smaller sound SoftSlider contols the rolloff of high frequencies The Presets 5 5 300L Owner s Manual 5 6 Lexicon P35 SMALL AMB SoftSlider HIGH CUT 60 Smaller still but a little brighter The SoftSlider adjusts the brightness P36 V SMALL AMB SoftSlider HIGH CUT 64 The smallest room size is set to 6 2M P37 HEAVY AMB SoftSlider REVERBLVL 90 medium size 23 1M with more than a moderate amount of reverb tail Very diffused works great on anything The SoftSlider is conncted to ReverbLevel P38 BRIGHT AMB SoftSlider REVERBLVL 64 Add some of this to short staccato sounds The SoftSlider modifies the Reverb Level output P39 SMOOTH AMB SoftSlider HOW SMOOTH 80 Very diffuse and natural sounding Good sounding room environment for dialog work P40 WAVE AMB SoftSlider HOW LONG 50 This preset has a longer and louder reverb tail than most other Ambience sounds The SoftSlider raises the level of the reverb tail making the hole event sound longer This will add a beautiful space on strings P41 INA ROOM SoftSlider HOW BIG 50 Definitely short and abrupt Very realistic for ADR work The SoftSlider varies the Room Size between 6 and 19 Meters P42 STAIRWELL SoftSlider OF FLOORS 60 About 14 stories up and very fluttery sounding Moving the SoftSlider from its preset value of 60 will move you higher or lower into the co
32. or Non drop EBU or FILM time code formats Electronically bal anced 100mV p p minimum Digital Inputs and Outputs Inputs Three connectors are provided for digital input AES EBU professional format 1 3 pin female XLR S PDIF EIAJ CP 340 consumer format 2 unbalanced coaxial RCA optical fiber optic One of these connectors may be selected for digital input Outputs Output format can be AES EBU or S PDIF Output always goes to all three digital outputs Digital interfaces conform to AES 3 1992 ANSI 54 40 1992 Input output impedance levels of the AES EBU connectors comply with the CCITT V 11 EIA RS 422A DI EIAJ CP340 THRU Installing the 300L The Rear Panel Analog Inputs and Outputs 3 pin XLR connectors electronically balanced Either pin 2 or pin 3 can be used as high but to maintain polarity when transferring data to the digital domain pin 2 high convention is used by Lexicon Pin 1 and either pin 2 or pin 3 of each output must be grounded for unbalanced operation Input impedance is 50kQ unbalanced and 100kO balanced Inputs accept input levels from 14dBu to 20dBu Output impedance is 75Q and levels up to 18dBu are possible IN AC Power Communications Standard 3 pin IEC Port power connector DE9 LARC connec tor MIDI Connectors Out Transmits MIDI data to other equipment Thru Passes any MIDI data received without change In Receives MIDI information from other
33. page 6 and set the MAP slider to FIXED As an example Set the System Channel to channel 2 Now send Program Change 64 to the 300L on channel 2 from your MIDI control device If you are at the top level of the SETUP mode press SETUP if you re not the display should read BRAND X SG SET 64 There is a one to one correspondance fixed between the MIDI Program Change number and the 300L Setup number Now suppose you have a Setup running but want to load a new Effect Program over a different MIDI channel into that Setup To do this as an example set the MIDI Channel for MACHINE A to channel 4 by pressing CTRL PAGE then 5 Advance slider 5 until the display reads MIDI CHAN MACH A 4 Press PROG before sending any MIDI messages to the 300L This will allow you to see and confirm new Programs actually being loaded Now send Program Change 34 over MIDI Channel 4 The display will show MARBLE FOYER 300MA B04P2 This is another FIXED relationship starting at 1 1 LARGE HALL MIDI Program 1 through B13P8 BASEMENT MIDI Program 128 NOTE If you try to load a Split Effect Program into a currently running Single Setup or a Single Effect Program into a currently running Split Setup you will get the message CAN T LOAD IN CONFIG MIDI Operation To Have Program Change messages load specific Setups or Effects use the Using MIDI Maps 300L MIDI MAP mode Press CTRL PAGE then 6 If you ve been follo
34. predelay mechanism which delays the audio a maximum of 48 ms The other path sends control information dependent on the settings of slope threshold attack and release to digital VCA s labeled MAX COMP GAIN and EXP GAIN As the signal crosses the threshold point both Compres sor Gain and Expansion Gain vary constantly Compressor Gain determines the maximum amount of gain increase below the threshold Expansion Gain determines the maximum amount of gain attenuation below the threshold Note there are separate thresholds for compression and expansion Generally digital compression requires lower threshold settings than analog compression The reason for this is that there is no such thing as headroom in a digital system dBfs Digital Full scale OVU is the maximum level audio Audio dynamics below full scale however can be manipulated and modified The whole purpose of a digital compressor is to maintain peaks while compress ing lower level audio signals upwards If you think about it in terms of the most significant and least significant bits you would never want to reduce the most significant bits you want to increase the least sigificant bits Adding some pre delay gives the control mechanism time to react before the audio reaches the digital VCA Of course the more predelay you add the more out of sync the audio will become Attack constants should be kept to short values 7 15 or 30ms A good starting point for releas
35. process also saves the effect which is part of the Setup Note The 300L has a memory protection feature which enables or disables copying data into any of the systems internal registers be it Setup Program Time Code or MIDI When Copy Protect is ON all storing functions are inhibited Control mode Page 3 Slider 1 will allow you set Copy Protect ON or OFF For more details see the section describing Control mode at the end of this chapter System Operation The 300L is shipped with 160 Effect programs within the Setups described Working with the earlier Sooner or later you will want to alter the sounds of these effects to more Effect Programs perfectly fit your requirements To do this load for example Setup P1 LARGE HALL then press the PROG button The upper display will show LARGE HALL 300MA B01P1 This display tells you the name of the Effect Program which is currently in the Setup identifies the 300L and the Machine in this case Machine A along with the Bank and Program location At the same time the legends over the sliders will change to show a page of effect parameters The algorithms and their parameters are described in detail in Chapter 4 We ve chosen the first page of Random Hall parameters to show here as an example RTM SHP SPR SIZ HFC PDLY Pressing any of the buttons directly below the sliders will display the current value of the selected parameter In this example pressing the button under the
36. reverberant pick up microphones are located much further from the source than the main microphones If more than about 30ms of pre delay is added this additional delay can add clarity with some music but it can also sound unnatural Large pre delays can be useful for slap echo effects Aquick double click on the slider button will allow you to controlthis delay with more resolution To exit this fine control mode double click on the button again The Algorithms and their Parameters SPR Spread SIZ Size HFC High Frequency Cut PDLY Predelay 4 5 300L Owner s Manual 4 6 BAS Bass Multiply XOV Bass Crossover TDC Treble Decay DIF Diffusion LNK Link RLVL Reverb Level SPN Spin WAN Wander RTM Mid Frequency Reverb Time Lexicon Random Hall Page Two BAS sets the reverb time for low frequency signals as a multiplier of the RTM parameter For example if BAS is set to 2X and RTM is set to two seconds the low frequency reverb time will be four seconds For a natural sounding hall ambience we recommend values of 1 5X or less XOV sets the frequency at which the transition from RTM to BAS takes place XOV should be set at least two octaves higher than the low frequency you want to boost For example to boost a signal at 100 Hz set XOV to 400 Hz This setting works well for classical music XOV works best around 400 for boosting low frequencies and around 1 5 kHz for cutt
37. slider does not change the display 7 Press SCL or THR to display scale and threshold information SCALE 45 THRESH 8 The VAL slider allows you set the parameter value against the current MIDI or Non MIDI controller value MID RT 2 03 SEC In this example that value is 64 If you decide to modify this value you will effectively be introducing an offset to the original patch This is perfectly acceptable but be aware that if you drastically offset the original parameter value the SoftSlider may very well drive that parameter into an OVER RANGE or UNDER RANGE condition In most cases changing the VAL parameter requires changing the Scale value as well In this case the patch is made in the PROGram but controlled in the SETUP To store any changes you might make with either the SoftSlider or via MIDI return to SETUP mode and press STOre Select the Setup REGister you wish to store into and press STOre again This will automatically store the modified Machine Effect into its own register as well as storing the Setup information into its own Register 7 8 The 3001 can be automated in a number of different ways depending on your applications and on the capabilities of your MIDI sequencer The six major categories of MIDI Automation are 1 Using the 300L s System Exclusive transmissions to record and play individual parameter changes 2 Using the 300L s Non Registered Parameter transmissions to record and pla
38. the modulation patches Also check MIDI In Out connections between the units The 300L doesn t respond to SysEx commands Check the SYSTEM MIDI Channel on the MIDI Control page in Control mode The 300L does not send MIDI parameter changes Check the Automation mode on the MIDI Control page in Control mode This should be set to SYS EX or NON REGISTERED PARAMS The 3001 does not change effects to incoming time code Check your cable connections and the setting of the Event List mode in Control mode Also check the signal level of the incoming time code If it is too low the 300L may not respond The 300L will not lock to the incoming time code Checkthe signal level ofthe incoming time code If the level is too high ortoo low the 300 may not lock to the signal Also check the wiring of the time code cable The time code input on the 300L is electronically balanced and if the cable is not wired with this in mind the 300L may not lock to the signal The 300L changes effects too late Trim the time code values using the Edit function on the Time Code Event List page in Control mode The 300L will not lock onto an incoming digital signal Check the cables that you are using If the signal is coming in through the RCA conector cable length must be keptto a minimum If you are using the XLR input remember that this is a transformer balanced input and the cable must be wired with this in mind DO NOT USE ANALOG AUDIO CABLE TO CONNECT D
39. the original effect To avoid confusion you can assign names to registers For convenience a naming page is included in Effect Edit mode To rename a register follow the same procedure described for naming a Setup 300L Owner s Manual Lexicon Note The following store procedures apply only to effect Registers Once you have modified and stored these effects you must store them into a Setup Register To do this press SETUP then press STOre The upper display will show AVAILABLE Peer DM SET R 1 L Press STOre again The message STORED will be displayed briefly to indicate that a successful store operation was completed Automatic Storing of you have modified the effect s running in the Setup and wish to skip storing Modified Effects the effect or effects into specific Effect Registers simply press the SETUP key to return to the top level and press STOre Select a Setup Register with the REG slider then press STOre again The 300L will automatically store the modified Effectinto an available register and then complete the Setup store This process will take approximately 2 seconds The newly stored effect will be found with its original name truncated to allow the Setup Register ID number to be added at the end as an identifier See the example below original program name A Machine A the first 7 characters of the S Setup 1 Register 1 If both effects in a split Setup have been modif
40. this delay with more resolution To exit this fine control mode double click on the button again Chamber Page Two RAN sets the amount of randomization within the reverb process Acoustically itis similar to the Spin control in Random Hall DIF controls the degree to which initial echo density increases over time High settings of DIF result in high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZ smaller spaces will sound denser To enhance percussion use high settings of DIF For clearer more natural vocals mixes and music use low or moderate settings SHP and SPR worktogether to control the overall ambience ofthe reverberation created by the 300L SHP determines the contour of the reverberation envelope With SHP all the way down reverberation builds explosively and decays quickly As SHP is advanced reverberation builds up more slowly and sustains for the time set by SPD With SHP in the middle the buildup and sustain of the reverberation envelope emulates a large concert hall assuming that SPR is at least halfway up and that SIZ is suitably large 30 meters or larger SPR works together with SHP to control the duration of the initial ambience created by the 300L Low SPR settings result in a rapid onset of reverberation atthe beginning of the envelope with little or no sustain Higher settings spread out both the buildup and sustain When LNK is set the reve
41. value Straight ahead with no feedback P83 FRAME DLY SoftSlider FINE DELAY 70 100 ms of delay at both operating frequencies P84 4FRAME DLY SoftSlider FINEDELAY 70 133 ms of delay at both operating frequencies P85 PHASE INVERT SoftSlider PHASE 64 The right channel is phase reversed to the left The SoftSlider is mapped to the Right Channel Flip and Swap 0 32 is stereo in phase 33 64 is L R 65 96 is R L channel swap and 97 127 R L If you put a mono signal into both the left and right inputs and pan the output returns left and right you ll definitely twist your head off as well as matrix L R to the surround channel NOT MONO COMPATIBLE NOTE This phase reversed mono signal will decode to the surround channel if run through a surround decoder P86 MS DECODE SoftSlider MATRIX 64 Take a 2 channel Mid left input Side right input recording and this program will properly decode to stereo output The SoftSlider is mapped to the input balance controlling the mix between the mid and side inputs P87 TELEPHONE SoftSlider LEVEL 100 No bottom end AT ALL The SoftSlider is mapped to the Digital Level Master If you push it real hard the audio will distort and ring out P88 MULTI CANYON SoftSlider DEPTH 60 This preset combines echoes under the control of the SoftSlider As you advance the SoftSlider the delays will get longer P89 LFO PANNER SoftSlider LFO RATE 64 This preset attaches the LFO to the Stereo Adjust Balance c
42. 13P7 U CHAMBER This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall The SoftSlider controls the Mid Rt MB B13P6 L CHAMBER L Chamber mimics the shape of a chamber shaped like that letter A little bigger than the U chamber Reverb time is patched to the SoftSlider The Presets 5 15 300L Owner s Manual 5 16 Lexicon P119 DM UP amp DOWN SoftSlider DELAY 50 MA B15P9 HALFSTEPSUP MB B15P0 HALFSTEPSDN Left to Machine A and right to Machine B Diabolical and horrifying sounding The SoftSlider controls the Delay Out parameters in each machine Program MA B15P9 HALFSTEPSUP Just what you think With the SoftSlider patched to the Delay MB B15P0 HALFSTEPSDN down Ditto With the SoftSlider patched to the Delay P120 DM MYGUITAR SoftSlider INPUT PAN 0 MA B15P2 GUIT SHIFT MB B12P6 ENV PEAK Great stuff for either a mono or stereo guitar Machine B should get a very strong if not a total pre fade signal MA B15P2 GUITAR SHIFT This preset offers a strong amount of detune shift along with a small amount of recirculating delay Actually the glide pitch parameter GLD is patched to the LFO running in the Setup The LFO causes the GLD to glide between 14c and 7 cents If you turn off the LFO on Setup page 4 then return to program edit and move the GLD parameter to 21c the preset becomes raunchy sounding on beefy guitars
43. 2P0 SKY DELAYS MB B16P7 PANOLA To enter Setup mode simply press the LARC key labeled SETUP This mode has six pages of controls Page 1 represents the top level of the User Interface It allows you to select Setup PREsets or REGisters and to modify SoftSlider values The Setup is identified as SG SINGLE DM DUAL MONO or CC CASCADE The6 LARC sliders are primarily usedto adjust parameter values Atthe top level of the User Interface the slider labeled SOFT can be used as a single or multi parameter controller linking one or more parameters within Setups and Effects Load Setup Preset SG P1 LARGE HALL which contains a single effect Large Hall with the MID RT parameter mapped to the SoftSlider The LARC should display LARGE HALL SG SETP 1 Press the button below the SOFTSlider The LARC will now display The display changes to show the label associated with the SoftSlider plus the stored value Advance the SoftSlider and the sound of the effect will change If you want to return to the original sound press the button under the PRE slider then press ENTER Page 2 provides adjustment for analog and digital level and source balance into the unified DSP engine Simply press the key under the label of the control you want to adjust and move the slider As you adjust the slider along text message will be shown in the display The specific items available on this page are determined by the type of Setup Single
44. 3001 Digital Effects LARC Interface wner s Manual lexicon Unpacking and Inspection After unpacking the 300L save all packing materials in case you ever need to ship the unit Thoroughly inspect the unit and packing materials for signs of damage Report any shipment damage to the carrier at once report equipment malfunction to your dealer Precautions The Lexicon 300L is a rugged device with extensive electronic protection However you should observe the same reasonable precautions that apply to any piece of audio equipment Always use the correct line voltage Refer to Chapter 1 of this manual for power requirements Don install the unit in an unventilated rack or directly above heat producing equipment such as power amplifiers Maximum ambient operating temperature is 35 C 95 F Never attach audio power amplifier outputs directly to any of the units connectors Before turning the unit on or off mute your monitor speakers to avoid possible damage from transients To prevent fire or shock hazard do not expose the unit to rain or moisture Notice This equipment generates and uses radio frequency energy and if not installed and used properly that is in strict accordance with the manufacturer s instructions may cause interference to radio and television reception It has been type tested and found to comply with the limits fora Class A computing device in accordance with the specifications in Subpart J of
45. 6 3 Snapping events ssssssssssssssseeeeneen nnne 6 4 Editing the Lists ccc eite eter et et rtg 6 4 Trimming Time Codes in the Event List 6 5 Programming Parameter Glides 6 6 Things to Consider about Glides 6 8 Adding an event eR diente p a 6 9 Deleting an eventa 6 9 Dumping the List to MIDI storage devices 6 9 Event List Log Sheet ssssssssssssssssseeeeeeeenn 6 10 MIDI Operation MIDI GOntnectlons coto ect tete eet tr d pet 7 2 Setting MIDI Channels sess 7 3 Using Fixed Program Change sss 7 4 Using MIDI Maps nnne 7 5 Making Patches Eo een temet m ei bg 7 5 Real time MIDI Effects Automation 7 9 Using Real time SysEx and Non registered Parameters 7 9 Using Dynamic MIDI to transmit and receive MIDI Controller Information eeeeennen 7 10 Using SysEx and Dynamic MIDI 7 10 Controlling Multiple 30015 seeseenneen 7 10 8 Troubleshooting Low 4 tiim iicet im ei 8 2 Overheating ere e d e ai do er te de
46. 9 0 10 417MS 99 TO 99 Parameter ranges are dependent on setting of Sample Rate Stereo Adjust Page One LVL Master Level LVL is a stereo level control with both channels equally attenuated or boosted From 12 to 12dB the fader moves in 25 dB increments Below 12dB it moves in 50 dB increments Below 60 dB the calibration comes in larger steps finally dropping to zero output at 72 dB 4 16 BAL implements a sine cosine balance adjustment Balance is smoothly ad justed over a wide range with excellent resolution in the critical area around zero The display indicates the actual channel gains as the control is varied ROT is similar to BAL but it treats stereo information somewhat differently Any signal panned to the center mono will be treated by ROT exactly as it would be treated by BAL However if a signal is panned full right and the control is moved toward the right instead of simply being attenuated as BAL would do the right channel is inverted in phase and added to the left channel A stereo image appears to rotate when this control is used Ambient information is preserved and both channels appear to retain equal loudness If stereo material is recorded with a coincident pair of figure of eight micro phones moving the ROT slider is exactly equivalent to rotating the microphone pair Other microphone arrays and multimicrophone setups do not rotate perfectly but using this control is frequently preferabl
47. 95 BULKIE ROLL SoftSlider DELAY 50 Fluffy sounding chorus effect Mode is set to Mono so you can independently pitch left or right When sent to the 300L pre fader the return audio has a slow motion movement around the stereo field The SoftSlider gives quick access to the delay parameters P96 MR BIG SoftSlider FINE PITCH 50 Down 50 cents for that big Big Big BIG voice The SoftSlider controls the fine pitch P97 ZORCH SoftSlider FEEDBACK 60 Up and down with delays and feedback Nightmare audio The SoftSlider controls the amount of feedback through the nightmare P98 GOING GOING SoftSlider FEEDBACK 64 Up Up Up in whole steps The SoftSlider is patched to the amont of feedback delay which you adjust to suit your taste P99 GUITAR CHORUS SoftSlider FINE PITCH 64 Another independent left right preset except much stronger amounts of shift between the two channels Don t use this on anything pretty make the nasty nastier P100 FADE DOWN SoftSlider FINE PITCH 58 Feedback increases as level decreases SoftSlider controls the fine pitch The Presets 5 9 300L Owner s Manual Lexicon Split Setup Presets Split Setups are divided into two types Dual Mono numbered 101 125 in Setup Select mode and Cascade numbered 126 150 in Setup Select mode Most Dual Mono Setups have the left input feeding Machine A and the right input feeding Machine B Each Split Setup description is followed by a description of the two effects
48. AMBER MB B15P2 GUIT SHIFT PCH gt REV BMIX MA B15P7 SKY DOWN MB B13P3 DRUM CHAMBER REV gt COMP THRESHOLD MA B13P4 GUITAR ROOM MB B16P4 COMP 4 VERB COMP gt REV NONE MA B16P2 DRUM COMP 3 1 MB B13P8 BASEMENT DLY gt PCH LFO RATE MA B12P3 CHORUS MB B15P1 SHIFT IT PCH gt DLY DELAY SPACE MA B15P6 VOCAL SHIFT MB B11P5 PINGOPONGO DLY gt COMP DELAY SPACE MA B11P6 3 VOICE DLY MB B16P1 EZ COMP 2 1 SLAPS SPACE MA B16P9 SPATIAL EQ MB B11P3 STEREO SLAPS PCH gt COMP LFO RATE MA B15P2 GUIT SHIFT MB B16P5 SMAKO SURRVERB SPATIAL EQ MA B14P7 RECITAL HALL MB B16P9 SPATIAL EQ V3COMP NONE MA B16P6 SMALL ST ADJ MB B16P1 EZ COMP 2 1 EQ DITHER NONE MA B16P6 SMALL ST ADJ MB B16P0 PONS FILT DLYS DLY BANDPASS MA B11P4 SPACE EKOZ MB B16P8 FILTER PASS JETVERB LFO RATE MA B14P3 GREAT HALL MB B12P5 NEGATIVEFLNG BIGBRICKS DIFFUSION MA B14P4 BIG BRICKS MB B16P2 DRUM COMP 3 1 REV gt EKOZ RVB LEVEL MA B14P1 BIG HALL MB B12P4 CHORUS EKOZ REV gt KORUS RVB LEVEL MA B13P5 BIG amp SHORT MB B12P3 CHORUS OVERITOP LFO RATE MA B12P1 OVERTHETOP1 MB B12P2 OVERTHETOP2 GUITAR XP LFO RATE MA B12P9 LFO PAN amp FAZE MB B12P8 LFO FAZEDLYS EKO gt FAZE AMIX MA B15P5 EKO SHIFT MB B12P7 ENV PHAZER VERB gt DOWN B MIX MA B14P7 RECITAL HALL MB B15P8 ECHO DOWN THE SKY DELAYS MA B15P7 SKY DOWN MB B12P0 SKY DELAYS SPINOLA LFO RATE MA B12P3 CHORUS MB B16P7 PANOLA P126 CC REV gt DLY SoftSlider DELAY SPACE 50 MA B13P1 CHAMBER MB B11
49. AP entries into the list To Editing the Event List use the snap function locate the source machine to the beginning of the section you want to experiment with Give yourself at least 5 seconds of pre roll timecode as you will want to snap the first timecode value ahead of any audio Start timecode running and press the button under the SNAP slider to capture the first timecode event The upper display will show the number of the snapped event the type of valid time code and the snapped timecode 1 SNAP V S nn nn nn nn The lower display will show running timecode SNAP 00 00 00 clear the last snapped event press the button under the CLR slider Pressing CLR repeatedly will delete additional list events Time code formats are indicated as follows V S valid SMPTE Non Drop V D valid SMPTE Drop Frame valid EBU V F valid Film Press the PAGE key to go to Page 8 This is the Event Edit page Editing the list includes editing snapped time codes direct entry of time codes trimming time codes adding deleting events from the list choosing the type of automation change and selecting the event EDIT TC TYPE SEL The EDIT slider has 50 EDIT positions 50 ADD positions and 50 DEL delete positions Advance the slider to move through all 150 positions The TC slider allows you trim the displayed time code for the current event entry by 4 seconds The slider s null position is at the halfway point T
50. Audio effects of course are what the 300L is all about and a total of 160 Effect Programs are provided for loading into the three Setup types Five algorithms can be loaded into Single setups Random Hall Random Ambience Rich Plate Stereo Pitch Shift and Stereo Adjust Six different algorithms can be loaded into the Split setups Dual Mono and Cascade Dual Delays Split Chamber Mono Pitch Shift Compressor PONS and Small Stereo Adjust The organization of the Effect Banks is also shown to the side Each algorithm has its own control parameters Random Hall for example has 28 An effect can also activate as many as 4 patches each linking a source controller to a parameter This CONTROL function is intrinsically mapped as an extension of the EDIT function Saving either saves the other The Effect Presets cannot be overwritten but can be modified and stored as custom effects in any of 50 effect registers In summary the 300L is organized into setups and effects Setups are collec tions of many decisions including DSP routing Input levels Source Balances LFO Rate and Shape and pointers to an effect or effects These selections are grouped together named and stored so they can be called up with a single user action Each effect contains an algorithm a complete set of parameters and 4 patches As with setups effects can be loaded copied edited named and stored as well as dumped and recalled via MIDI System Overview
51. B B12P4 CHORUS EKOZ Think of this preset as the chorus preset for mono sources Left input feeds Machine A right feeds Machine B Both effects have their flange glides attached to the Setup LFO The LFO is set to 1 44 Hz with a sine waveform The SoftSlider is mapped to the LFO rate MA B12P3 CHORUS The Chorus preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa Since this effect is being utilized in a Dual Mono Setup both delay lines are summed to mono MB B12P4 CHORUS EKOZ Makes use of the flange gliding delay via the Setup LFO and several longer recurring echoes P106 DM DLY PCH SoftSlider DELAY MACHA 60 MA B11P1 BASIC DELAY MB B15P7 SKY DOWN This preset incorporates a SoftSlider patch to the left and right output delays in Machine A Basic Delay Use the SoftSlider to quickly change the delay requirements for the source feeding Machine A Machine B right input loads a pitch shift program described below MA B11P1 DUAL DELAYS Baseline effect with the SoftSlider patched to the last two delay lines in the signal path Advancing the SoftSlider will cause the two post delays to move in sync out to almost 3000ms MB B15P7 SKY DOWN This preset
52. BER CHUNKY HOMEROOM OPEN WIDE WET SUIT BASEMENT AMBIENCE MARBLE FOYER LARGE AMB MEDIUM AMB SMALL AMB V SMALL AMB HEAVY AMB BRIGHT AMB SMOOTH AMB WAVE AMB IN A ROOM STAIRWELL CAR INTERIOR MEETING ROOM LIVING ROOM POWDER ROOM FULL CLOSET PODIUM STUDIO D OFFICE LIVEDRUMROOM ON STAGE GUITAR CAVE SoftSlider DECAY DECAY DECAY LIVENESS LIVENESS DECAY DEPTH DEPTH ZE OW DEEP ZES ADDING VENESS VENESS LIVENESS LIVENESS LIVENESS REFLEXIONS DECAY DURATION DECAY DIFFUSION TUNING DECAY DECAY CHUNK DECAY DECAY DECAY LIVENESS SIZES SLAP LEVEL HIGH CUT HIGH CUT HIGH CUT HIGH CUT REVERB LVL REVERB LVL HOW SMOOTH HOW LONG HOW BIG OF FLOORS WINDOW DN UP LIVENESS LIVENESS DECAY HOW FULL DISTANCE HIGH CUT LIVENESS IMPACT LIVENESS DECAY Effect Bank Program B1P1 LARGE HALL 1 2 MEDIUM HALL B1P3 SMALL HAL B1P4 SYNTH HALL B1P5 DANCE HALL B1P6 SOLO HALL B1P7 CHURCH B1P8 GOTHIC HALL 1 9 GATED HALL 1 DEEP END B2P1 ROOMS 2 2 REHURSALROOM B2P3 STUDIO A B2P4 STUDIO B 2 5 STUDIO C B2P6 LARGE ROOM B2P7 SMALL ROOM B2P8 BEDROOM 2 9 2 INVERSE ROOM B3P1 CHAMBER 2 BRICK WAL OIL DRUM B3P4 WIDE CHAMBER 5 FAT CHAMBER 6 CHUNKY B3P7 HOMEROOM 8 OPEN WIDE B3P9 WET SUIT BASEMENT B4P1 AMBIENCE B4P2 MARBLE FOYER
53. DELAY MACHB 40 MA B12P5 NEGATIVE FLANG MB B11P4 SPACE EKOZ This is a true Dual Mono Setup The Setup LFO is driven by the Left Meter ballistics with a triangle waveform It drives the flange glide delay FDLY in Machine A The SoftSlider controls the Left and Right Post Delays in Machine B MA B12P5 NEGATIVEFLNG This is a really stiff flange which goes almost 20ms deep Flange gain is set extremely negative so the sound is tunnel like The speed of the Setup LFO determines the speed of the flange MB B11P4 SPACE EKOZ This preset incorporates a bit of multi diffused long delays along with some small delay offsets between the post delay outputs To strenghthen the space increase Feedbacks 3 and 4 on page 4 P123 DM DLY DAZE SoftSlider DELAY 50 MA B11P6 3VOICEDLYS MB B11P5 PINGOPONGO The SoftSlider affects the delay spacing in both Machine effect presets Increasing the SoftSlider will make each delay effect longer and longer decreasing it will make each delay effect shorter The SoftSlider value is set to 50 when the Setup is selected MA B11P6 3VOICE DLYS Two taps Delays 3 and 4 are set with delay ratios of 1 2 meaning that when one is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the SoftSlider MB B11P5 PINGO PONGO Ping Pong delays bouncing back and forth The SoftSlider controls the timing of the bounce P124 DM CLUSTERS SoftSlider DELAY MACHB 40 MA B12P4 CHORUS EKO
54. DOWN This program tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the feedback B15P8 ECHO DOWN 14cents down with a 272ms recirculating delay line This program works great either before or after a Reverb preset in a Cascade Setup B15P9 HALFSTEPSUP Just what you think With the SoftSlider patched to the Delay B15P0 HALFSTEPSDN down Ditto With the SoftSlider patched to the Delay B16P1 EZ 2 1 An easy preset to add to an overall stereo mix mono or stereo submix You might need to adjust Threshold to make it work for the particular signal you feed it Release is set to gently 2 1 fall away after 363ms B16P2 DRUMCOMP 3 1 This is a bit more aggressive with 7dB of boost below the selected threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter B16P3 VOICE OVER A fairly aggressive voice compressor with 7dB of boost below the preset threshold of 17dB A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter B16P4 COMP 4 VERB This compressor preset was made to work after a reverb effect The Slope ratio is less than 2 1 with 5dB of gain below the 14dB threshold The release is set to work fast at 91 ms B16P5 SMAKO Alot of gain 13dB with alot of slope 4 1 with the Threshold a couple of bits down from Dbfs Careful You may needto adjust Thre
55. E CURRENT SETUP CURRENT EFFECT S 300L Power Up State Normally if power is lost or turned off and then restored the 300L will return to its last previous state System Overview Checking Your System s Status 2 5 300L Owner s Manual Lexicon System Overview presents you with an incredible number of choices all of which can be made from the LARC Although you could certainly operate the 300L by setting each configuration and effect parameter by hand each time you use it you probably wouldn t enjoy it so we ve tried to organize the 300L so that its considerable flexibility doesn t become an obstacle Before digging into the details of operation presented in this manual you may find this brief overview useful The block diagram shown below illustrates the basic flow of audio through the 300L Analog and or digital audio enters on the left Each is conditioned and translated as required and in the case of digital audio a sample clock is extracted The resultant digital audio streams are sentto effect processing then converted to appropriate analog and digital outputs on the right 48kHz o 44 1 kHz PLL Sample Rate SR Digital In Digital In 0 0 or 16dB 10 10dB 10 to 10dB Rear Panel Input Level Output Level Gain Switch Control Control Panel MIDI and Time Code Program Change As you can see from the figure the 300L has a rich set of I O capabilities with many ch
56. Eset slider to locate the Cascade Setups Pressing ENTER will load two split type programs one in Machine A the other in Machine B q Ed IX IX A R Out On Page 1 of the Control mode INPut slider there are two input selections available when running Cascade Setups Analog or Digital If Analog is selected as the main input type then the Digital Input can be used as a patch point either Pre Machine A Mid A B or Post Machine B See Output Types and Patch Points elsewhere in this chapter As in the other setups there are Input level and source Balance Controls Cascade setups however have three mix controls AMIX proportions the dry signal to A s wet signal BMIX proportions the resulting A output with Machine B s output OMIX takes the resulting mix and blends mixes it with the dry signal which is picked off before EFFECTA Cascade setups also include an overall feedback control which routes the B output back to Machine A s input Be careful This parameter can wipe out tweeters woofers and ears if used too liberally If the sum of the feedback parameters in EFFECT A EFFECT B and the above mentioned overall Feedback parameter is greater than 100 runaway feedback will occur For example assume Machine A is running a Dual delay effect with Delay1 Feedback set to 4096 and Delay3 Feedback set to 4096 Machine B is running a Mono Shift program with the feedback parameter set to 40 The total amount of feedback
57. G repeatedly until the display shows LIII 4 18 12 6 0 AVAILABLE I 300MA BO05R9 To store to the displayed location press the STOre key again The message STORED will be displayed briefly before the display reverts to showing the currently running effect System Operation Banks and Programs in Split Configurations You must be running a Split Setup 101 or higher in order to load any of the Effects in Banks 11 16 As an example press SETUP then use the PREset slider to locate Setup Preset 102 REV DLY This is a Dual Mono setup with different Effects running in each machine Press PROG then press BANK to identify the Bank running in one of the Machines Press MACH to display Machine A The display will show SPLIT REV 1 300MA B13P3 Press MACH to display the Bank running in the other Machine Machine B in this example MOD DELAYS 24 1812 6 t 300MB B12P8 LILI To see the Effect running in each Machine press PROG then press MACH without pressing BANK Press MACH again to view the second Machine and its Effect To continue with the example above press PROG The display will show LFO FAZEDLYS 300MB B12P8 Press MACH to display the Effect currently running in the other Machine Machine A in this example DRUMCHAMBER 300MA B13P3 300L Owner s Manual Lexicon Now suppose you want to load two entirely different effects into each machine For
58. HIFT B15P1 SHIFT IT B15P2 GUIT SHIFT B15P3 UP SHIFT B15P4 DOWN SHIFT B15P5 EKO SHIFT B15P6 VOCAL SHIFT B15P7 SKY DOWN B15P8 ECHO DOWN B15P9 HALFSTEPSUP B15PO HALFSTEPSDN BANK 16 MASTERING B16P1 EZ COMP 2 1 B16P2 DRUM COMP 3 1 B16P3 VOICE OVER B16P4 COMP 4 VERB B16P5 B16P6 SMALL ST ADJ B16P7 PANOLA B16P8 FILTER PASS B16P9 SPATIAL EQ B16PO PONS MIDI Modulation patching allows you establish dynamic relationships between Setup and Effect parameters and either MIDI controllers Mod Wheel Pitch Bend etc or internal controllers LFO Display Meters Mod patches are used to create or modify Dynamic MIDI patches To use Dynamic MIDI you assign a MIDI controller to a setup parameter or to an effect parameter Two Setup patches are available in Setup mode Four patches are available in any Effect which is running in a Setup The following procedure is used to create a mod patch in either a Setup or an Effect To create a patch to a Setup press SETUP press PAGE then press 5 To create a patch to an Effect press PROG then press PAGE until the following display appears EFFECT NAME PATCHn The lower display shows SEL SRC DEST SCL THR VAL SEL Select This slider is used to select a patch operation There are 2 for Setups and 4 for each Effect SRC Source This is used to select the controller source that you want to control the 300L parameter Choices include external MIDI controllers in
59. IGITAL AUDIO When using the ANA DIG input mode there is no audio output If you are using this mode and you are not sending a digital signal to the 300L audio may not pass through the system To correct this choose the ANALOG mode or enter Effect Edit mode and turn the digital input level all the way down The meters do not show any incoming signal The meters may be set to read the wrong inputs Use the Meter page in Setup mode to select the inputs you are using Troubleshooting Common Time Code Problems Common Digital Interfacing Problems 8 3 300L Owner s Manual Error Status Messages IBAD DIGITAL WORD CLOCK BOGUS CONFIG BOGUS EFFECT CAN T LOAD REG IS EMPTY CAN T LOAD IN CONFIG EMPTY REG MAPTABLE OFF MIDI ERROR Lexicon Under the described conditions the following messages will appear on the upper display of the LARC In some cases the display may flash briefly as it is overwritten with other error status messages Digital input has been selected but no valid digital input has been detected Check the digital connector setting and check that your digital source is connected and working Aninvalid audio routing configuration was recognized during an attempted Setup load via MIDI One of the effects contained in a Setup being loaded via MIDI is invalid for the specified configuration An attempt was made to load an empty user register An attempt was made to load an effect which is invalid in th
60. LATES B8P1 RICH PLATE B8P2 GLOSSY PLATE B8P3 WARM PLATE B8P4 PERC PLATE B8P5 CONTEM PLATE B8P6 EKO PLATE B8P7 5KHALL B8P8 ROUND PLATE B8P9 SALAD PLATE B8PO VOX PLATE BANK 9 STEREO ADJUST B9P1 STEREO ADJUST B9P2 STEREO DELAY B9P3 3 FRAME DLY B9P4 4FRAME DLY B9P5 PHASE INVERT B9P6 5 DECODE B9P7 TELEPHONE B9P8 MULTI CANYON B9P9 LFO PANNER B9PO THIN EKOZ BANK 10 STEREO SHIFT B10P1 STEREO SHIFT B10P2 OCTAVE DOWN B10P3 VOX CHORUS B10P4 POLE FLANGE B10P5 BULKIE ROLL B10P6 MR BIG B10P7 ZORCH B10P8 GOING GOING 10 9 GTR CHORUS B10PO FADE DOWN Lexicon Split Effects Banks 11 16 BANK 11 DELAYS B11P1 BASIC DELAY B11P2 SLAP ECHO B11P3 STEREO SLAPS B11P4 SPACE EKOZ B11P5 PINGO PONGO B11P6 VOICE DLYS B11P7 DUCKED EKOZ B11P8 CANYON EKOZ B11P9 PAN DELAYS 11 VOX DOUBLER BANK 12 MOD EFFECTS B12P1 OVERTHETOP 1 12 2 OVERTHETOP 2 B12P3 CHORUS B12P4 CHORUS EKOZ B12P5 NEGATIVEFLNG B12P6 ENV PEAK B12P7 ENV PHAZER B12P8 LFO FAZEDLYS B12P9 LFO PAN amp FAZE B12PO SKY DELAYS BANK 13 SPLIT REV 1 B13P1 CHAMBER B13P2 KEY CHAMBER B18P3 DRUM CHAMBER B13P4 GUITAR ROOM B18P5 BIG amp SHORT B13P6 L UOHAMBER B13P7 U CHAMBER B13P8 BASEMENT B13P9 JOE S B amp G B13P0 JOE S GARAGE BANK 14 SPLIT REV 2 B14P1 BIG HALL B14P2 GREAT ROOM B14P3 GREAT HALL B14P4 BIG BRICKS B14P5 DRUM ROOMS B14P6 DELAY ROOM B14P7 RECITAL HALL B14P8 BIG BATHROOM B14P9 PLATE B14PO SIZZLECITY BANK 15 MONOS
61. LV3 FB3 DL4 LV4 FB4 FULL but may be reduced for effects where the pre echoes should dominate Random Hall Page Five Pre Echo 3 2 8 seconds maximum to left channel with feedback Pre Echo 4 2 8 seconds maximum to right channel with feedback A quick double click on the DL3 or DL4 slider button will allow you to control the delay with more resolution To exitthis fine control mode double click on the button again The 30015 Random Hall effects are designed to add a cushion of reverberance to recorded music while leaving the clarity of the direct sound unaffected Random Ambience is different It is intended to become a partofthe direct sound to give it both better blend and a definite position in space Random Ambience gives warmth spaciousness and depth to a performance without coloring the direct sound at all Random Ambience generates primarily the strong reflections which appear in the first few hundred milliseconds of the reverberation process These early reflections constitute the primary audible effect giving you the impression of a hall surrounding you while the music is playing To avoid any coloration from these strong reflections the time delays and amplitudes are random functions Random Ambience is very useful for adding a room sound to recorded music or speech It is particularly easy to match a studio recording of dialog to a typical room environment In music recording using Random Ambience is an effe
62. MB B12P6 ENV PEAK This preset is similar to an OverTheTop type of effect except the flange delay is patched to the meter balistics Depending on the dynamics of your guitar playing you may wish to adjust the scaling parameter which is found on Page 6 Midi Mod patch 1 P121 DM ENVSPOOGE SoftSlider INPUT PAN 0 MA B12P6 ENV PEAK MB B12P7 ENV PHAZER This preset uses two effects which have meter ballistics patched to the flange glide delays with a twist the Machine A Mod Edit patch gets its modulation information from the R meter the Machine B flange glide Mod patch is specified to modulate from the ballistics of the L meter One input modulates the other MA B12P6 ENV PEAK This preset is similar to an OverTheTop type effect except the flange delay is patched to meter ballistics Some modification of the scaling parameter on the MIDI Mod Page 6 patch 1 may be nessessary to suit the right Meter ballistics MB B12P7 ENV PHAZER This preset makes use of a patch between the L Meter and the flange glide delay As signal becomes stronger the glide delay drops in the time domain eventually crossing the 5 2ms base delays As audio signal strength lessens the glide returns to its preset value of 10ms Very good on vocals To make this effect work properly be sure to drive the 300 to within 1 2dB of full scale dBfs Remember in this setup the effects are reversed from the meter ballistics which drive them P122 DM FLNG amp DLYS SoftSlider
63. MBIENCE MARBLE FOYER LARGE AMB MEDIUM AMB SMALL AMB V SMALL AMB HEAVY AMB BRIGHT AMB SMOOTH AMB WAVE AMB IN A ROOM STAIRWELL CAR INTERIOR MEETING ROOM LIVING ROOM POWDER ROOM FULL CLOSET PODIUM STUDIO D OFFICE LIVEDRUMROOM ON STAGE GUITAR CAVE SoftSlider DECAY DECAY DECAY LIVENESS LIVENESS DECAY DEPTH DEPTH SIZE HOW DEEP SIZES PADDING LIVENESS LIVENESS LIVENESS LIVENESS LIVENESS REFLEXIONS DECAY DURATION DECAY DIFFUSION TUNING DECAY DECAY CHUNK DECAY DECAY DECAY LIVENESS SIZES SLAP LEVEL HIGH CUT HIGH CUT HIGH CUT HIGH CUT REVERB LVL REVERB LVL HOW SMOOTH HOW LONG HOW BIG 3t OF FLOORS WINDOW DN UP LIVENESS LIVENESS DECAY HOW FULL DISTANCE HIGH CUT LIVENESS IMPACT LIVENESS DECAY Effect Bank Program B1P1 LARGE HALL B1P2 MEDIUM HALL B1P3 SMALL HAL B1P4 SYNTH HALL 1 5 DANCE HALL B1P6 SOLO HALL 1 7 CHURCH B1P8 GOTHIC HALL B1P9 GATED HALL 1 DEEP END B2P1 ROOMS B2P2 REHURSALROOM B2P8 STUDIO A B2P4 STUDIO B B2P5 STUDIO C B2P6 LARGE ROOM B2P7 SMALL ROOM B2P8 BEDROOM B2P9 W C 2 INVERSE ROOM 1 CHAMBER 2 BRICK WAL B3P3 OIL DRUM B3P4 WIDE CHAMBER B3P5 FAT CHAMBER B3P6 CHUNKY B3P7 HOMEROOM 8 OPEN WIDE 9 WET SUIT BASEMENT BAP1 AMBIENCE BAP2 MARBLE FOYER B4P3 LARGE AMB B4P4 MEDIUM AMB BAP5 SMALL AMB
64. MIDI equipment such as master keyboard controllers MIDI foot controllers sequencers and synthesiz ers Input Gain 2 position In Out switch for matching in put gain to the source being used In 16dB Out OGB 300L Owner s Manual Lexicon Connectors Cables and Configurations Connectors Mating Connector Description L and R Analog XLR A3M Active balanced pin 2 high Audio Input 2dBu min 20dBu max at OdB setting L and R Analog XLR Active balanced pin 2 high Audio Output 2dBu to 18dBu at full scale output AES EBU XLR A3M Balanced RS 422 Digital Input pin 2 high AES EBU XLR Balanced RS 422 Digital Output pin 2 high S PDIF RCA Unbalanced 75Q EIAJ CP340 Consumer Digital Input and Output Consumer Digital Audio Optical Input and Output S PDIF EIAJ Consumer Digital EIAJ CP340 Audio format Time Code XLR A3M Active balanced RS 422 pin 2 high 100mV p p Input minimum MIDI In 5 pin DIN Standard MIDI Interface MIDI Out MIDI Thru Pin 2 high by convention For best performance maintain balanced connections and use high quality low capacitance twisted shielded pair cable When connecting to single ended unbalanced devices connect the low side to signal ground at the unbalanced piece of equipment For mono connection connect the left and right input channels in parallel Be careful to keep input and output to all channels wired consistently Out of phase wiring can produc
65. Mach A Mach The Meters are set to read each of their respective inputs which becomes integral to the way EKO Shift works MA B15P3 UP SHIFT A sweet sounding microshift up 7cents There is a slight chorus edge due to a modest amount feedback around a Oms delay line MB B15P5 EKO SHIFT The Left Meter is negatively patched to the feedback FBK parameter such that when signal is present delay feedback is reduced when the signal disappears feedback is increased This is a very interesting effect when the delay fits the beat of the music P115 DM TWOROOMS SoftSlider INPUT PAN 0 MA B13P0 JOE S GARAGE MB B13P8 BASEMENT Garage band and Basement band Use with Dual Mono sources and place behind the source The SoftSlider controls the input routing from each input to each processor The default is Left In Right In to Mach A Mach B MA B13P0 JOE S GARAGE Two bays no waiting Small and bright Great for Mono ADR work MB B13P8 BASEMENT Tight and short Size is 15 8 meters and the tonality is fairly resonant sounding Almost trashy sounding low diffusion and will certainly get so if the Rtis made longer Explosive on snare drums P116 DM TWOHALLS SoftSlider INPUT PAN 0 MA B14P7 RECITAL HALL MB B14P1 BIG HALL Two mono halls with the SoftSlider controlling the Input Pans which default to Left In to Mach A and Right In to Mach B Try reversing the returns relative to the sources at the console for a different effect
66. OP OF LIST VIEW 00 00 00 00 Rolling timecode will appear over sliders 2 5 and the upper display will change according to the requests of the event list Note You may need to trim the timecode value associated with the first event Edit 1 to make it occur before the first picture or music If you discover an event is too early or late note the event and trim the timecode for that event To do this stop timecode then press PAGE 8 to display the Event Edit page Use the EDIT slider to select the event number 1 50 then use the TC slider to trim the timecode for that event Press STOre to save the timecode trim If you need atrim value which is outside the available range press the TC slider button and enter in a new timecode value via the keypad or the sliders When you are finished press EXIT then STOre Time Code Operation Trimming Time Codes in the Event List 6 5 300L Owner s Manual Lexicon Programming Parameter glides can be a very powerful automation feature allowing for Parameter Glides example reverb time increases at the end of a commercial automated fade 6 6 outs EQ changes or feedback levels The last three selections available with the TYPE slider on the Event Edit page are MA GLIDE MB GLIDE S GLIDE Selecting any of these causes two additional sliders labeled VAL and DUR to become active EDIT TC TYPE SEL VAL DUR All the available parameters for the previously loaded
67. P3 STEREO SLAPS This preset passes a reverb effect into a stereo slap delay effect with a delay SoftSlider patch As the SoftSlider is advanced the reverb will be additionally delayed through the slap space AMIX is set to 7096 such that some of the Dry input 3096 is passed into the Slap effect as well MA B13P1 CHAMBER A great general purpose reverb tail Size is set to 28 1M the largest value is 64M so the density is rathertight As you adjust Size Rt will also change If you wantto unlink this natural phoenomena set LINK to unlink on Page Two MB B11P3 STEREO SLAPS Stereo left and right slap delays with the SoftSlider patched to left and right Delays 1 and 2 as well and the Left and Right Post Delay outputs P127 CC DLY gt REV SoftSlider SLAP amp SIZE 50 MA B11P2 SLAP ECHO MB B13P9 JOE S B amp G Slap Echo feeds the Bar amp Grill Advance the SoftSlider parameter and the Machine A slap effect gets longer and the reverb Size in Machine B gets bigger AMIX is set to 50 such that half the Dry signal bypasses the slap effect feeding directly into the reverb Changing AMIX will add more or less impact to the reverb MA B11P2 SLAP ECHO Baseline effect with the SoftSlider patched to the last two delay lines in the signal path Advancing the SoftSlider will cause the two post delays to move in sync out to almost 3000ms MB B13P9 JOE S B amp G Live performances in Joe s 14 6M Bar Advance the SoftSlider and the room size gro
68. PLATE DECAY BBP9 SALAD PLATE VOX PLATE DECAY BBPO VOX PLATE STEREOADJUST LEVEL B9P1 STEREO ADJUST STEREO DELAY DELAY B9P2 STEREO DELAY 3 FRAME DLY FINE DELAY 9 FRAME DLY 4 FRAME DLY FINE DELAY 9 4 4 FRAME DLY PHASE INVERT PHASE 9 5 PHASE INVERT MS DECODE MATRIX M S 9 6 MS DECODE TELEPHONE LEVEL 9 7 TELEPHONE MULTI CANYON DEPTH B9P8 MULTI CANYON LFO PANNER LFO SPEED 9 9 LFO PANNER THIN EKOZ FEEDBACK 9 THIN EKOZ STEREO SHIFT SHIFT DN UP BOP1 STEREO SHIFT OCTAVE DOWN NE PITCH BOP2 OCTAVE DOWN VOX CHORUS PLIT SHIFT BOP3 VOX CHORUS POLE FLANGE EEDBACK BOP4 POLE FLANGE BULKIE ROLL ELAY BOP5 BULKIE ROLL MR BIG NE PITCH BOP6 MR BIG ZORCH EEDBACK BOP7 ZORCH GOING GOING EEDBACK BOP8 GOING GOING GTR CHORUS NE PITCH BOP9 GTR CHORUS FADE DOWN NE PITCH BOPO FADE DOWN mmmmmuomor 3 11 300L Owner s Manual Setup Name REV REV REV DLY REV PCH REV COMP DLY DLY DLY PCH DLY COMP PCH PCH PCH COMP COMP COMP SLOW SPIN WIDEFLANG X TRAFFIC GEAR UP TWO ROOMS TWO HALLS DELAYS REVPAN UP amp DOWN MYGUITAR ENVSPOOGE FLNG amp DLYS DLY DAZE CLUSTERS 2 FLANGES Dual Mono Setup Presets SoftSlider INPUT PAN INPUT PAN INPUT PAN INPUT PAN LFO RATE DELAY MACH A SPACE MACH A INPUT PAN INPUT PAN INPUT PAN LFO RATE LFO RATE DELAY MACH B INPUT PAN INPUT PAN INPUT PAN DELAY SPACE DECA
69. Part 15 of FCC Rules which are designated to provide reasonable protection against such interference in a residential installation However there is no guarantee that interference will not occur in a particular installation If this equipment does cause interference to radio or television reception which can be determined by turning the equipment OFF and ON the user is encouraged to try to correct the interference by one or more of the following measures Reorient the receiving antenna Relocate the computer with respect to the receiver Move the computer away from the receiver Plug the computer into a different outlet so that the computer and receiver are on different branch circuits If necessary the user should consult the dealer or an experienced radio television technician for additional suggestions The user may find the following booklet prepared by the Federal Communications Commission helpful How to identify and Resolve Radio TV Interference Problems This booklet is available from the U S Government Printing Office Washington DC 20402 Stock No 004 000 00345 4 Le pr sent appareil num rique n met pas de bruits radio lectriques d passant les limites applicables aux appareils num riques de la class A prescrites dans le R glement sur le brouillage radio lectrique dict par le minist re des Communications du Canada This triangle which appears on your component alerts you to the presence of uninsulated dangerous vo
70. RTM slider will display Moving the slider will change the value of the mid reverb time Depending on the original starting position of the slider it may be necessary to null the slider before it assumes control of the parameter Parameters can be adjusted over their entire range with the slider The PAGE key is used to access additional parameter pages When you select a new page any previous edits remain intact If a new Setup or Effect Progam is loaded however edits will be lost unless you have stored them 300L Owner s Manual Lexicon In Split Setups effects are loaded into both Machine A and Machine B Use the MACH button to toggle between Machine Effects For example load Setup 102 DM REV DLY To do this press the SETUP key then move the PRE slider until the upper display reads DM REV DLY DM SET P102 Press ENTER then press PROG The upper display will show L Ill DRUM CHAMBER 300MA B13P3 The display over the sliders will change to RTM BAS XOV SIZ If you press MACH the upper display will read LFO FAZEDLYS 300MB B12P8 and the displays over the sliders will change to FDL FBD FBD LFG Press the MACH key again to revert to Machine A System Operation The last two pages in any Effect Program or Register are always the MIDI Patch The MIDI Patch Page Page and the Naming Page As these are identical in every algorithm they are the Naming Page notshown with the o
71. TM Reverb Time SHP Shape SPR Spread SIZ Size HFC High Frequency Cut PDLY Pre Delay BAS Bass Multiply 300L Owner s Manual XOV Bass Crossover TDC Treble Decay DIF Diffusion LNK Link RLVL Reverb Level RAN Randomness DL1 DL2 FB1 FB2 Lexicon XOV sets the frequency at which the transition from RTM to BAS takes place XOV should be set at least two octaves higher than the low frequency you want to boost For example to reduce a signal at 100 Hz set XOV to 400 Hz This setting works well for pop music TDC sets the frequency above which sounds decay at a progressively faster rate It filters all the sound exceptthe pre echoes When set relatively low it gives a darker tone to the reverberation DIF controls the degree to which initial echo density increases over time High settings of DIF resultin high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZ smaller sizes will sound denser To enhance percussion use high settings of DIF For clearer more natural vocals mixes and music use moderate settings When LNK is set the RTM and SPR values scale linearly as the SIZ control is varied For some special effects RTM and SPR can be unlinked RLVL sets the amount of reverberation in the processed signal It is normally FULL but may be reduced for effects where the pre echoes should dominate Rich Plate Pages Th
72. TO 6 00DB PAGE TWO TXO TBL TBR ROT 0 1 26 5KHZ CUT 18DB 6DB CUT 18DB 6DB L 3 TO R 3 Equalizer ED Stereo Adjustments Page One MST is a stereo level control with both channels equally attenuated or boosted MST Master Fader From 12 to 12dB the fader moves in 25 dB increments Below 12dB it moves in 50 dB increments Below 60cdB the calibration comes in larger steps finally dropping to zero output at 72dB BAL implements a sine cosine balance adjustment Balance is smoothly ad BAL Balance justed over a wide range with excellent resolution in the critical area around zero The display indicates the actual channel gains as the control is varied These are 6dB octave shelving EQ controls with a range of 6 dB boost and BAS EQ Shelving 18dB cut They move in 50 dB steps from 6 to 6 dB The crossover point is adjusted with TXO BXO sets the crossover point for the BAS controls When these setto full BXO Bass Crossover cut the level is 3 dB at the frequency set with BXO 300L Owner s Manual SPEQ Spatial EQ TXO Independent Treble Crossover TBL TBR Left and Right Treble Boost Cut ROT Rotate Lexicon SPEQ sets the amount of a crossfeed between channels The signal first goes through a 6 dB octave low pass filter whose frequency is set with BXO When SPEQ is set positive above 0 the crossfeed has a negative sign When SPEQ is set negative below 0 the cros
73. TVERB BIGBRICKS REV gt EKOZ REV gt KORUS OVERITOP GUITAR EKO gt FAZE VERB gt DOWN THE SKY SPINOLA 3 12 SoftSlider DELAY SPACE SLAP amp SIZE DECAY MACH A BMIX THRESHOLD NONE LFO RATE DELAY SPACE DELAY SPACE SPACE LFO RATE SPATIAL EQ NONE NONE DLY BANDPASS LFO RATE DIFFUSION RVB LEVEL RVB LEVEL LFO RATE LFO RATE AMIX B MIX DELAYS LFO RATE Mach A Effect MA B13P1 CHAMBER MA B11P2 SLAP ECHO MA B13P7 U CHAMBER MA B15P7 SKY DOWN MA B13P4 GUITAR ROOM MA B16P2 DRUM COMP 3 1 MA B12P3 CHORUS MA B15P6 VOCAL SHIFT MA B11P6 3 VOICE DLY MA B16P9 SPATIAL EQ MA B15P2 GUIT SHIFT MA B14P7 RECITAL HALL MA B16P6 SMALL ST ADJ MA B16P6 SMALL ST ADJ MA B11P4 SPACE EKOZ MA B14P3 GREAT HALL MA B14P4 BIG BRICKS MA B14P1 BIG HALL MA B13P5 BIG amp SHORT MA B12P1 OVERTHETOP1 MA B12P9 LFO PAN amp FAZE MA B15P5 EKO SHIFT MA B14P7 RECITAL HALL MA B15P7 SKY DOWN MA B12P3 CHORUS gt Mach Effect MB B11P3 STEREO SLAPS MBB13P9 JOE S B amp G MB B15P2 GUIT SHIFT MB B13P3 DRUM CHAMBER MB B16P4 COMP 4 VERB MB B13P8 BASEMENT MB B15P1 SHIFT IT MB B11P5 PINGOPONGO MB B16P1 EZ COMP 2 1 MB B11P3 STEREO SLAPS MB B16P5 SMAKO MB B16P9 SPATIAL EQ MB B16P1 EZ COMP 2 1 MB B16P0 PONS MB B16P8 FILTER PASS MB B12P5 NEGATIVEFLNG MB B16P2 DRUM COMP 3 1 MB B12P4 CHORUS EKOZ MB B12P3 CHORUS 12 2 OVERTHETOP2 MB B12P8 LFO FAZEDLYS MB B12P7 ENV PHAZER MB B15P8 ECHO DOWN MB B1
74. That is the left input signal will pan between Machine A and Machine B the right input will do the same thing in the other direction One idea might be to take a pair of related tracks say a couple of different sounding keyboards and auto cross traffic them between Machine inputs The rate of the input pan is set by the LFO Remember the LFO set to 0 14Hz with a triangle waveform is also patched to the flange glides in both Machine A and Machine B The SoftSlider will increase and decrease the Left and Right Delay outputs in Machine B MA B12P4 CHORUS EKOZ Chorus EKOz makes use of the flange gliding delay and several recurring echoes Real Lexicon meat and potatoes effect MB 12 0 SKY DELAYS This preset combines a bit of giding delay along with all sets of delays Delays 1 and 2 are set short with feedback and tuned diffusion gains Delays 3 and 4 are also set short and crossfeed into 2 and 1 respectively The is a small amount of post delay LDLY and RDLY and these two post echoes are patched to the SoftSlider Use the SoftSlider parameter to adjust post delays to match the tempo When the SoftSlider is set to 0 Sky Delays is sort of a chorused cluster echo very similar to a bright resonant small room Beautiful effect on stacked vocals P114 DM GEARUP SoftSlider INPUT PAN 0 MA B15P3 UP SHIFT MB B15P5 EKO SHIFT The SoftSlider controls the input routing from each input to each processor The default is Left In Right Into
75. VE BeP5 BALLROOM BePe SCORE STAGE BeP7 DRUM GATE BeP8 LE GATE BeP9 THIN LIZZY BePO BAND IN ROOM B7P1 SPACE amp EKOZ B7P2 VOCAL STAGE 7 WAVE WALLS B7P4 BRAND X B7ZP5 HANGER B7P6 EARLY REFLEX B7P7 STAGE SLAP B7P8 HUGE SPACE B7P9 VOCAL SHEEN 7 ALMOST VERB BBP1 RICH PLATE BBP2 GLOSSY PLATE BBP3 WARM PLATE BBP4 PERC PLATE BBP5 CONTEM PLATE BBP6 EKO PLATE BBP7 5K HALL BBP8 ROUND PLATE BBP9 SALAD PLATE BBPO VOX PLATE B9P1 STEREO ADJUST 9 2 STEREO DELAY 9 3 FRAME DLY 9 4 4 FRAME DLY 9 5 PHASE INVERT 9 6 MS DECODE 9 7 TELEPHONE 9 8 MULTI CANYON 9 9 LFO PANNER 9 THIN EKOZ BOP1 STEREO SHIFT BOP2 OCTAVE DOWN BOP3 VOX CHORUS BOP4 POLE FLANGE BOP5 BULKIE ROLL BOP6 MR BIG BOP7 ZORCH BOP8 GOING GOING BOP9 GTR CHORUS BOPO FADE DOWN 5 3 300L Owner s Manual 5 4 Single Setups and Programs Lexicon P1 LARGE HALL SoftSlider DECAY 64 Used as a great standard reference point The hall size is big with a gentle bloom in the reverberation envelope The first set of pre echoes located on page 4 are setto 14 and 20ms but the levels are set to OFF Set these levels to taste if you want to add some initial reflections P2 MEDIUM HALL SoftSlider DECAY 64 Similar to Large Hall but the size is not as big 29 3 and the reverb time is proportionately sho
76. VOCAL SHIFT MB B16P3 VOICE OVER Send a vocal track into the left input and send a mono prefade vox premix into the right input The SoftSlider conveniently lets you send the inputs to the opposite processor MA B15P6 VOCAL SHIFT A short delay line recirculating around a maximum 21 cent pitch shifter However the amount of pitch shifting will vary with the input level going more negative in pitch as the level increases MB B16P3 VOICE OVER This is a fairly agressive voice compressor with 7dB of boost below the preset threshold of 17dB A quick release of 58ms snaps up the volume As with all compressor programs Threshold is the critical parameter P110 DM COMP COMP SoftSlider INPUT PAN 0 MA B16P5 SMAKO MB B16P5 SMAKO In this Dual Mono Setup any audio analog or digital should be sent pre fade or inserted into console patch points The SoftSlider controls the input routing from each inputto each processor The default is Left In Right In to Mach A Mach B MA B16P5 SMAKO A lot of Gain 13dB with alot of Slope 4 1 wtih the Threshold a couple of bits down from Dbfs Careful You may need to adjust Threshold to make it work for the particular signal you re feeding it The release parameter rips the signal up within 91 ms MB B16P5 Smako See MA above P111 DM SLOW SPIN SoftSlider LFO RATE 50 MA B12P8 LFO FAZEDLYS MB B12P3 CHORUS The LFO is set to 0 88Hz with a Triangle waveform andis attached to both Machine A and B
77. VOICE OVER MB B16P5 SMAKO MB B12P3 CHORUS MB B12P2 OVERTHETOP2 MB B12P0 SKY DELAYS MB B15P5 EKO SHIFT MB B13P8 BASEMENT MB B14P1 BIG HALL MB B11P0 VOX DOUBLER MB B13P6 L CHAMBER MB B15P0 HALFSTEPSDN MB B12P6 ENV PEAK MB B12P7 ENV PHAZER MB B11P4 SPACE EKOZ MB B11P5 PINGOPONGO MB B11P6 3 VOICE DLYS MB B15P7 SKY DOWN SoftSlider INPUT PAN 0 MB B13P2 KEY CHAMBER This setup utilizes two independent reverbs The left input feeds Machine A the right input feeds Machine B Each can and should be used independently Pan the output of each Machine at the console to suit the mix The SoftSlider is patched to the Setup s balance controls Advancing the SoftSlider will pan the left input stronger into Mach B and pan the right input stronger into Mach A MA B13P1 CHAMBER A great general purpose reverb tail The size is setto 28 1M the largest value is 64M so the density is rather tight As you adjust SIZE the Rt value will also change If you want to unlink this natural phoenomena set LINK to Unlink on page 2 MB B13P2 KEY CHAMBER bloommy sounding reverb Diffusion is set midway so there is some good articulation at the begining of the reverb envelope Use this on most keyboards but those with a strong point may require a bit more Diffusion P102 DM REV DLY SoftSlider INPUT PAN 0 MA B11P3 DRUM CHAMBER MB B12P7 LFO FAZE DELAYS REV DLY utilizes a great sounding mono reverb for kick and snare Machine B runs Faz
78. Y TIME DELAY INPUT PAN INPUT PAN DELAY MACH B DELAY DELAY MACH B INPUT PAN Mach A Effect MA B13P1 CHAMBER MA B11P3 DRUM CHAMBER MA B13P4 GUITAR ROOM MA B14P9 PLATE MA B12P3 CHORUS MA B11P1 BASIC DELAY MA B11P4 SPACE EKOZ MA B15P3 UP SHIFT MA B15P6 VOCAL SHIFT MA B16P5 SMAKO MA B12P8 LFO FAZEDLYS MA B12P1 OVERTHETOP1 MA B12P4 CHORUS EKOZ MA B15P3 UP SHIFT MA B13P0 JOE S GARAGE MA B14P7 RECITAL HALL MA B11P2 SLAP ECHO MA B13P7 U CHAMBER MA B15P9 HALFSTEPSUP MA B15P2 GUIT SHIFT MA B12P6 ENV PEAK MA B12P5 NEGATIVEFLNG MA B11P6 3 VOICE DLYS MA B12P4 CHORUS EKOZ MA B12P2 OVERTHETOP2 Lexicon Mach B Effect MB B13P2 KEY CHAMBER MB B12P8 LFO FAZE DELAYS MB B15P2 GUIT SHIFT MB B16P1 EZ COMP 2 1 MB B12P4 CHORUS EKOZ MB B15P7 SKY DOWN MB B16P2 DRUMCOMP3 1 MB B15P8 ECHO DOWN MB B16P3 VOICE OVER MB B16P5 SMAKO B B12P3 CHORUS B B12P2 OVERTHETOP2 B B12P0 SKY DELAYS B B15P5 EKO SHIFT B B13P8 BASEMENT B B14P1 BIG HALL B B11P0 VOX DOUBLER B B13P6 L CHAMBER B B15P0 HALFSTEPSDN B B12P6 ENV PEAK B B12P7 ENV PHAZER B B11P4 SPACE EKOZ B B11P5 PINGOPONGO B B11P6 3 VOICE DLYS MB B15P7 SKY DOWN lt lt lt lt lt lt lt lt lt lt lt lt lt lt Cascade Setup Presets Setup Setup Name REV gt DLY DLY gt REV REV gt PCH PCH gt REV REV gt COMP COMP gt REV DLY gt PCH PCH gt DLY DLY gt COMP SLAPS PCH gt COMP SURRVERB V3COMP EQ DITHER FILT DLYS JE
79. Z MB B11P6 3VOICE DLYS This preset is intended for dual mono use The LFO is set to a Triangle shape moving at 2 48Hz The SoftSlider changes the spacing of the delays in Machine B MA B12P4 CHORUS EKOZ Chorus EKOz makes use of the flange gliding delay and several recurring echoes MB B11P6 3VOICE DLYS Two taps Delays 3 and 4 are set with delay ratios of 1 2 meaning that when one is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the SoftSlider controller P125 DM 2 FLANGES SoftSlider INPUT PAN 0 MA B12P2 OVERTHETOP2 MB B15P7 SKY DOWN Two dual mono flange effects This preset can work nicely with the same signal going to both Machines Use the SoftSlider to determine which input feeds which processor MA B12P2 OverTheTop2 Similar to OverTheTop1 except the flange delay glides between 0 08 ms and 10 7ms This flange delay is patched to the LFO The base delays are set to 10ms with a negative amplifier gain MB B15P7 Sky Down This preset tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the feedback amount The Presets 5 17 300L Owner s Manual Lexicon Cascade Setup Presets Setup Setup Name SoftSlider Mach A Effect gt Mach B Effect REV gt DLY DELAY SPACE MA B13P1 CHAMBER MB B11P3 STEREO SLAPS DLY gt REV SLAP amp SIZE MA B11P2 SLAP ECHO MBB13P9 JOE S B amp G REV gt PCH DECAY MACH A MA B13P7 U CH
80. ables When a Dual Mono setup is running the selections are ANALOG DIGITAL ANA A DIG B and ANA B DIG A When a Cascade Setup is running the selections are ANALOG or DIGITAL OUT Output Types and Patch Points The 300L is typically operated with active analog and digital outputs In the Dual Mono and Cascade modes however there are other options When ANALOG inputs are selected the DIGITAL outs and ins are available as patch points either pre or post processing Likewise when DIGITAL inputs are selected the ANALOG outs and ins are available as patch points Cascade setups have the patch point resource available mid DSP as well The OUT slider accesses the patch points Similar to a half normalled patch bay on a mixing console the outputs are always active Selecting a patch point effectively breaks the normal and requires a return input in order for the unit to continue passing audio OFMT Digital Output Format This slider allows you to select AES professional or SPDIF Sony Phillips Digital Interface consumer as digital output formats Page 2 in the Control mode allows you to set the Analog I O emphasis and de emphasis curves the digital emphasis bit and the SCMS output bit Only sliders 2 5 and 6 are active ANA EMPH DIG EMPH SCM ANA EMPH Analog emphasis Slider 2 sets analog emphasis and de emphasis This function is tied only to the converters As an example if when using the 300L as an A to D yo
81. ach has a feedback control FB5 and FB6 A quick double click on the DL5 or DL6 slider button will allow you to control the delay with more resolution To exit this fine control mode double click on the button again FB5 and FB6 provide feedback control for DL5 and DL6 LV5 and LV6 determine the loudness of DL5 and DL6 These areundiffused pre echoes The Algorithms and their Parameters DL3 DL4 LV3 LV4 DL5 DL6 FB5 FB6 LV5 LV6 300L Owner s Manual Lexicon Stereo Adjust General Description The Stereo Adjust algorithm offers fine adjustments of level and equalization during digital mastering Its stereo digital fader permits 0 25dB trimming and provides full fades to digital zero at the end of a track Its two sets of shelving treble EQ can be set for different 3dB points and gains BAS and SPEQ permit adjustment of stereo width enhancing the spaciousness and depth of the recording Stereo Adjust Parameters PAGE ONE BAL ROT BAS TRB SPEQ DFF 72 00DB TO 12 00DB L 3 TO R 3 L 3 TO R 3 CUT 18TO 6DB CUT 18 TO 6DBCUT 6 00 TO 6 000 DLY BXO TXO TXLR TBL TBR 0 5000MS 0 1 26 5KHZ 0 1 26 5KHZ 0 1 26 5KHZ CUT 18DB 6DBCUT 18DB 6DB PAGE THREE SAM DEMP RFS DC DCL DCR OFF ON OFF ON L R L R R L R LRESET MANUAL AUTO 99 TO 99 99 TO 99 PAGE FOUR LDL LFB RDL RFB SHUF 0 5000MS 99 TO 99 0 5000MS 99 TO 99 0 10 PAGE FIVE LFD LFF RFD RFF 0 10 417MS 99 TO 9
82. and easy preset to add to an overall mix You may need to adjust the Threshold parameter to make it work for the particular signal you re feeding it Release is set to gently fall away after 363ms P139 CC EQ gt DITHER SoftSlider NONE MA B16P6 SMALL ST ADJ MB B16P0 PONS DITHER This Setup preset places the Small St Adjust ahead of the dither program Use the stereo adjust parameters to control level balances and eq Typically this Setup will be used in a mastering or premastering application MA B16P6 SMALL ST ADJ This preset is a cut down version of the larger Stereo Adjust program available in Single Setups Level Balance Rotate separate Left and Right Bass and Treble along with spatial eq are available to adjust There are no SoftSlider patches in this preset MB B16PO0 PONS DITHER This preset has dither turned on and set to PONS Psycoacoustically Optimized Noise Shaping with level of 32 Experiments have shown this to be an optimum starting level of dither P140 CC FILT DLYS SoftSlider BANDPASS 40 The Presets 5 2 300L Owner s Manual 5 22 Lexicon MA B11P4 SPACE EKOZ MB B16P8 FILTER PASS This preset loads two effects both of which have SoftSlider patches The SoftSlider has a Setup value of 40 This Setup combines a multi tap delay program in series with a Bandpass filter program The resulting audio is then fedback via the Setup feedback parameter to Machine A s input As you move the SoftSlider you will ch
83. ange the post delays in Space Ekoz as well as change the bandpass in Machine B Tubby and Tight to Long and Lean MA B11P4 SPACE EKOZ This preset incorporates a bit of left right diffused delays along with some small delay offset between left and right delay outputs If the effect is too strong try lowering feedback levels for delays 3 and 4 MB B16P8 FILTER PASS This program is meant to reduce the bandwidth of the source audio The SoftSlider is patch to the Bass crossover and Treble Crossover parameters When this Program is loaded into another Setup the Bandpass will be set to what ever the SoftSlider value is set to P141 CC JETVERB SoftSlider LFO RATE 50 MA B14P3 GREAT HALL MB B12P5 NEGATIVEFLNG Take off The long reverb in Machine A which can be made longer by advancing the SoftSlider parameter passes into a flange driven by 0 14Hz triangle LFO The speed of the LFO is also controlled by the SoftSlider MA B14P3 GREAT HALL The largest room size yet at 64meters Similar to Great Room with Spread and Predelay patched to the Soft knob with the addition of reverb time also patched Dig Deep MB B12P5 NEGATIVEFLNG This is a really stiff flange which goes almost 20ms deep Flange gain is set extremely negative so the sound is tunnel like P142 CC BIGBRICKS SoftSlider DIFFUSION 50 MA B14P4 BIG BRICKS MB B16P2 DRUM COMP 3 1 This Setup really enunciates the Big Bricks preset 100 of the reverb in Machine A preset feeds i
84. at 1 9ms with a feedforward gain the other at 5 6 with a negative feed gain As the Glide passes over each base delay the phase of each gain is changed In between the output is a mixture of each A great effect on a ripping guitar solo P147 CC EKO FAZE SoftSlider 60 The Presets 5 23 300L Owner s Manual 5 24 Lexicon MA B15P5 EKO SHIFT MB B12P7 ENV PHAZER This Pitch into Gliding delay Setup is great for the rockers Use the SoftSlider to control the amount of echo effect feeding into Machine B MA B15P5 EKO SHIFT The L Meter is negatively patched to the feedback FBK parameter so that when signal is present delay feedback is reduced when the signal disappears feedback is increased This is a very interesting effect when the echo fits the beat of the music Use the DLY parameter to match the tempo MB B12P7 ENV PHAZER This preset makes use of a patch between the envelope detector in the meters and the flange glide delay As signal becomes stronger the glide delay drops in the time domain eventually crossing the 5 2ms base delays As audio signal strength lessens the glide returns to its preset value of 10ms Very good on vocals To make this effect work properly be sure to drive the 300 to within 12dB of full scale dBfs P148 CC VERB gt DOWN SoftSlider BMIX 50 MA B14P7 RECITAL HALL MB B15P8 ECHO DOWN This cascade preset has the net effect of a stereo reverb field followed by delayed mono pitch shi
85. blem created previously in the recording process L R Normal Routing L R Right Channel polarity inverted flipped R L Left and Right Channels swapped R L Right flipped and swapped with Left This control provides three choices RESET MANUAL ADJUST and AUTO ADJUST RESET disables all DC adjustment AUTO ADJUST enables routines for correcting DC offset from material recorded through analog to digital con verters that are not properly trimmed for DC MANUAL ADJUST allows slider selection of offset values Replaces any previously obtained value with the value set here via the slider The display indicates the percent of the correction Stereo Adjust Pages Four and Five These pages provide controls to give individual channel control over the 5 second post equalization delay line 5 second mono control in coarse steps for the left channel DLY LDL must not total more than 5 000 milliseconds A quick double click on the slider button will allow you to control this delay with double the resolution To exit this fine contro mode double click on the button again 5 second mono control in coarse steps for the right channel DLY RDL must not total more than 5 000 milliseconds A quick double click on the slider button will allow you to control this delay with double the resolution To exit this fine control mode double click on the button again The Algorithms and their Parameters RFS Right Channel Flip
86. board MIDI Out MIDI In 300L with sequencer computer 7 2 MIDI Operation MIDI Out 300L with sequencer computer and keyboard The 300L can receive MIDI information on three independent channels one for Setting MIDI Channels Sysex Dump messages and Fixed and MAP Program Change requests for Setups and two channels for Dynamic MIDI MOD patches within each Machine A and B as well as Programs and Registers MIDI Channel assignments are made in Control Mode To select this function press CTRL then press PAGE and press 5 to display the MIDI Automation Dump Dump Delay and Channel sliders AUTO DMP DLY CHL CHL CHL Sliders 4 5 and 6 set MIDI channels for the System Machine A and Machine B respectively 7 3 300L Owner s Manual Lexicon Using Fixed You can use MIDI Program Change messages to load either Setups or Machine Program Change MIDI Program Change numbers are limited to 1 128 As the 300L contains more than 128 Setups and more than 128 Effects this means that higher Setup and Effect numbers cannot be accepted If Automation is set to PROG CHANGE and the MAP is set to FIXED the 300L will dis play NOT IN FIX when Ef fects numbered over 128 are received 7 4 Effects Setups are driven by MIDI Program Change messages over the System Channel MIDI Program Change messages 1 128 sent out over the System Channel will load Setups 1 128 Go to Control mode
87. cs B14POSIZZLE CITY Small and long type Plate Very metallic reverb effect Great for cheap cymbals B15P1 SHIFT IT Baseline mono shift program with no pitch shift Go to the glide parameter GLD in Program Edit mode to adjust the amount of mono pitch shifting you want B15P2 GUITAR SHIFT A medium amount of micropitch shift 14c along with a small amount of recirculating predelay Actually the glide pitch parameter GLD is patched to the LFO running in the Setup The LFO causes the GLD to glide between 14c and 7 cents If you turn off the on Setup page 4 then return to program edit and move the GLD parameter to 21c the preset becomes raunchy sounding on beefy guitars B15P3 UP SHIFT A sweet sounding microshift up 7cents There is a slight chorus edge due to a modest amount feedback around a Oms delay line B15P4 DOWN SHIFT This program relies on the left meter to drive the fine pitch downward B15P5 EKO SHIFT The L Meter is negatively patched to the feedback FBK parameter so that when signal is present delay feedback is reduced when the signal disappears feedback is increased This is a very interesting effect when the echo fits the beat of the music Use the DLY parameter to match the tempo B15P6 VOCAL SHIFT A short delay line recirculating around a maximum 21 cent pitch shifter However the amount of pitch shifting will vary with the input level going more negative in pitch as the level increases B15P7 SKY
88. ctive way of realistically adding distance to a close miked signal If an ensemble has been recorded with close mikes and pan pots Ambience can provide the missing blend and depth The apparent position of the instruments is preserved in the reverb while the apparent distance is increased Random Ambience is also useful in matching a closely miked accent microphone to the overall ambience of a recording This allows a soloist to be increased in level without changing the apparent distance Random Ambience can be used in a recording situation any time a close miked sound is undesireable Set Size to the desired room size Reverb Level adjusts the amplitude of reverberation defined by Reverb Time and can be trimmed to get exactly the effect you need To use the algorithm with a console it is best to use a stereo send to the 300L carefully matching the panning of the various close miked sources to their positions in the mix Leave the Mix control at 100 The apparent distance of each source can be controlled by the level of its feed The Algorithms and their Parameters Random Ambience General Description 4 9 300L Owner s Manual Lexicon Random Ambience Parameters PAGE ONE RT RVL 512 ROL PDLY 24 64 17SEC OFF 48TO 1DB UP FULL 4 0 39 4M 0 5KHZ 21 2KHZ 0 99 877MS PAGE TWO WAN DDLY OuS 37 1MS 0 99 877MS Parameter range is dependent on setting of SIZ Parameter range is dependent on setting of Sample Rate P
89. der each of the active sliders will interrogate the current values Input levels between 1 5dBu and 2 9dBu will reference to 0 on the LARC meters You will find your own region of optimization On the output side if 11dBu isn t quite enough oomph for the return inputs which is rarely the case you may need to crank up the outputs If you have attenuated the inputs as in the above example the output will not be at unity gain so you will haveto boostthe output sliders by the same amount Grab each slider individually and match the outputs A note on metering reverberation programs Most Setups have the meters set for EFX OUT What we have described above is getting the input and outputs environmentally matched As you start running reverb programs you will see a natural attenuation on the meters This is perfectly normal If the LARC overload LEDs do light up DSP overload is occurring This is usually linked to someone s aggressive analog behavior but there may be other times when an effect running in a delay program has too much feedback and cross feedback A common pre mastering mistake isto run close to the edge going into an EQ process before going digitally into a DAT Boosting high or low frequencies is likely to overload the DSP output Be aware Installing the 300L 300L Owner s Manual Lexicon Configurations Connection to a mixing console s effects sends Effects Send L Effects Send R Channel Input or
90. diffuse but very bright almost a gated sound A nice short ambience which never gets in the way of the effect The SoftSlider controls the Room Size modifying the spacing of the early reflections P67 STAGE SLAP SoftSlider PREDELAY 60 Use the SoftSlider to streghthen the slap off the back wall and open up the acoustic space Great on voice and solo P68 HUGE SPACE SoftSlider DECAY LEVEL 50 This preset should be used with care especially if you bring up the reverb level with the SoftSlider BIG wash on anything Accent snare hits The Presets 300L Owner s Manual 5 8 Lexicon P69 VOCAL SHEEN SoftSlider SPACE 50 A great dry addition to rock and roll vox tracks The SoftSlider controls Room Size Reverb time and Reverb Level Advance the SoftSlider for slower ballad type tunes P70 ALMOST VERB SoftSlider PREDELAY 50 As the name suggests there s a fine line here Somewhat lacking in high frequency content with the SoftSlider mapped to the predelay parameter P71 RICH PLATE SoftSlider DECAY 48 An old standard bright and diffuse Advancing the SoftSlider controls the reverb time P72 GLOSSY PLATE SoftSlider DECAY 75 This preset shines a little differently Some close in pre echoes give a strong impact to the original source Great for stereo horn sources P73 WARM PLATE SoftSlider DECAY 60 Not your average bright plate rather a slightly dull version which will work very well on orchestral tracks adding point and
91. djusts the length of a delay line in series with the left input The range is zero to 510ms in 2ms steps It also affects the delay of any feedback which is applied In stereo mode the two delays must be set to the same value or the signals will not be in phase Optimal pitch shift occurs when LDL is about 40ms RDL is the same as LDL except that it affects the right channel The Algorithms and their Parameters MOD Mode SNC Synchronization PCH Pitch Interval FIN Fine Pitch LDL RDL Left and Right Delays 300L Owner s Manual Lexicon FBL FBR Left and Right FBL and FBRcontrolthe amount of positive feedback from the output of the echo Feedback delay line to the input of the pitch shifter The control is adjustable from 0 to 99 Some very useful arpeggiated effects can be obtained by combining pitch shift delay and feedback BNPS Bandpass Filter BNPS is a bandpass filter which rolls off the frequency responce of the audio before the splicing algorithm The 3dB pointis 100 Hz The purpose of the band pass filter is to give the pitch shifter ess information than it actually needs to decide when to make the splice Typically this will improve the performance of the pitch shifter especially for vocal applications The Dual Delay algorithm consists of 2 types of delay lines Gliding Flange delays and Fixed delays This is a true stereo algorithm If run in a Dual Mono Setup however it will be mono Two i
92. do 8 2 Common MIDI Problems sssseeeeeeeenmenn enn 8 2 Common Time Code Problems sssesseeeeen 8 3 Common Digital Interfacing Problems 8 3 Error Status Messages ssssssssssse eene 8 4 9 MIDI Implementation Chart 10 Specifications Congratulations on your purchase of the 300L Digital Effects System with LARC Remote Interface The 300L notonly contains the finest sounds as you ve come to expect from Lexicon it incorporates new functions that satisfy the needs of today s audio production Analog and Digital Audio Interfacing For both analog and digital use the 300L takes full advantage of recent advances in converter technology and combines them with flexible digital interfacing The A D and D A converters use oversampling techniques to minimize low level distortion and provide linear phase characteristics 64x oversampling Delta Sigma conversion is used in the A Ds 8x oversampling is used in the D As The result is sonic transparency without the artifacts normally encountered in conversion The digital I O simplifies interfacing with both the AES EBU professional and the EIAJ consumer format XLR RCA and Optical connectors are provided for both input and output The digital inputs of the 300L will automatically accept and lock to any AES EBU SPDIF format the 300L s digital output format is user select able for feeding either profes
93. e created by the 300L Low SPR settings result in a rapid onset of reverberation at the beginning of the envelope with little or no sustain Higher settings spread out both the buildup and sustain SIZ allows you to vary the apparent size of the space over a wide range SIZ is the most dramatic control and must be selected to match the music or program material It should be the first control that you adjust to tailor the desired space SIZ also affects the reverb time in a similar way to the standard reverb programs sets the frequency above which a 6 dB octave low pass filter attenuates the processed signal It attenuates both pre echoes and reverberant sound High frequencies are often rolled off with this parameter resulting in more natural sounding reverberation PDLY adds an additional delay to the reflections and to the reverberation This control may be useful in a sound reinforcementsituation or for ambience effects A quick double click on the slider button will allow you to control this delay with more resolution To exit this fine control mode double click on the button again Rich Plate Page Two BAS sets the reverb time for low frequency signals as a multiplier of the RTM parameter For example if BAS is setto 2X and RTM is setto two seconds the low frequency reverb time will be four seconds For a natural sounding plate reverb we recommend values of 1 0x or less The Algorithms and their Parameters R
94. e Delays getting its signal from the right input The LFO in the Setup runs at 24Hz with a triangle waveform The FDLY parameter in Machine B is patched to this LFO The SoftSlider is patched to the Setups balance controls Advancing the SoftSlider will pan the left input stronger into Mach B and pan the right input stronger into Mach A MA B11P3 DRUM CHAMBER Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has less Diffusion Rt is set to 1 0 second at mid frequencies MB B12P7 LFO FAZE DELAYS Faze Dlys makes use of the LFO patched to the Flange Glide Delay FDLY The base delays are set in different time domains one side at 1 9ms with a feedforward gain the other at 5 6 with a negative feed gain As the Glide passes over each base delay the phase of each gain is changed In between the output is a mixture of each A great effect on a ripping guitar solo P103 DM REV PCH SoftSlider INPUT PAN 0 MA B13P4 GUITAR ROOM MB B15P2 GUIT SHIFT This Dual Mono preset will get you set for your guitar tracks The LFO is set to 0 24 Increase the rate to increase the pitch glide in the Guitar Shift Effect preset The SoftSlider is patched to the Setup s balance controls Advancing the SoftSlider will pan the left input stronger into Mach B and pan the right input stronger into Mach A MA B13P4 GUITAR ROOM This is a big wide sounding room for your guitars For heavy rock stuff you might consider pa
95. e audible effects This interface requires balanced connections using high quality low capaci tance controlled impedance data communication twisted shielded pair cable It will not work reliably if microphone cable is used This interface is unbalanced but because it carries digital signals it requires the use of 750 RG 59 coaxial cable Use commercially available consumer audio optical cable assemblies Use standard 5 pin DIN MIDI cable asemblies available from your local dealer Below are recommended manufacturer s part numbers for cable and cable assemblies In some cases two types are specified one with an overall braid shield for heavy use and one with a foil shield for permanent installation Analog Audio and Time Code Belden 8412 microphone cable with braided shield Belden 9461 foil shield AES EBU Belden 9271 foil shield Gotham GAC 2 AES FRU Maximum recommended length 100 ft 30M S PDIF EIAJ CP340 Consumer Digital Audio Belden 9259 22 AWG conductor 242 O D Belden 8218 27 AWG conductor 150 O D Maximum recommended length 32 ft 10M S PDIF EIAJ CP340 Consumer Digital Audio Optical Toshiba TOCP174y Sony POC 15 Maximum recommended length 16 ft 5M Installing the 300L Cables Analog Audio I O and Time Code AES EBU Digital Audio I O SPDIF EIAJ CP340 Consumer Digital Audio I O SPDIF EIAJ CP340 Consumer Digital Audio Optical I O MIDI IN OUT and THRU 300L Owner
96. e currently specified audio routing configuration For example an attempt to load LARGE HALL which requires the Single configuration into a Cascade Setup would initiate this message A request was made to load a Setup or Effect register which has nothing stored in it Automation is set to Program Change mode but the MIDI Map Table is off An error occurred during MIDI transmission or reception This message may occur even when the unit is operating properly For example with Program Change Automation enabled the 300L will attempt to transmit effects that are not mapped if the Setup is mapped In this instance the Setup will load properly and this message will be displayed NO BANK REGS MATCH CONFIG An attempt was made to investigate an empty bank or a bank whose registers are all NOT IN FIXED PGM OFF MAP STORE COPY DISABLED STORE EFFECT FIRST TIMECODE DISABLED VAL LOAD PROG 8 4 invalid for the current configuration Program change messages outside MIDI range gt 128 were received while Automation was set to Program Change mode and the MIDI Map Table was set to Fixed Program change messages which are not in the map were received while Automation was set to Program Change mode and the MIDI Map Table was set to Map An attempt was made to store copy or load with the store copy functions disabled An attempt was made to store a Setup containing modified Effects but no effect registers were available Each
97. e high settings of DIF For clearer more natural vocals mixes and music use low or moderate settings PDLY adds an additional delay to the reflections and to the reverberation This control may be useful in a sound reinforcement situation or for ambience effects Random Ambience Page Two SPN affects the movement of many of the delay taps The object of SPN and WAN is to continuously alter the timbre of the reverberant sound This makes the result more natural without making the position of instruments unstable SPN should typically be 20 or higher High values may make the pitch of piano or guitar unstable WAN sets the distance in time that the early reflections will move For best results WAN should be about 10ms at larger sizes DDLY provides a delay for the dry audio path The Algorithms and their Parameters DIF Diffusion PDLY Pre Delay SPN Randomization WAN Wander DDLY Dry Delay 300L Owner s Manual Lexicon Rich Plate General Description The Rich Plate programis denser smoother and more colored than other reverb programs When used with the SIZ control at around 16 meters the sound is dense and tight ideal for percussion Larger sizes and longer reverb times are suitable for vocals and brass The Rich Plate program has five control pages with 28 adjustable parameters shown below Rich Plate Parameters PAGE ONE RTM SHP SPR SIZ HFC PDLY 0 24 64 17SEC 0 255 0 255 4 0 39 4M 0 1 26
98. e in 1 increments from 99 to 99 If the magnitudes of both feedback gains for a channel sum to more than 100 that channel will overload On the 3001 overall and fine are differentiated by the following labels LFB Overall Left Channel Feedback LFF Fine Left Channel Feedback RFB z Overall Right Channel Feedback RFF Fine Right Channel Feedback SHUF controls a spatial equalizer designed to make recordings from a dummy head or closely spaced omni microphones more suitable for loudspeaker reproduction Due to the close spacing of the microphones there is very little difference between the two stereo channels below about 300Hz The shuffler restores the low frequency separation by first matrixing the L and R signals into L R and L R bass boosting the L R channel then rematrixing back to L and The effect is to convert small time differences which are not audible in loudspeaker reproduction between the two microphones into level differences which are audible The effect can be dramatic The frequency below which the boost acts is set by the SHUF control A setting of 5 will give a L R boost at about 150Hz a setting of 10 will be up at 250Hz Response rises at 6dB octave below this frequency More than 18dB of gain can be obtained at 20Hz when SHUF is set to 10 This control has been optimized for true binaural recordings where the differ ence signal at low frequencies is minimal If itis used on ordinary stere
99. e resulting mix is passed out both analog and digital NOTE Most studio applications assume a 10096 Wet mix Most SINGLE Setups are set with OMIX at 10096 Wet However itis possible that some pre fade sends to the 300L will require the mix to be set to another value Return to the top level of the User Interface by pressing the SETUP key Dual Mono Setups Setup Presets101 125 are Split configurations Advance the slider to up different Dual Mono Setups As in the Single Setups the upper display of the LARC shows the name of the selected Setup and its corresponding preset number In Dual Mono and Cascade setups the top line ofthe display will show the two types of effects loaded in the Setup In Dual Mono configurations each DSP engine Mach A and Mach B can run special split effect algorithms and programs Analog and or Digital formats can be sent into the 300L When only one input type analog or digital is specified we refer to the format as Fixed When Analog is selected as the main Input source the Digital I O port can be placed in a pre or post effect patch point Conversely if the Digital input is selected as the main input source Analog I O connections can be used as a patch point as described in Selecting Analog and or Digital Input Fixed Format Patch Points gt MA B MA EFFEC L Level Balance EDIT A Analog or Digital MB MB EFFEC R P Level P Balance
100. e thatthe early reflections will move For bestresults WAN should be about 10ms at larger sizes and 5ms for smaller sizes RTM sets the reverb time for mid frequency signals Because low frequency reverb time BAS is a multiplier of RTM RTM acts as a master control for the reverb time SHLF modifies the low pass characteristic of the rolloff control turning it into shelving filter SHL sets the gain of an output path which is mixed with the output of HFC to form the main reverberant output Both the pre echoes and the reverberation are affected For example if SHLF is set to 6dB frequencies below approximately HFC 2 will be boosted by 3 5dB above approximately HFC x 2 the response will be flat SHLF provides a method for making the spectral content of the reverberation match the ideal spectrum for musical acoustics in rooms For this application HFC should be set between 700 and 1 5kHz with SHLF set between 12 and 6dB A note about Pre Echoes Pages Four and Five contain four pre echo taps with delay and level controls The taps are fed directly to the output wet signal rather than into the reverberator Pre echoes can best be understood by visualizing a stage where the early reflections are the sounds emanating from the rear and side stage walls directly after the sound from the stage Usually the rear stage wall reflection is earlier and louder than those from the two side walls The pre echoes are actually clusters of echoes
101. e time is 91 or 114 ms The Algorithms and their Parameters Compressor General Description 300L Owner s Manual Lexicon Compressor Parameters PAGE ONE THR SLP GAIN ATC RTC 0 to 40DB 1 0 99 99 1 0 to 24DB 7 960MS 16 4000MS PAGE TWO EXT EXS EXG 0 to 70DB 1 0 99 99 1 0 to 24DB T 1 gt Pese compressor Gain p Expander Gain y AA AA Compressor Compressor Page One THR Threshold THR sets the level at which compression starts SLP Slope SLP controls the slope ofthe gain reduction curve or the ratio of input level versus output level GAIN GAIN adjusts the gain of low level signals below the compression threshold ATC Attack Time ATC adjusts the attack time constant Constant RTC Release RTC allows adjustment of the release time constant Time Constant DLY Look Ahead Delay DLY sets the predelay of the audio before the digital VCA The Algorithms and their Parameters Compressor Page Two EXT sets the threshold at which the expander starts to work EXT Expansion Threshold EXS controls the slope of the expander circuit EXS Expansion Slope EXG sets the amount of negative gain EXG Expansion Gain PONS Dither is low level pseudo random signal which is added to digital audio to General Description reduce quantization noise in effect by replacing it with a nicer sounding noise It is possible to filter the quantization noise in such a way that almost all
102. e to simply adjusting balance The display shows the actual channel gains for a continually panned Source BAS is a 6dB octave shelving EQ control with a range of 6 dB boost and 18dB cut It moves in 5 dB steps from 6 to 6 dB The crossover point is adjusted with BXO BAS acts on both stereo channels equally TRBis a 6dB octave shelving EQ controls with a range of 6 dB boostand 18dB cut It moves in 50 dB steps from 6 to 6 dB The crossover point is adjusted with TXO TRB acts on both stereo channels equally SPEQ sets the amount of a crossfeed between channels The signal first goes through a 6 dB octave low pass filter whose frequency is set with BXO When SPEQ is set positive above 0 the crossfeed has a negative sign When SPEQ is set negative below 0 the crossfeed has a positive sign When the control is set to either maximum or minimum the gain in the crossfeed circuit is unity The result of this control is to change the separation of low frequency stereo signals When the control is raised low frequencies in the sum mono channel are reduced and low frequencies in the difference stereo channel are raised With the control at maximum low frequency mono signals are completely removed This represents an extreme setting which should seldom be needed in practice With material which has stereo bass information or which contains some reverberation the effect of raising SPEQ is to increase the sense of spacious ness
103. ector to obtain an optimal pitch value Setting the LDL and RDL controls to this value will give the smoothest pitch shift Shorter values can be used for special effects or when extra delay cannot be tolerated There are two interacting controls for pitch described below Pitch Interval and Fine Pitch Adjusting any pitch control activates a display that shows the musical interval and any fine adjustment in cents Stereo Pitch Shift Parameters PAGE ONE MOD SNC PCH FIN PCH MONO STEREO OFF ON 2 OCT TO MAJ7 96 2 OCT TO MAJ7 96 PAGE TWO LDL FBL RDL FBR BNPS 0 510MS NONE 98 MAX 0 510MS NONE 98 MAX OFF ON i 1 Shifter t Shifter T 829 esnsde Mono or Stereo Stereo Pitch Shift Page MOD selects stereo or mono mode In stereo the two channels are linked pitch shifting by the same amount and splicing at the same time SNC is only active in Stereo mode This control forces an exact sync of the two channels when the control is turned from Off to On When SNC is On there is an automatic re syncing any time the two channels differ in phase by about 10 samples This can occur if PCH LDL or RDL is changed Re syncing can cause a small click in the output If the pitch shifter is being used to manually pitch correct classical music it may be better to set SNC to Off There is an automatic sync tracking feature which will keep the two channels loc
104. er Machine A or Machine B Pages Because effects and other modes of operation have more parameters than can be displayed atone time parameters are grouped into several pages You move between pages by pressing the dedicated function key labeled PAGE Parameter Each algorithm has a set of parameters controls that uniquely characterize it The settings of the parameters can be changed to create radically different sounds from a single algorithm Patch A patch is a routing assignment that allows one of the 300L s parameters to be driven by a source controller LFO footswitch mod wheel etc Register Preset Hegisters are simply memory locations where you can store your own setups and effects Presets are factory installed setups and effects The presets cannot be overwritten but they can be modified and stored as custom setups in the registers Registers and presets are differentiated on the 300L display by the initial R Register or P Preset before their number System Overview Effect programs 160 effect programs are installed in the 300L to give you a wide variety of sounds to use as is or to use as a starting point when creating your own sounds 50 effect registers are provided for storage Setup presets 150 setup presets provide a convenient starting point for selection of effect combinations 50 setup registers are provided for storage Setup A setup consists of a internal I O routing configuration an
105. erated bottom end A bigger envelope with a short RT which can be modified with the SoftSlider P26 CHUNKY SoftSlider CHUNK 50 A little bit bigger and longer RT great on chunky guitars The SoftSlider changes the Room Size and crossover point to beef up the timbre of the reverb envelope P27 HOMEROOM SoftSlider DECAY 50 Small room size bright with little diffusion A pair of pre echoes helps to streghten the initial attack The SoftSlider is patched to Mid Rt decay P28 OPEN WIDE SoftSlider DECAY 64 Brick Wall s big sister with a longer RT and a pair of pre echoes for impact The SoftSlider maps to Mid Rt decay P29 WETSUIT SoftSlider DECAY 64 Great for when you want to go surfing in delay effects The SoftSlider controls Mid Rt decay and Delay 3 and 4 Feedback levels P30 BASEMENT SoftSlider LIVENESS 50 Short boomy and bright The SoftSlider will modify the liveness P31 AMBIENCE SoftSlider SIZES 64 A great sounding starting point Wonderful for soloists The SoftSlider controls Room size and randomization content P32 MARBLE FOYER SoftSlider SLAPLEVEL 64 A very realistic hotel or apartment foyer area TheSoftSlider changes the Mix and Dry Delay proportions to create a single hard reflection after the onset of the main reverb effect P33 LARGE AMB SoftSlider HIGH CUT 60 Standard ambience preset Great for setting the soloist into a natural sounding space Use the SoftSlider to adjust the rolloff characteristics
106. ernier fine adjustment mode when available Installing the 300L How to Interface the LARC The 300L rear panel COMM PORT connector interfaces to the Lexicon Alphanumeric Remote Control LARC via a flexible 50 ft cable supplied The pin assignments for the connector are shown to the right Assignment Chassis shield ground Receive data Transmit data common Isolated power supply Receive common Receive daba ransmit dala Isolated power supply gnd LARC Connectors Wiring diagram for the 300L COMM PORTconnector 300L Owner s Manual Setting Analog Audio Levels Lexicon When shipped from the factory the 300L is set for Analog I O configuration Once you have connected the analog inputs and outputs you should set up the analog input pre A D converter and analog output post D A converter levels First you will need to select a Setup which represents a digital straight wire through the box To do this press the SETUP key then use the PRE slider to select Setup Preset 81 The upper display should read L STEREOADJUST SG SET P 81 pg l 2 0 6 120 dB 1 R Press ENTER to load the setup Press CTRL then press PAGE followed by the number 9 This will display Control Mode Page 9 The lower display will show IN LFT RT OUT LFT RT The I O structure of the box is specified such that if a 11dBu signal is input into the box full scale conversion will
107. et to 0 24Hz with a triangle waveform can be slowed down or sped up with the SoftSlider and ultimately determines the speed of the flange glides in each Machine MA B12P1 OVERTHETOP1 This preset should be used pretty much through the box i e send it a pre fader signal then mix only the returns The Flange Delay is patched to the LFO When properly modulated the flange delay glides between 9 5ms and 18ms The base delays are set to 10ms with a positive feedback gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay Remember the LFO lives in the Setup domain so if you load the effect into a setup where there is no LFO activity the preset will sound hollow and resonant MB B12P2 OVERTHETOP2 Similar to OverTheTop1 except the flange delay glides between 08 ms and 10 7ms This flange delay is patched to the LFO The base delays are set to 10ms with a negative amplifier gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay The channel outputs are reversed such that the left input will pass through to the right output and vice versa Remember the LFO lives in the Setup domain so if you load the effect into a setup where there is no LFO activity the preset will sound hollow and resonant P113 DM X TRAFFIC SoftSlider DELAY MACHB 50 MA B12P4 CHORUS EKOZ MB B12P0 SKY DELAYS This preset has cross panning ABAL and BBAL patched between the source inputs of each Machine
108. evel is 3 dB at the frequency set with this control These controls allow independent adjustment of left and right treble They may be used together with the stereo adjustments to create a 12 dB octave cut or boost Note that the 3 dB frequencies can be different from the stereo set Stereo Adjust Page Three When this control is on the left channel is delayed relative to the right by 11sec 1 2 sample This control specifically corrects for the timing error between channels caused by consumer digital systems e g the Sony PCM F1 and its progeny that time share single analog converters Turning on this delay time aligns the left channel audio data for compatibility with professional systems When DEMP is On the incoming signal is digitally de emphasized This should not be used unless the material has been emphasized in the record process such as a PCM F1 tape Note that the emphasis bit in the incoming signal can be turned off from Control Mode Page Five Slider 2 When digital de emphasis is applied the CD mastering lab must be informed that the tape is not emphasized and the CD emphasis bit should be manually set to Off Mastering labs are happy to do this but they must be informed RFS is used for digitally correcting problems you used to be able to fix or create by switching analog cables around The normal setting is L to the left output and R to the right output Other settings should only be used when correcting some pro
109. fects and presets and complete MIDI Implementation data all the informa tion you need to access the full power of the 300L Installing the 300L 300L Owner s Manual Lexicon Mounting Before rack mounting the 300L you may want to remove the four rubber feet Power Requirements attached to the bottom of the chassis Gently pry off the black plastic buttons in the center of each foot then remove the foot itself The 300L measures 19 W x 3 50 H x 13 9 D 483 x 90 x 353 mm It uses two EIA standard rack spaces and can be mounted on any level surface or in a standard 19 inch 483 mm rack Whatever mounting method you use make sure that the 300L is securely screwed into the rack adapter If the 300L is mounted in a rack or road case support the rear of the chassis to prevent possible damage from mechanical shock and vibration The 300L is equipped with a 3 pin IEC power connector and detachable cord providing chassis grounding to the AC mains line Plug the female end of the power cord into the 300 and the male end into a wall outlet The 300L is internally wired to operate at 100 120 or 230 VAC The operating voltage set at the factory is marked on a label attached to the rear panel Check the label before applying power to the unit If the voltage must be changed refer a qualified technician to the Voltage Changeover procedure in the 300L Service Manual Time Code In 3 pin female XLR con nector for input of SMPTE Drop
110. feedforward gain the other at 5 6 with a negative feed gain As the Glide passes over each base delay the phase of each gain is changed In between the output is a mixture of each A great effect on a ripping guitar solo B12P9 LFO PAN amp FAZE This cool wavy preset should be run pre fader with the Setup LFO at about 20Hz With a mono or stereo signal attached to both inputs the acoustic effect is a slow rotation in phase Clean compressed guitars are the best here B12P0 SKY DELAYS A bit of giding delay combined with all sets of delays Delays 1 and 2 are set short with feedback and tuned diffusion gains Delays 3 and 4 are also set short and crossfeed into 2 and 1 respectively There is a small amount of post delay LDLY and RDLY and these two post echoes are patched to the SoftSlider Use the SoftSlider to adjust the post delays to match the tempo By itself Sky Delays is sort of a chorused cluster echo Very similar to a bright resonant small room Beautiful effect on stacked vocals B13P1 CHAMBER A great general purpose reverb tail Size is set to 28 1M the largest value is 64M so the density is rather tight As you adjust Size Rt will also change If you want to unlink this natural phoenomena set LINK to unlink on Page Two B13P2 KEY CHAMBER A nice bloomy sounding reverb Diffusion is set midway so there is some good articulation at the begining of the reverb envelope Use this on most keyboards but those with a strong poi
111. ffect PARAMETER SINGLE MACHINE A EFFECT DUAL MONO SETUP INPUT LEVEL INPUT BALANCE M ALVL BLVL A BAL B BAL METERS MOD EDIT EFFECT ID SETUP LEFT RIGHT PATCH PATCH MACH A NAME Dual Mono and Cascade Setups each contain pointers to 2 Split type Effects SPLIT EFFECT MACHINE A OR B CASCADE SETUP ALGORITHM MOD EDIT man apwust_ M parameter EFFECT compressor 1 VALUES NAME INPUT INPUT CASCADE LEVEL BALANCE 4 FEEDBACK METERS MOD EDIT EFFECT ID SETUP ALGORITHM MOD EDIT LEFT RIGHT PATCH PATCH mach a NAME buat peas 7 PARAMETER EFFECT cHamBer compressor VALUES NAME Se MONO PITCH SHIFT SPLIT EFFECT MACHINE A OR B When the is first powered up the upper LARC display should read LARGE HALL i Pt l Il SG SETP 1 T R The slider displays should read SETUP PRE REG SOFT indicating that the unit is in Setup mode If your unit is not in Setup mode press the SETUP key This simple keystroke will always take you to the top level of the user interface Use the Setup PREset slider or enter a preset number via the numeric keypad to cue a new setup into the display window The cued setup number will blink Press ENTER to load the displayed Setup and the Effect s associated with it The upper LARC display will flash LOADING while the Setup loads and LOADED once Setup loading is complete Th
112. ft which recirculates downward in pitch BMIX is controlled by the SoftSlider and is initially set with a relatively low value of 38 This means that most of the effect at the main output is the reverb effect from Machine A If you increase BMIX via the soft slider more of the reverb will pass directly into the mono shift program Bear in mind this will cause the reverb to become more mono MA B14P7 RECITAL HALL This medium large 44 5M space opens sound sources beautifully Made for string pads and voice MB B15P8 ECHO DOWN 14 cents down with a 272ms recirculating delay line In this setup the reverb echoes downward in pitch into the middle of the mix field Very Interesting P149 CC THE SKY SoftSlider DELAYS 50 MA B15P7 SKY DOWN MB B12P0 SKY DELAYS This setup s gota little bit of everything A downward flanging pitch shifter cascading into a dual delay preset with many re circulating delay clusters The SoftSlider is patched to the left and right delays LDLY and RDLY in Machine B This Setup also incorporates cascade feedback from machine B to machine A input set to 36 Don t try to add too much more you might take off your head This is definitely a WOWIEE ZOWIEEE effect MA B15P7 SKY DOWN This preset tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the feedback MB B12P0 SKY DELAYS This preset combines a bit of giding delay along with all sets of delays Delays 1 and
113. ger as well as the amount of negative cross feed between channels Use with moderatly narrow stereo or mono source MA B16P9 SPATIAL EQ This preset has 3 SoftSlider patches Spatial EQ Left Bass Right Bass As you advance or reduce the SoftSlider the amount of spaciousness is increases or decreased MB B11P3 STEREO SLAPS Stereo left and right slap delays with the SoftSlider patched to left and right Delays 1 and 2 as well and the Left and Right Post Delay outputs P136 CC PCH gt COMP SoftSlider LFO 50 MA B15P2 GUITAR SHIFT MB B16P5 SMAKO This preset combines a guitar shift effect going into a HARD compressor effect The LFO controls the Glide Shift parameter GLD in Machine A The LFO rate is setto 0 16Hz with a sine waveform but can be modified with the SoftSlider This presets works great with stacked BG Vox as well MA B15P2 GUITAR SHIFT This preset offers a medium amount of micropitch shift 14c along with a small amount of recirculating predelay Actually the glide pitch parameter GLD is patched to the LFO running in the Setup The LFO causes the GLD to glide between 14c and 7 cents If you turn off the LFO on Setup page 4 then return to program edit and move the GLD parameter to 21c the preset becomes raunchy sounding on beefy guitars MB B16P5 SMAKO Alot of Gain 13dB with alot of Slope 4 1 wtih the Threshold a couple of bits down from Dbfs Careful You may need to adjust Threshold to
114. gital Patch Point to ANALOG Out AES EBU Format DIGITAL PROCESSOR Out EIAJ CP340 Lexicon ANALOG MACHINE or CONSOLE 2 System Overview 2 300L Owner s Manual 2 2 Terms used in this manual Lexicon In discussing 300L operation the following terms are used Algorithm The 300L contains eleven algorithms An algorithm is a set of instructions that tells the 300L s audio processors how to process the input signal One algorithm produces pitch shift effects another produces reverberation etc Algorithms are stored inside the 300L on ROM Read only memory chips Configuration The 300L can deliver two effects one from each machine simultaneously The manner in which the two machines relate to each other is called the configuration The machines can be used with independent inputs and outputs Dual Mono configuration they can share the same stereo input signal Single configura tion orthe outputs of one machine can be fed into the input of another Cascade configuration Effect An effect consists of an algorithm the parameter values which create a specific sound four associated patches and an identifying name Machine The 300L contains two processing modules called Machine A and Machine B Although both machines can run simultaneously only one can be accessed from the front panel at any given time A dedicated function key labeled MACH allows front panel selection of eith
115. gnal If the system does not detect valid word clock or is not properly locked to incoming word clock a BAD DIGITAL WORD CLOCK message will be dis played as shown below If you getthis message checkall your cables and other settings IBAD DIGITAL WORD CLOCK When you are running a Dual Mono setup the selections are ANALOG DIGITAL ANA A DIG B ANA B DIG A CASCADE Setups can be ANALOG or DIGITAL System Operation OUT Output Types and Patch Points Typically the 300L operates with both analog and digital outputs active However in the Dual Mono and Cascade there are other options When ANALOG inputs are selected the DIGITAL inputs and outputs are available as patch points either pre or post processing When the DIGITAL inputs are selected the ANALOG inputs and outputs are available In Cascade operation the patch point resource becomes available mid DSP as well The OUT slider gives you access to the patch points Similar to a half normalled patch bay on a mixing console the outputs are always active Selecting a patch point with this slider effectively breaks the normal and requires a return input in order for the unit to continue passing audio OFMT Selecting the Digital Output Format This slider allows you to select AES Professional or S PDIF Sony Phillips Digital InterFace Consumer asdigital output formats Single Setups 1 100 configure both DSP engines with microcode which Single Setups enables them to funct
116. gnal panned to the center mono will be treated by ROT exactly as it would be treated by BAL However if a signal is panned full right and the control is moved toward the right instead of simply being attenuated as BAL would do the right channel is inverted in phase and added to the left channel A stereo image appears to rotate when this control is used Ambient information is preserved and both channels appear to retain equal loudness If stereo material is recorded with a coincident pair of figure of eight micro phones moving the ROT slider is exactly equivalent to rotating the microphone pair Other microphone arrays and multimicrophone setups do not rotate perfectly but using this control is frequently preferable to simply adjusting balance The display shows the actual channel gains for a continually panned source The Compressor algorithm is a true digital compressor which will run in either Dual Mono or Cascade Setups In Dual Mono Setups it configures to mono in mono out in Cascade Setups it configures as a true stereo effect The compressor can be described as an upwards averaging compressor Digital compressors like analog compressors decrease audio above a given thresh old Unlike analog compressors they increase gain below the threshold The result from either analog or digital compression is exactly the same less dynamic range As shown in the following diagram the audio path takes two routes One path goes through a
117. h the buildup and the sustain As a rough estimate the sustain will be approximately the time value indicated by the Spread display in milliseconds As Shape is raised further the buildup and sustain remain similar but now a secondary sustain appears in the envelope at a lower level than the first This secondary plateau simulates a very diffused reflection off the back wall of a hall and is effective in creating a sense of size and space This reflection becomes stronger and stronger reaching an optimal loudness when Shape is at about 1 2 of its range The highest Shape settings are typically used for effects Near the top of the scale the back wall reflection becomes stronger than the earlier part of the envelope resulting in an inverse sound Note that none of these shape effects are audible unless Reverb Time is set short enough Generally Reverb Time should be set to a value of about 1 2 seconds for small rooms and up to 2 4 seconds or so for halls Size should also be set to a value appropriate to the desired hall size note however that small sizes color the reverberation 15 meters makes a very small room and 38 meters is useful for a large hall Used with care Shape and Spread allow the 300L to produce superior ambi ence a sound which is spacious and has great depth without the long reverberation of a church The Random Hall algorithm in the 300L incorporates random delay elements These elements have several effect
118. he button under the TC slider accesses a display page which allows you to enter a new number via the keypad assign new values for Hours Minutes Seconds or Frames via sliders or trim the displayed time code again by 4 seconds Press the button below the EXIT slider to return to the Edit page with the newly assigned number displayed Press STOre to save the edit The TYPE slider allows you to define the type of automation event which occurs at the assigned time code number The choices are S Setup This must be the first entry in any Event List MA Effect change for Machine A MB Effect change for Machine B will change only if a split type Setup is running PA Parameter glide for Machine A PB Parameter glide for Machine B will change only if a split effect is running in Machine B PS Parameter glide for current running Setup The SEL slider allows you to scroll through the items associated with the TYPE of event you define For instance the first event in the list must be a Setup Select S with the TYPE slider then use the SEL slider to select a Setup Preset or Register Once you ve defined the event edit press STOre to save your entries Other wise moving the EDIT slider to select another edit event will clear your edits Once the list is edited you can test it from Page 7 Use slider 1 to select VIEW Locate your source audio to the 5 second pre roll area The upper and lower displays will show 00 CUEING T
119. he timing of the bouncing delays The stored value of the SoftSlider parameter is 40 Try with AMIX set to 4096 OR try with BMIX set to 60 MA B15P6 VOCAL SHIFT This preset combines a short delay line recirculating around a maximum 21 cent pitch shifter However the amount of pitch shifting will vary with the input level going more negative in pitch as the level increases MB B11P5 PINGO PONGO Ping Pong delays bouncing back and forth The SoftSlider controls the timing of the bounce P134 CC DLY gt COMP SoftSlider DELAYSPACE 50 MA B11P6 3VOICE DLY MB B16P1 EZ COMP 2 1 The SoftSlider controls the timing relationships of the 3 voice delay settings in Machine A The SoftSlider value is stored at 50 MA B11P6 3VOICE DLYS Two taps Delays 3 and 4 are set with delay ratios of 1 2 meaning that when one is 200ms the other is 400ms or when one is 359 the other is 718ms This relationship is patched to the Soft knob MB B16P1 EZ COMP 2 1 A nice preset to add to an overall mix You may need to adjust the Threshold parameter to make it work for the particular signal you re feeding it Release is set to gently fall away after 363ms P135 CC SLAPS SoftSlider SPACE 50 MA B16P9 SPATIAL EQ MB B11P3 STEREO SLAPS This effect places a Spatial EQ preset ahead of Machine B which is running a stereo slap delay program The SoftSlider controls multiple parameters in each machine As you advance the SoftSlider the delays will get a bit lon
120. his program are static but the amount of cross feedback and output panning is dependent on input level The outputs are cross patched to each meter The left meter controls the right output pan and the right meter controls the left output pan B11P9 PAN DELAYS This program incorporates two slightly out of sync recirculating delays under SoftSlider control along with output pans mapped to the internal LFO Use the SoftSlider to match the tempo of the music or program material B11P0 VOX DOUBLER The SoftSlider modifies Left and Right Delays 1 amp 2 There is also a small amount of cross feedback via Left and Right Delays 3 and 4 Add Feedback and AP Gain as described in SLAP ECHO The Left and Right Post Delays are fixed at 53 513 ms B12P1 OVERTHETOP 1 This program should be used pretty much through the box i e patched to the LFO When properly modulated the flange delay glides between 9 5ms and 18 7ms The base delays are set to 10ms with a positive feedback gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay B12P2 OVERTHETOP2 Similar to OverTheTop1 except the flange delay glides between 0 08 ms and 10 7ms This flange delay is patched to the LFO Base delays are set to 10ms with a negative amplifier gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay The channel outputs are reversed such that the left input will pass through to the right output and vice versa
121. ht and long The SoftSlider controls the treble decay as well as the crossover parameter creating some real timbre magic Great on cheap cymbals and all guitars P60 BAND IN ROOM SoftSlider LIVENESS 54 As the name implies this preset can emulate a good sized space with a highly reflective echo content The SoftSlider will modify the texture Great to fill in a groove P61 SPACE amp EKOZ SoftSlider BLEND 60 Combines a little reverb and some discrete echoes The SoftSlider grabs control of the Room Size and Reverb Level as well as the levels for Delays 3 and 4 Moving the SoftSlider will create a distinction between the two Use the SoftSlider between 0 25 for good fill on acoustic rock and roll instruments SoftSlider range 80 100 is real nice on slow ballad vocals P62 VOCAL STAGE SoftSlider DECAY 36 Bright and medium diffused with RT is stopped down shorter 69 seconds P63 WAVE WALLS SoftSlider DECAY 56 This large sounding effect preset has emphasized randomization which gives pure toned instru ments a wobbly tonality The SoftSlider is patched to the Mid Rt decay time P64 BRAND X SoftSlider DECAY 54 A little bit of this a little bit of that and you ve got Brand X The SoftSlider is mapped to the Mid Rt decay parameter Not bad on anything P65 HANGAR SoftSlider HIGH CUT 60 Big wide open enclosed space 38 8M Very diffuse Akin to a hangar with two 747 s in it P66 EARLY REFLEX SoftSlider SPACING 50 Moderately
122. identifying name and pointers for one or two effect programs There are three basic types of setups Single Dual Mono and Cascade INPUT LEVEL ANALOG DIGITAL METERS RIGHT INPUT LEVEL ALVL BLVL METERS LEFT RIGHT INPUT LEVEL INPUT METERS LEFT RIGHT BALANCE SINGLE SETUP MACHINE EFFECT ID INPUT BALANCE MOD EDIT PATCH PATCH SETUP NAME Single Setups contain point ers to a Single type Effect DUAL MONO SETUP INPUT BALANCE MIX EFFECT ID MACH MACH B ABAL MOD EDIT PATCH PATCH CASCADE SETUP CASCADE MIX FEEDBACK MOD EDIT EFFECT ID PATCH PATCH MACH A MACH B SETUP NAME SINGLE MACHINE A EFFECT MOD EDIT ALGORITHM RANDOM AMBIENCE STEREO PITCH SHIFT RICH PLATE PARAMETER VALUES EFFECT NAME Dual Mono and Cascade Setups each contain pointers to 2 Split type Effects SPLIT EFFECT MACHINE A OR B MOD EDIT SPLIT EFFECT MACHINE A OR B ALGORITHM DuaL petays st aowust parameter cHamBer compressor VALUES MONO PITCH SHIFT EFFECT NAME MOD EDIT PATCH PATCH ALGORITHM pevays smar M parameter compressor 1 VALUES MONO PITCH SHIFT EFFECT NAME 300L Owner s Manual 2 4 Operating Modes Lexicon The 300L is always in one of the following four operating modes Setup preset or register Select Mode Pr
123. ider decreases the initial impact of the drum hits Great for the entire kit P52 ONSTAGE SoftSlider LIVENESS 50 This general fill preset puts you right on stage in the middle of the it all Advancing the SoftSlider will cause the sound to be more reflective and livelier sounding P53 GUITAR CAVE SoftSlider DECAY 64 Solo time with a vengeance Long predelay with recirculating pre echoes Lots of left right bounce The SoftSlider has a connection to the Mid Rt parameter P54 DRUM CAVE SoftSlider DECAY 65 Cave for drums Medium sized with a big open bloom Use the SoftSlider to vary the Mid Rt to suit the tempo of the music P55 BALLROOM SoftSlider SIZE SHAPE 60 Big space with a short RT Add to your horn track The SoftSlider will dramatically change the character of the envelope of the reverb P56 SCORE STAGE SoftSlider LIVENESS 60 Makes use of a medium size 24 2 meter with a high amount of diffusion The SoftSlider controls both the high frequency response as well as the diffusion characteristics Great on string parts or full orchestra P57 DRUMGATE SoftSlider DURATION 62 Loud and dense Use the SoftSlider to match duration of the gated reverb sound to the tempo of the music Boom boom on drums P58 LEGATE SoftSlider HIGH CUT 64 Loud and dense Use the SoftSlider to control the high frequency content of this gated sounding reverb effect P59 THIN LIZZY SoftSlider SIZZLE 67 Medium small size 16 9 Meters and really brig
124. ied two effect registers will be created each with a machine identifier A or B Both effect registers will indicate the same Setup register location as shown in the example below Both effect names now reference Setup Register 1 7 REV RE SA 1 REV RE SB 1 300MA B01R2 300MA BO1R3 The BANK and PROG keys be used to load a new Effect or Effects into a Setup This is perfectly legal to do but may seem counter intuitive to the direct Setup Select operation For those familiar with 224XL or 480L operation this may seem more logical Load Setup 1 LARGE HALL The name of the effect which is loaded into that setup is also Large Hall If you press PROG the display will show LARGE HALL 300MA B01P1 indicating the Machine MA Bank B1 and Program location P1 forthat Effect To load a different Effect into the Setup press PROG repeatedly to locate the Effect you want from that Bank There are 10 Effects per Bank For example press PROG until the display reads DANCE HALL 300MA B01P5 The Bank and Program location will flash to indicate that DANCE HALL is not the Effect currently running in the current Setup To load DANCE HALL and make it the currently running Effect press 5 for Program 5 The display will briefly show PROGRAM LOADED then revert back to display of the DANCE HALL Bank and Program location without any flashing To go to another Bank or to simply view the names of
125. ility opens new avenues to all time code users Dynamic MIDI is included for real time performance control and effects auto mation All parameters in the 300L can be patched to most MIDI controllers allowing full control from remote devices For full MIDI automation all parameter changes can be recorded on any sequencer For additional control complete System Exclusive information is available Introduction Lexicon Sound Even with the best functions and features the heart of any signal processor is its sound The 300L contains the very best of the Lexicon Sound with new refinements such as dynamic size parameters in the Reverb and Ambience algorithms We have also included stereo and mono pitch shifting both straight delay and modulated delay effects a mastering algorithm with precision level balance controls and equalization These sounds combined with analog and digital audio I O time code based effect change an internal LFO and full MIDI automation result in a system that provides new creative options each time you use it We re confident you ll find that the 300L s combination of state of the art sound and extraordinary versatility combined with the convenience of remote control is exactly what you re looking for to make sure you don t miss out on anything we d like you to read this manual It provides a thorough explanation of both front panel and MIDI operation digital and analog interfacing descriptions of the ef
126. in the system is 80 So far so good that is until you add more than 20 Cascade Feedback BE CAREFUL CASCADE Setups offer an amazing number of effect combinations Chambers into Delays Pitch Shifts into Chambers Flanges into Delays Reverbs into Compressor etc You experiment name and store new combinations into User Setup Registers Remember Input levels Source Balances Mix Balances Feedback amounts LFO type and of course the two effects are part of the storable Setup System Operation 3 9 300L Owner s Manual Lexicon Setup Select Mode Setup Select mode allows you to select and run Setup Presets and Registers The Setup Presets 3 10 The 300L is shipped with 150 Setup Presets as well as 50 user Setup Registers for storing your modified Setups The Setup Presets listed below provide a convenient starting point for selecting the audio DSP routing along with an effect s you want to use Virtually all Setup Presets have SoftSlider assign ments made to them Moving the SoftSlider will change the most useful aspect of a Setup s sound characteristic See Chapter 5 for complete descriptions of each preset Single Setup Presets Setup Name LARGE HALL MEDIUM HALL SMALL HALL SYNTH HALL DANCE HALL SOLO HALL CHURCH GOTHIC HALL GATED HALL DEEP END ROOMS REHURSAL ROOM STUDIO A STUDIO B STUDIO C LARGE ROOM SMALL ROOM BEDROOM W C INVERSE ROOM CHAMBER BRICK WALL OIL DRUM WIDE CHAMBER FAT CHAM
127. ing low frequencies TDC sets the frequency above which sounds decay at a progressively faster rate Itfilters allthe sound exceptthe pre echoes When set relatively low it gives a darker tone to the reverberation simulating the effect of air absorption in a real hall TDC also helps keep the ambience generated by the program from muddying the direct sound DIF controls the degree to which initial echo density increases over time High settings of DIF resultin high initial buildup of echo density and low settings cause low initial buildup Echo density is also affected by SIZ smaller spaces will sound denser To enhance percussion use high settings of diffusion For clearer and more natural vocals mixes and piano music use low or moderate settings of diffusion When LNK is set the reverb time and spread values scale linearly as the SIZ control is varied For some special effects RTM and SPR can be unlinked RLVL sets the amount of reverberation in the processed signal It is normally FULL but may be reduced for effects where the pre echoes should dominate Random Hall Page Three SPN affects the movement of the reverberation tail The object of SPN and WAN is to continuously alter the timbre of the reverberant sound This makes the result more natural without making the position of instruments unstable SPN should typically be 20 or higher High values may make the pitch of piano or guitar unstable WAN sets the distance in tim
128. ion as a unified engine Both analog and digital inputs can be utilized simultaneously Each type of input A or D has a source Level and Balance control The Level control varies the input level to the DSP engine for each type of input Analog or Digital The Balance controls determine what ratio of Left Right balance feeds the DSP engine The Setup signal path is shown below Analog and Digital Out Overal gt L Mix R Digital Balance Analog and digital input levels and balances are located on Page 2 of the Setup mode From the Setup display press PAGE to view Page 2 3 5 300L Owner s Manual 3 6 Lexicon Example Virtually all Single Setups have Balance set to 5096 This means an equal Dual Mono Setups proportion of Left and Right input signal is passed into the Single Effect Press the button below the ANA BAL slider Analog Balance Pull the slider down to let more of the Left input pass through Advance the slider to allow more of the Right channel to pass through Return the parameter to 5096 allowing proper stereo to pass to the DSP effect Before the signal passes into the loaded effect a post input level and post balance is picked off and bypasses the effect This is the Dry signal path The Dry signal and the Wet DSP effect signal are summed and proportionally mixed by the control labeled OMIX Overall Mix This control is on the next Page Press PAGE once Th
129. is process can take several seconds when the Setup includes reconfiguration of machines I O etc The REG slider accesses 50 Setup Registers where you can store your customized setups Move the REG slider or press the button beneath the slider then enter a register number via the numeric keypad to cue a nd display a new register Press ENTER to load the displayed register A quick double click of the button below the PRE or REG slider will put the slider into a fine resolution mode The slider will then cue up or x presets from its current position Double click again to exit the fine mode In the Setup mode the rightmost slider labeled SOFT is designated as a soft controller Setup and or Effect parameters can be patched to this slider for easy access to the most useful parameters of any given effect We have already designed Soft Slider patches for all ofthe Single setups and for most of the Dual Mono and Cascade setups For example most of the Hall programs have RTM reverb decay patched to the SoftSlider while Chorus or Flange types of sounds may have the LFO rate or feedbacks patched to the SoftSlider SoftSlider System Operation 3 3 300L Owner s Manual Selecting Analog and or Digital Input 3 4 Lexicon The 300L as shipped from the factory is set to run Analog In at 48kHz To change the Analog Sampling rate to slave lock the 300L to an external digital device or to external system word clock press CTRL to e
130. ked to within 2 samples If precise synchronization is desired the LDL and RDL controls should be setto the same value SNC should be set from On and then the pitch should not be changed The two channels will remain precisely synchronized even though both are continually changing the splice length in response to the incoming pitches The leftmost PCH control adjusts the pitch interval of both channels in stereo mode and the left channel in mono mode The second PCH control is only active in mono mode where it adjusts the right channel The exacttuning can be altered by the fine pitch control and the exact pitch shift in intervals and cents is displayed The fine control must be set to the exact middle of its range if perfect pitch intervals are to be obtained In the long display Fine Pitch is shown by the number of cents added to or subtracted from the semitone intervals Remember that Pitch Interval will produce exact intervals only if Fine Pitch is centered The leftmost FIN control acts on both channels together in stereo mode and the left channel in mono mode It adjusts pitch continuously over a range of a few hundred cents and is additive to the PCH controls If PCH is set to the middle of its range the leftmost FIN control can be used to set very small values of pitch shift producing a chorusing effect The second FIN control is only active in mono mode where it adjusts the right channel Stereo Pitch Shift Page Two LDL a
131. ks going with each of their respective delay lines Dual Delays Page Five LDL sets the left channel delay line s time RDL sets the right channel delay line s time A quick double click on the LDL or RDL slider button will allow you to control the delay with more resolution To exitthis fine control mode double click on the button again LPAN adjusts the left delay channel pan placement RPAN adjusts the right delay channel pan placement The Algorithms and their Parameters DL1 DL2 FB1 FB2 APD1 APD2 All Pass Left and Right Delays AP1 AP 2 All Pass Left and Right Gain DL3 DL 4 FB3 FB4 LDL RDL LPAN RPAN 300L Owner s Manual Chamber General Description Chamber Parameters RTM 19 51 508 RAN NONE 0 98 UP FULL Lexicon The Chamber program provides several presets which can be loaded into any Dual Mono or Cascade setup In the Dual Mono setups it passes audio Mono In Mono Out In the Cascade setups audio is routed Mono In Stereo Out The Chamber program can simulate many different types of acoustic spaces or mechanical devices The Chamber algorithm is great on anything Sizes of 25 and larger set a lower acoustic density SHP and SPR help create the illusion of larger spaces while using short reverb times As in the Random Hall algorithm the LNK parameter couples SIZ to the RTM and SPR Unlink provides a method of setting stable RTM and SPR values then adjusting SIZ to set
132. l 3 4 Single Set ps e OM et eese cebat 3 5 Du l Mono Setups b e i ette et idee ree dena 3 6 Cascade Setups esesssssesssss 3 8 Setup Select 3 10 The Setup Presets ssssssssssssseseeeneeennnn 3 10 Set p Select sec cette Bec eerte e P a debet en eterna 3 13 Storing a 3 16 Working with the Effect Programs em 3 17 Storing Individual Effect Registers 3 19 Automatic Storing of Modified Effects 3 20 Using Banks and Programs 3 21 MIDI Modulation Patching 3 27 Control Mode oue ee mee OM etes Reis 3 28 Analog and Digital Audio Selection 3 28 Emphasis SCMS ssssssssssseeeeeeennene 3 29 Copy Enable Disable Bypass Mute Program Load Memory PUJE 3 30 Offline Copy TO0lS inscite iR orbe ette eee EE eed 3 30 MIDI Automation Dumps and Channel Selection 3 31 MIDE MaD T be Det Cet Et 3 31 Time Code Snap and View
133. lay feedback If the effect is too heavy lower the feedback amount No SoftSlider patches MB B13P3 DRUM CHAMBER Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has less Diffusion Rt is set to 1 0 second at mid frequencies No SoftSlider patches P130 CC REV gt COMP SoftSlider THRESHOLD 50 MA B13P4 GUITAR ROOM MB B16P4 COMP 4 VERB This preset changes the dynamics of the Guitar Room effect preset If you play around with the compressor preset you will no doubt get some strange effects The SoftSlider is mapped to the Threshold parameter in Mach B MA B13P4 GUITAR ROOM This is a big wide sounding room for your guitars For heavy rock stuff you might consider panning in the returns The room is a little bottom heavy for additional warmth Could also work well on vocals MB B16P4 COMP 4 VERB This compressor preset was made to work AFTER a reverb effect The Slope ratio is less than 2 1 with 5dB of gain below the 14dB threshold The release is set to work fast at 91 ms P131 CC COMP gt REV SoftSlider NONE MA B16P2 DRUMCOMP 3 1 MB B13P8 BASEMENT Squash it up alittle before they the drums go into the Basement If you opt to send pre fader signals to this Setup you will need to modify BMIX to some mid value MA B16P2 DRUMCOMP 3 1 This is abit more aggressive with 7dB of boost below the selected threshold A quick release of 58ms snaps up the volume As with all com
134. lay lines The last pair of delay pointers LDL and RDL can be thought of as independently adjustable post delays These can be adjusted anywhere along the 2 5 second delay line The output of each delay line can be positioned anywhere in the stereo pan field LPAN adjusts the position of the left delay loop RPAN positions the output of the right delay loop Note The intensity of the OVER THE TOP and ENVELOPE presets can be increased by sending the effect a prefade signal from your console The Algorithms and their Parameters Split Setup Algorithms Dual Delays General Description 300L Owner s Manual Lexicon Dual Delays Parameters PAGE ONE FDL FBD FBD LFG RFG 0 19 947MS 0 19 947MS 0 19 947MS 99 TO 99 99 TO 99 PAGE TWO DL1 FB1 DL2 FB2 0 2498 917MS 99 TO 99 0 2498 917MS 0 99 PAGE THREE AP1 APD1 AP2 APD2 0 191 0 9 963MS 0 191 0 9 963MS PAGE FOUR DL3 FB3 DL4 FB4 0 2498 917MS 99 TO 99 0 2498 917MS 99 TO 99 PAGE FIVE LDL LPAN RDL RPAN 0 2498 917MS L 0 98 R L R 0 2498 917MS L 0 98 R L R Parameter ranges are dependent on setting of Sample Rate Ce Dee Flanger 1 gt als D Ses ears p gt cts poene gt FED rera Dual Delays Page One FDL Flange Delay FDL is a separate 20 ms ganged gliding stereo delay line FBD Left and Right Flange The FBD controls are base delays which get summed with the stereo ganged Base De
135. lays flange delay These base delays are adjustable throughout a 20 millisecond range LFG Left and LFG and are flange gains which are adjustabe as a feed forward amplifier Right Flange Gain loop 49996 positive value or feedback amplifier loop 99 negative value 4 26 Dual Delays Page Two DL1 and DL2 set the delay values for the respective left to left and right to right feedback loops A quick double click on the DL1 or DL 2 slider button will allow you to control the delay with more resolution To exitthis fine control mode double click on the button again FB1 and FB2setthe gain offeedbackfor each of the delay lines Available values range from 99 to 99 gain Dual Delays Page Three APD1 and APD2 are diffusors All Pass Delays in series with the feedback loops associated with DL1 and DL2 Their controls range from 0 to 10 ms These controls essentially tune the diffusor delay line AP1 and AP2 are gains associated with the diffusors You can think of them as controlling the amount of diffusion Dual Delays Page Four DL3 controls the delay time which cross feedbacks to the input of DL2 DL4 controls the delay time which cross feedbacks to the input of DL1 A quick double click on the DL3 or DL 4 slider button will allow you to control the delay with more resolution To exitthis fine control mode double click on the button again and FB4 control the gain of the cross feedbac
136. ld set the SIZ control to approximate the size of the acoustic space you are trying to create before adjusting anything else The size in meters is roughly equal to the longest dimension of the space Moving SIZ while a signal is present may cause audible transients on critical material The apparent size of the space created is actually a combination of the settings ofthe SIZ SHP and SPR controls Small acoustic spaces are characterized by a rapid buildup of diffusion However both small and large spaces frequently have an uneven buildup of initial reverberation This uneven buildup is controlled by the SPR and SHP controls HFC setsthe frequency above which a 6 dB octave low pass filter attenuates the processed signal It attenuates both pre echoes and reverberant sound High frequencies are often rolled off with this parameter resulting in more natural sounding reverberation HFC is typically set betwen 2kHz and 6kHz PDLY adjusts an additional time delay between the input of signal and the onset of reverberation The control is not intended to mimic the time delays in natural spaces In real rooms the build up of reverberation is gradual and the initial time gap is usually relatively short Natural spaces are best emulated by setting SHP at a middle value and adjusting SPR for the desired effective initial reverb envelope Additional delay added with the PDLY control can increase the initial time gap slightly emulating a situation where
137. ltage inside the enclosure voltage that may be sufficient to constitute a risk of This triangle which appears on CAUTION your component alerts you to important operating and main RISK OF ELECTRIC SHOCK nth _ DO NOT OPEN tenance instructions in this ac companying literature shock Lexicon Inc Copyright 1997 3 Oak Park All Rights Reserved Bedford MA 01730 1441 Telephone 617 280 0300 Lexicon Part 46070 10673 Rev 1 Fax 617 280 0490 Introduction 1 Installing the 300L MOWING ee minero t elit p cet etie 1 2 Power Requirements 1 2 The Rear Panel notan e rtt het e pe PO pee te 1 3 Connectors Cables and Configurations 1 4 Aboutthe LARG ren n eius 1 6 How to Interface the LARC ssssssssseeeneeeeeneen nnn 1 7 Setting Analog Audio 1 8 GonfIg rations td std be dec 1 10 System Overview Terms used in this manual sess 2 2 Operating Modes sssssssessseeeeeeenenennneen nennen nennen 2 4 Checking your System s Status 2 5 System Overview essssssssssssseeeee eene 2 6 System Operation Gettihg Started eoe tte ea fd cem E pete tte eut 3 2 SMe EET 3 3 Selecting Analog and or Digita
138. lues of Bass Multiply of 1 0 or less so a value of 0 8 could be tried when attempting to match an existing hall There are two additional controls to deal with Shape and Spread adjust the effective reverb time when the music is running Higher values of Shape and Spread produce a longer effective reverb time Longer effective reverb times give greater spaciousness to the sound The 300L reverberation algorithm offers the option of adding early reflections pre echoes which have been made into diffused clusters of pre echoes The density of the cluster is set by the Diffusion control We recommend that these pre echoes be used with caution unless you are trying to match the sound of the reverberation to a particular location where such reflections are strong The Algorithms and their Parameters Random Delays Creating a Realistic Sound 4 3 300L Owner s Manual Lexicon Random Hall Parameters PAGE ONE RTM SHP SPR SIZ HFC PDLY 24 64 17S 0 255 0 255 4 0 39 4METERS 0 1 26 5KHZ FLAT 0 1000MS BAS XOV TDC DIF LNK RLVL 0 2X 4 0X 0 1 26 5KHZ 0 5 21 2KHZ 0 99 LINK UNLINK OFF 48DB UP FULL PAGE THREE SPN WAN RTM SHLF 0 48 OuS 37 1MS 24 64 17S OFF 48DB UP FULL PAGE FOUR DL1 LV1 DL2 LV2 RTM RLVL 0 1000MS OFF 24 0DB UP FULL 0 1000MS OFF 24 0DB UP FULL 02 64 17S OFF 48DB UP FULL PAGE FIVE DL3 LV3 FB3 DL4 LV4 FB4 0 2800MS OFF 24 0DB UP FULL 93 TO 9396 0 2800MS OFF 24 0DB UP FULL 93 TO 9396 Parameter ranges are dependent o
139. m the LARC or by simple means such as cable replacement Any error states which are not covered here should be referred to your local dealer for service by a qualified technician In alow voltage or brown out condition the 300L will freeze in its current state None of the controls will have any effect When power returns to a normal level the unit will reset itself as though it had just been powered on If the unit does not reset itself turn the power OFF then ON to resume normal operation Temperature extremes may cause the 300L to exhibit unpredictable behavior If the unit as been subjected to temperatures below 32 F 0 C or above 95 F 85 C it should be turned off and allowed to return to normal temperature before use The unit may be damaged by exposure to temperatures below 22 F 30 C or above 167 F 75 C or by exposure to humidity in excess of 95 If a unit exposed to such conditions fails to operate after it returns to a normal operating temperature contact your local service representative The 300L doesn t respond to MIDI Program Changes Check the PARAM MIDI channel on the MIDI Control page in Control mode and checkthe Table Mode setting on the same page The Table Mode should be set to FIX or TABLE Also check MIDI In Out connections between the units The 300L doesn t respond to Controller messages when using Dynamic MIDP Check the PARAM MIDI Channel number on the MIDI Control page in Control mode and check
140. mber of cents added to or subtracted from the semitone intervals Remem ber that PCH will produce exact intervals only if FIN is centered FIN adjusts pitch continuously over a range of a few hundred cents and is FIN additive or subtractive to the PCH control DLY adjusts the length of a delay line from zero to 510ms 2ms steps Optimal DLY pitch shift occurs when DLY is about 40ms FBK controls the amount of positive feedback from the output of the delay line FBK to the input of the pitch shifter The control is adjustable from 0 to 99 Some very useful arpeggiated effects can be obtained by combining pitch shift delay and feedback 300L Owner s Manual Lexicon BNPS BPS is a band pass filter which rolls off the frequency responce of the audio before the splicing algorithm The 3dB pointis 100 Hz The purpose of the band pass filter is to give the pitch shifter less information than it actually needs to decide when to make the splice Typically this will further improve the perform ance of the pitch shifter The Algorithms and their Parameters Small Stereo Adjust The Small Stereo Adjust algorithm is a scaled down version of Stereo Adjustwith General Description some of the specialized features omitted It is designed to be put in Cascade Setups ahead of PONS or Compressors Small Stereo Adjust Parameters BAL BAS BAS BXO SPEQ OFF 72 05DB TO 12DB L 3 TO R 3 CUT 18DB 6DB CUT 18DB 6DB 0 1 26 5KHZ CUT 6 00
141. n Function Transmitted Recognized Remarks Basic Default 1 1 Mach A Mach B and Channel Channel 1 16 OMNI 1 16 OMNI System on separate channels Memorized Mode Defaullt Messages Mode 1 3 Altered Note X 0 127 Used as controller Number True Voice Velocity Note ON X O v 1 127 Used as controller Note OFF X X After Keys X X Touch Channels X X Pitch Bender X MSB only Control 0 95 X OX 0 99 Controllers can Change be patched to control effects parameters 96 OX OX Data Increment 97 OX OX Data Decrement 98 OX N RPN 99 OX N RPN Program O 0 127 Change True O 0 127 System Exclusive O O System Song Pos X X Song Sel X X Common Tune X X System Clock X as Controller Real Time Commands X X Aux Local ON OFF X X Messages All Notes OFF X X Active Sense X X Reset X X Notes If Channel is set to OFF 300L will not recognize any messages Mode 1 OMNI ON POLY Mode 3 OMNI OFF POLY 9 2 Mode 2 OMNI ON MONO Mode 4 OMNI OFF MONO Yes X No 10 300L Specifications 10 1 300L Owner s Manual 300 Specifications Audio Input and A D Conversion Input Channels 2 Input Impedance Full Scale Input Level Common Mode Rejection Frequency Response Phase Linearity Delay Crosstalk Signal to Noise Ratio Total Harmonic Distortion SMPTE Intermodulation Distortion Dynamic Range Pre emphasis Gain Control D A Con
142. n Swap DC DC Offset Nulling DCL and DCR Left and Right Channel DC Offset LDL Left Channel Coarse RDL Right Channel Coarse 300L Owner s Manual LFD Left Channel Fine RFD Right Channel Fine LFB RFB LFF and RFF Lexicon Fine Sample Delays These can be used for subtle time alignment adjustments The 300L will correctly display the resulting time shift as a function of the sampling rate As many as 500 samples can be added to any stereo coarse delay setting for a maximum possible delay per channel of 5 seconds 500 samples 48 kHz 20 833 microseconds per sample 44 1 kHz 22 676 microseconds per sample 500 sample 2 samples per step mono fine adjust for the left channel A quick double click of the slider button will allow you to control the delay in single sample increments To exitthe extra fine mode double click on the slider button 500 sample 2 samples per step mono fine adjust for the right channel A quick double click of the slider button will allow you to control the delay in single sample increments To exitthe extra fine mode double click on the slider button Two feedback paths are available per channel overall and fine Overall feedback is the total delay of DLY L R DL L R FD and is useful for long echo effects Fine Feedback LFF and RFF is only around the Fine Delay and can be used for very short delay effects and coloration All feedback gains are adjustabl
143. n settings of SIZ and LNK Feedback 1 P Deiay 3 Level gt Leve 1 gt Reverberator L High F gt mw sz se sem mesp rema Random Hall Page One RTM Mid Frequency sets the reverb time for mid frequency signals Because low frequency Reverb Time reverb time BAS is a multiplier of RTM RTM acts as a master control for the reverb time SHP Shape SHP and SPR work together to control the overall ambience of the reverberation created by the 300L SHP determines the contour of the reverberation envelope With SHP all the way down reverberation builds explosively and decays quickly 4 4 SPR works together with SHP to control the duration of the initial ambience created by the 3001 Low SPR settings result in a rapid onset of reverberation atthe beginning of the envelope with little or no sustain Higher settings spread out both the buildup and sustain As SHP is advanced reverberation builds up more slowly and sustains for the time set by SPR With SHP in the middle the buildup and sustain of the reverberation envelope emulates a large concert hall assuming that SPR is at least halfway up and that SIZ is suitably large 30 meters or larger SIZ sets the rate of buildup of diffusion after the initial period which is controlled by DIF It also acts as a master control for RTM and SPR The SIZ control changes a reverb sound from very large to very small Generally you shou
144. ncrete building P43 CAR INTERIOR SoftSlider WINDOW UP DN56 Not much explanation nessessary here except that the SoftSlider is attached to Spin which waffles the audio around P44 MEETING ROOM SoftSlider LIVENESS 64 Hotel like Predelay is set to 25 2ms the wet mix sounds like the microphone is towards the back of the room The SoftSlider modifies Size Rolloff and Diffusion P45 LIVING ROOM SoftSlider LIVENESS 50 A little bigger room with a faster attack The RT is shorter but higher in amplitude than in Meeting Room P46 POWDER ROOM SoftSlider DECAY 64 Complete with mirrors Use the SoftSlider to control the Reverb time in the room Use a pre fader and youre there P47 FULL CLOSET SoftSlider HOW FULL 64 Dull and crammed full of clothes The SoftSlider modifies the Size and High Frequency rolloff As in Powder Room use a pre fader send and utilize only the returns in the mix P48 PODIUM SoftSlider DISTANCE 50 Picture a person at a podium making a speech The SoftSlider will add more or less pre delay Mix to taste to create speech space P49 STUDIO D SoftSlider HIGH CUT 60 Very small carpeted Announcer Booth P50 OFFICE SoftSlider LIVENESS 62 A little bigger than Studio D The SoftSlider controls Size HF Rolloff and Diffusion to add more or less liveness to the sound source P51 LIVEDRUMROOM SoftSlider IMPACT 70 Bright and tight The SoftSlider is patched to the Shape parameter so that advancing the sl
145. nd clock time will all be in synchronization Color video signals run ata rate of 29 97 frames per second and clocking a one hour color program at 30 frames per second will result in a time discrepancy of 3 6 seconds or 108 frames In order to correct this discrepancy a version of time code called SMPTE Drop Frame was developed SMPTE Drop Frame Time Code as its name implies eliminates frame ad dresses from the Time Code each hour to allow matching of time code and clock time Specifically frame addresses 00 and 01 are eliminated at the end of every minute in an hour except for minutes 00 10 20 30 40 and 50 For example 00 00 59 29 advances to the number 00 01 00 02 In Drop Frame mode the frame numbers 00 and 01 do not exist except for minutes 00 10 20 30 40 and 50 Since Drop Frame time code eliminates only frame addresses the actual video is unaffected Color video frames continue to progress at the rate of 29 97 per second Any calculations of program length based on Drop Frame time code will therefore agree with standard clock time The 300L reads time code in the following formats SMPTE Standard time code compatible with a monochromatic frame rate of 30 frames per second SMPTE Standard Drop Frame time code compatible with a color frame rate of 29 97 frames per second Compatible with the European broadcast standard frame rate of 25 frames per second Compatible with frame rates of 24 frames per second Time C
146. ndependent flange base delays are available each with a 20ms range in single sample steps There is also a ganged stereo gliding flange delay There are two flange gain controls which vary the overall amount of flange effect The stereo gliding flange delay is typically modulated by the internal LFO Setting the flange gains very high will cause an over the top type of flange to occur as the flange glide delays cross over the base delay pointers The outputs of the flange delays are fed to the delay left and delay right lines which are 2 5 seconds long Once into these delay lines you can create many different delay effects There are two programmable taps on each delay line DL1 left and DL2 right can be programmed anywhere along this 2 5 second path There will however be no apparant delay unless a feedback value is assigned to the delay values via FB1 and FB2 All Pass filters or diffusors in line with the feedback paths are labeled APD1 All Pass Delay and APD2 The amount of diffusion is set by AP1 and AP2 When AP is turned high and FB1 is adjusted away from the 0 value each feedback loop will be rediffused DL3 and DL4 are cross feedback delay lines They are also adjustable anywhere along the 2 5 second delay line DL3 feeds from the left delay position to the input of the right delay line The same is true with DL4 feeding into the left delay line The feedback parameters adjust the amount level passed into the destination de
147. ning DE9 50 ft extra flexible cable cables can be linked Up to 100 feet when powered from mainframe up to1000 feet possible with optional remote power source for LARC Specifications Analog Input to Analog Output 48kHz sampling rate Frequency Response Crosstalk Signal to Noise Ratio Total Harmonic Distortion SMPTE Intermodulation Distortion Dynamic Range Digital Audio Interfaces AES EBU professional digital audio interface EIAJ CP 340 SPDIF consumer digital audio interface Sample Frequency Control Interfaces Time Code Input MIDI Interface LARC Lexicon Alphanumeric Remote Control Controls Display Connector Type Cable Operating Distance 10 3 300L Owner s Manual General Dimensions Weight Power Requirements Power Consumption Environment Safety Approvals Lexicon 19 0 W x3 5 H x13 6 D 483x89x346mm 19 rack mount standard 2U high Net weight 18 9 lbs 8 6 kg Shipping weight 24 5 Ibs 11 1 kg 100 120 230 10 4 596 50 60 Hz 3 pin IEC power connector 75 VA maximum Operating Temperature 32 to 95 F 0 to 35 C Storage Temperature 22 to 167 F 30 to 75 Humidity 9596 max without condensation CLA approval Specifications subject to change without notice Lexicon Inc 3 Oak Park Bedford MA 01730 1441 Telephone 617 280 0300 Fax 617 280 0490 Lexicon Part 44070 10673 Rev 1
148. nning in the returns although in this Setup the Room output is in Mono The room is a little bottom heavy for additional warmth Could also work well on vocals MB B15P2 GUITAR SHIFT This preset offers a medium amount of micropitch shift 14c along with a small amount of recirculating predelay Actually the glide pitch parameter GLD is patched to the LFO running in the Setup The LFO causes the GLD to glide between 14 and 7 cents If you turn off the LFO on Setup page 4 then return to program edit and move the GLD parameter to 21c the preset becomes raunchy sounding on beefy guitars P104 DM REV COMP SoftSlider INPUT PAN 0 MA B14P9 PLATE MB B16P1 EZ COMP2 1 This preset utilizes a plate preset on the left input and a compressor preset on the right input Typically EZ Comp2 1 should be used at a patch point on the console If used on an effect send make sure the fader sends are pre fade or a time phase error will occur between the fader signal and the return to the console MA B14P9 PLATE Very bright very diffuse with an preset reverb time or 1 47 secs MB B16P1 EZ COMP 2 1 An easy preset to add to an overall stereo mix or mono or stereo submix You might need to adjust Threshold to make it work for the particular signal you feed it Release is set to gently 2 1 fall away after 363ms The Presets 5 11 300L Owner s Manual 5 12 Lexicon P105 DM DLY DLY SoftSlider LFO RATE 50 MA B12P3 CHORUS M
149. nt in the ADD mode and press STOre once for each time you want the time code duplicated Return to the Event Edit page and store each event You can also select a particular event in the ADD mode simply to modify its contents usually to duplicate it at a new time code location To do this select the event modify it then press STOre The original event will remain untouched The modified event will be saved as a new event in the list Time Code Operation To delete an entry from the list advance the EDIT ADD DEL slider to DEL and Deleting an Event position the slider to correspond to the event you wish to delete Press STOre to delete the selected event from the list f you delete a Setup or Machine effect make sure that no remaining glide events are dependent upon the deleted item The Event List can be transferred via MIDI data dumps On Page 5 slider 2 Dumping the list to DMP has 4 selections DUMP ALL REG DUMP CURRENT DUMP MIDIMAP MIDI storage devices DUMP TC LIST Leave the slider at TC LIST and press STOre Your MIDI storage device will then receive the dumped Time Code list 6 9 300L Event List Comment lt at N wr LO cO oo o JO IN xr LO co r JO O O xr co TK o JO lt xr co KR JO e je je e e e N CX IN IN N N QN eo JOO JS sr sr lt lt st
150. nt may require a bit more Diffusion B13P3 DRUM CHAMBER Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has less Diffusion Rt is set to 1 0 second at mid frequencies No SoftSlider patches B13P4 GUITAR ROOM This is a big wide sounding room for your guitars For heavy rock stuff you might consider panning in the returns although in this Setup the Room outputis in Mono The room is a little bottom heavy for additional warmth Could also work well on vocals B13P5 BIG amp SHORT This reverb effect is short almost gated Big room size set to 54 6M and Rt Set to 0 9 seconds This preset really opens up a sparse track B13P6 L CHAMBER L Chamber mimics the shape of a chamber shaped like that letter A little bigger than the U chamber Reverb time is patched to the SoftSlider B13P7 U CHAMBER This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall The SoftSlider controls the Mid Rt B13P8 BASEMENT Tight and short Size is 15 8 meters and the tonality is fairly resonant sounding Almost trashy sounding low diffusion and will certainly get so if the Rt is made longer Explosive on snare drums B13P9 JOE S B amp GLive performances in Joe s 14 6M Bar Advance the SoftSlider andthe room size grows into a Bar and Grill B13P0 JOE S GARAGE Two bays no waiting Small and bright Great for Mono ADR w
151. nter the 300L Control mode The first page defines the input and output structures of the 300L STA CLK DIN INP OUT OFMT This page allows you to view the current status of the box STA define sample clock speed specify a digital Input connector DIN and select Input type INP output type OUT and digital output format OFMT STA System Status View only This slider lets you view but not change the current status of the system parameters CLK Analog Clock Rate Press the button under the slider to show the current analog clock sample rate Use the slider to select a new clock sample rate If a Digital clock has been selected to master the 300L the display will show the current sample rate DIN Digital Input Connection Before setting the 300L to receive Digital Word Clock usethis sliderto designate one digital input connector XLR RCA or Optical as the master forthe system You can have all three connector ports occupied but only one can be selected as a master and audio source INP Analog Digital or Both Identify the type of connector which will be receiving digital clock via DIN then selectthe Inputtype here In SINGLE Setups there are three choices ANALOG DIGITAL or ANAlog DiGital Use the slider to select the type of input you wish to use If you select DIGITAL and the system is properly locked the display field will briefly show AES or SPDIF to indicate the format of the incoming si
152. nto the compressor in Machine B The SoftSlider controls the Diffusor in Mach A MA B14P4 BIG BRICKS Real ratchety sounding effect Powerful for non linear applications The SoftSlider controls the diffusion characteristics MB B16P2 DRUMCOMP 3 1 This preset amplifies Big Bricks with 7dB of boost below the selected Threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter P143 CC REV EKOZ SoftSlider RVB LEVEL 60 MA B14P1 BIG HALL MB B12P4 CHORUS EKOZ This is a beautiful long lasting effect Almost half of the input signal passes around Big Hall and feeds directly to the Chorus and EKOz effect in Machine B Use the SoftSlider to modify reverb content feeding machine B If you need a pristine effect for a pristine track this is it MA B14P1 BIG HALL Big and open sounding The 44ms of Predelay helps to separate the stage from the seating area Real good sounding on ballad vocals MB B12P4 CHORUS EKOZ Chorus EKOz makes use of the flange gliding delay under the control of the Setup LFO plus several recurring long echoes P144 CC REV KORUS SoftSlider RVB LEVEL 60 MA B13P5 BIG amp SHORT MB B12P3 CHORUS This Setup is a variation of the one above except that it s a shorter close in effect The SoftSlider controls the amount of reverb effect feeding into Machine B The LFO is patched itself such that the LFO speed is never contant Machine B s output is channel s
153. o its own Effect Registers Much easier 300L Owner s Manual Banks and Programs Single Effects Banks 1 10 BANK 1 HALLS B1P1 LARGE HALL B1P2 MEDIUM HALL B1P3 SMALL HALL B1P4 SYNTH HALL B1P5 DANCE HALL B1P6 SOLO HALL B1P7 CHURCH B1P8 GOTHIC HALL B1P9 GATED HALL 1 DEEP END BANK 2 ROOMS B2P1 ROOMS B2P2 REHURSALROOM B2P3 STUDIO A B2P4 STUDIO B B2P5 STUDIO B2P6 LARGE ROOM B2P7 SMALL ROOM B2P8 BEDROOM 2 9 2 INVERSE ROOM BANK 3 CHAMBERS B3P1 CHAMBER B3P2 BRICK WALL B3P3 OIL DRUM B3P4 WIDE CHAMBER B3P5 FAT CHAMBER B3P6 CHUNKY B3P7 HOMEROOM B3P8 OPEN WIDE B3P9 WET SUIT B3PO BASEMENT BANK 4 AMBIENCE B4P1 AMBIENCE B4P2 MARBLE FOYER B4P3 LARGE AMB B4P4 MEDIUM AMB B4P5 SMALL AMB B4P6 V SMALL AMB B4P7 HEAVY AMB B4P8 BRIGHT AMB B4P9 SMOOTH AMB B4PO WAVE AMB BANK 5 DIALOG B5P1 IN A ROOM B5P2 B5P3 B5P4 B5P5 B5P6 B5P7 B5P8 B5P9 5 STAIRWELL CAR INTERIOR MEETING ROOM LIVING ROOM POWDER ROOM FULL CLOSET PODIUM STUDIO D OFFICE 3 26 BANK 6 INSTRUMENT B6P1 LIVE DRUM ROOM B6P2 ONSTAGE B6P3 GUITAR CAVE B6P4 DRUM CAVE B6P5 BALLROOM B6P6 SCORE STAGE B6P7 DRUM GATE BeP8 LE GATE B6P9 THIN LIZZY B6PO BAND IN ROOM BANK 7 LIVE SOUND B7P1 SPACE amp EKOZ B7P2 VOCAL STAGE B7P3 WAVE WALLS B7P4 BRAND X B7P5 HANGAR B7P6 EARLY REFLEX B7P7 STAGE SLAP B7P8 HUGE SPACE B7P9 VOCAL SHEEN B7PO ALMOST VERB BANK 8 P
154. o material or with binaural material to which reverberation has been added excessive low frequency difference signals can result On such material it is better to use the SPEQ control which will achieve a similar result The SHUF control varies from 0 shuffler off to a maximum of 10 While theory would suggesta setting of 10 fora dummy head a setting of 5 appears to be more useful in practice The setting is very much a matter of taste If closely spaced microphones are used the setting will scale inversely with the microphone distance in centimeters For a spacing of 15cm try a shuffler setting of 5 For a spacing of 30cm try a setting of 3 For a spacing of 7cm try a setting of 10 The Algorithms and their Parameters SHUF Binaural Shuffler 300L Owner s Manual Lexicon Stereo Pitch Shift General Description Stereo Pitch Shift is a stereo or two channel mono pitch shifter with several useful effects including delay feedback and glide These are independently adjustable for each channel The pitch shifter in the 3001 includes a pitch detection feature which automatically adjusts the period of the splices to match the pitch of incoming signals This feature greatly reduces the artifacts associ ated with pitch shift In stereo mode both channels are linked and the sum of the two channels L amp R is used in the pitch detector In mono mode each channel splices independently In either case it takes about 40 ms for the pitch det
155. o select the actual Setup or Effect To return to the main Edit Page press the button under the EDIT slider For additional information on Time Code see Chapter 6 This page provides the controls for setting the analog Input and Output Gains before and after the converters Only sliders 2 and 3 LFT and RT input gain and sliders 5 and 6 LFT and RT output gain are active IN LFT RT OUT LFT RT IN LFT Sets the input gain for the left channel IN RT Sets the input gain for the right channel OUT LFT Sets the output gain for the left channel OUT RT Sets the output gain for the right channel System Operation Page Nine Input Output Gains 300L Owner s Manual Lexicon 3 34 The Algorithms and their Parameters 4 4 1 300L Owner s Manual 4 2 Single Setup Algorithms Random Hall General Description Lexicon The 300L incorporates the results of a great deal of research into acoustics and reverberation Reverberation or reflected sound energy gives recorded music a sense of being performed in a real acoustic location Inthe 300L the Size Spread and Shape controls allow adjustment ofthe buildup and decay of the initial part of the reverberation envelope Shape controls the shape ofthe envelope while Spread and Size setthe time over which this shape is active In the Random Hall program Size acts as a master control for the apparent size of the space being created by the 300L Both Spread and Reve
156. ode Operation The 300L allows youto use time code in any of the recognized formats to trigger The Event List Setup Effect and parameter changes Up to 50 time code entries can be made on an Event List Time codes canbe Using time code to entered via the numeric keypad they can be snapped onthe fly whiletimecode initiate program is running or they can be selected with dedicated sliders changes To access the Event List simply press the LARC CTRL button to enter Control mode then use the PAGE button to display page Seven The upper display will show TIME CODE DISABLED The lower display will show Advance the leftmost slider to select VIEW to access the current Event List The display will show VIEW 00 00 00 00 Advance the slider again to display SNAP 00 00 00 00 CLR Now the button below the leftmost slider will snap a timecode event each time itis pressed The rightmost button will clear the last snapped event from the list The Event List number 1 50 is shown on the upper display The 300L automatically sorts the Event List based on the time code addresses If you add a new event it will be placed on the list at the appropriate place and other entries will move in position If you delete an entry the remaining entries will retain their relative positions but will move up one position 6 3 300L Owner s Manual 6 4 Lexicon Snapping events The easiest way to develop a list in the 300L is to SN
157. ogram Preview Mode Register Preview Mode Control Mode The 300L always powers up in its last operating state Each mode and the paths for entering and exiting it are described below Setup Select Mode Press SETUP This mode allows you to View the machine currently being addressed by the LARC Display the program or preset currently running in the machine View and or alter parameters Program Preview Mode Press PROG Press BANK to view program banks Press PROG to view programs in the bank This mode allows you to Select factory programs Register Preview Mode Press REG Press BANK to view register banks Press REG to view programs in the bank This mode allows you to Select store and recall programs from registers Control Mode Press CTRL To exit press CTRL again This mode allows you to View system status Alter input and set digital operation Address the register transporter Transmit MIDI Program Change messages Enable MIDI SysEx Automation Transmit MIDI Bulk Dumps Enable time code Edittime code Event List Press CTRL to enter Control Mode Press PAGE then press 1 Move slider 1 SEL on Page one of the control program for a quick display of the following information INPUT TYPE SAMPLE RATE DIG CONNECT OUTPUT TYPE PATCH POINTS OUTPUT FORMAT EMPHASIS EMPHASIS IN SCMS BYPASS MODE LOAD MODE MIDI AUTOMATION MIDI CHANNEL SYSTEM MACH A B MIDI MAP MODE TIME COD
158. oices available to the user including Sample Rate Analog or Digital Input connector Digital and Analog Emphasis De emphasis Digital Output format AES or SPDIF Digital Copy SCMS and Emphasis bit manipulation Processor Configuration The I O organization is part of the 300L s Control Mode Other items which form part of the global operaton of the box are Time Code event list viewing and editing MIDI Mapping Tables Purge functions for User Registers Copy Tools and Bypass button functions 2 6 By far the most important aspect of the 300L is the Setup and its association to the digital effect s that you want to use The 300L has three types of Setups Single Dual Mono and Cascade Each is strikingly different and together they provide incredible audio possibilities Each Setup includes pointers to one or more effects along with other items such asmachine input s and source balance s the relationship between wet effect and dry input mixing for each machine meter functions LFO rates and shapes anda naming function In addition there are two 2 modulation patches which can link source controllers to two Setup parameters To simplify the choice among the many possible effect and system routings the 300L is shipped with 150 Setup Presets The organization of the Setup Presets is shown to the side These factory presets cannot be overwritten but can be modified and stored as user setups in any of 50 setup registers
159. onnections can be made with fiber optic or XLR cables instead of 75Q coaxial RCA cables 300L Owner s Manual Lexicon AES EBU to S PDIF Conversion Source Machine DIGITAL AUDIO or DIGITAL VIDEO MACHINE AES EBU Format Analog outputs for monitoring EJAJ CP340 Out S PDIF Format RDAT MACHINE Analog outputs for monitoring CONSOLE or Destination Machine HEADPHONE AMP S PDIF to AES EBU Conversion Source Machine RDAT MACHINE or CD PLAYER S PDIF Format Analog outputs for monitoring AES EBU Format DIGITAL AUDIO or DIGITAL VIDEO CONSOLE MACHINE Analog outputs for monitoring f HEADPHONE AMP Destination Machine Digital Source DIGITAL AUDIO or DIGITAL VIDEO MACHINE AES EBU Format AES EBU Format DIGITAL AUDIO or DIGITAL VIDEO MACHINE Analog outputs for monitoring Digital Destination ANALOG I O and AES EBU Digital Output AES EBU Format AA m 229 DIGITAL AUDIO or DIGITAL VIDEO MACHINE Analog outputs for monitoring Destination Machine on Installing the 300L ANALOG I O and AES EBU to AES EBU Analog Source ANALOG MACHINE or CONSOLE Analog audio Out Analog audio CONSOLE HEADPHONE AMP or ANALOG MACHINE Analog Destination Source Machine CONSOLE or MIKE PREAMP Analog audio Out Analog audio CONSOLE HEADPHONE AMP or ANALOG MACHINE 300L Owner s Manual ANALOG In with Di
160. ontrol Once again the LFO Rate determines the speed of the pan The speed of the LFO is set via the SoftSlider This preset should be used from a pre fade send source P90 THIN EKOZ SoftSlider FEEDBACK 51 Thin Ekoz filters some of the bottom end of the source signal The SoftSlider controls the amount of feedback through the delay lines P91 STEREO SHIFT SoftSlider SHIFT UP DN 64 Straight ahead stereo pitch shifting with the SoftSlider attached to the Glide parameter The stored value of the SoftSlider is 64 which when decreased to zero will yield an output 2 octaves down when all the way up will give an output 1 octave above unison P92 OCTAVE DOWN SoftSlider FINE PITCH 64 Just like the name sez The SoftSlider controls the stereo L R Fine Pitch parameter P93 VOX CHORUS SoftSlider SPLIT PITCH 60 This preset is configured with different preset values of pitch shift for left and right down 23 cents on the left and down 43 cents on the right There are also different delays for the left and right with small amounts of feedback for each Whip this one on either the lead vocal or BG Vox The SoftSlider raises and lowers the pitch for each chanel inversely As one channel goes up the other goes down P94 POLE FLANGE SoftSlider FEEDBACK 64 Similar to a Barber Pole type flange Mix 50 50 between source and returns The SoftSlider increases the feedback routing of the pitch shifter delay line and gives a more aggressive sound P
161. ork Bank 13 Split Rev 1 The Presets 5 27 300L Owner s Manual 5 28 Bank 14 Split Rev 2 Bank 15 Mono Shift Lexicon B14P1 BIG HALL Big and open sounding The 44ms of Predelay helps to separate the stage from the seating area Real good sounding on ballad vocals B14P2 GREAT ROOM The SoftSlider advances the Predelay and spreads to open the room up almost to hall proportions Bass multiply is set to 2 0X to round out the bottom end B14P3 GREAT HALL The largest room size yet at 64 meters Similar to Great Room with Spread and Predelay patched to the SoftSlider with the addition of reverb time also patched Dig Deep B14P4 BIG BRICKS Real ratchety sounding effect Powerful for non linear applications The SoftSlider controls the diffusion characteristics B14P5 DRUM ROOMS Deep and narrow in shape The SoftSlider makes the room shallower and gated sounding as you reduce its value B14P6 DELAY ROOM This preset offers a nice room reference The SoftSlider is patched to Predelay Use this to make a bounce off the back wall effect without changing the Reverb Time B14P7 RECITAL HALL This medium large 44 5M space opens sound sources beautifully Made for string pads and voice No SoftSlider patches B14P8 BIGBATHROOM Bright and clean Generic WC Great for solo stuff or for adding liveness to a track SoftSlider draws out the Reverb Time B14P9 PLATE Very bright very diffuse with an preset reverb time or 1 47 se
162. pressor presets Threshold is the critical parameter MB B13P8 BASEMENT TIGHT AND SHORT Room size 15 8 meters and the tonality is fairly resonant sounding Almost trashy sounding low diffusion and will certainly get so if the Rt is made longer P132 CC DLY gt PCH SoftSlider LFO RATE 50 The Presets 5 19 300L Owner s Manual 5 20 Lexicon MA B12P3 CHORUS MB B15P1 SHIFT IT This preset combines a stereo chorus passing into a mono shift program BMIX is set to 6096 meaning some of the stereo chorus bypasses the mono pitch shift Modify the Glide Pitch GLD parameter in Machine B to suit your taste The LFO is set moderatly fast to 2 16Hz with a Triangle shape MA B12P3 CHORUS This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa In a Dual Mono Setup of course this is inaudible MB B15P1 SHIFT IT Baseline mono shift program with no pitch shift Go to the glide parameter GLD in Program Edit mode to adjust the amount of mono pitch shifting you want P133 CC PCH gt DLY SoftSlider DELAY SPACE 40 MA B15P6 VOCAL SHIFT MB B11P5 PINGOPONGO This is a very interesting detuned left right delay effect The SoftSlider controls t
163. ransmissions Once you have selected an automation mode simply put your sequencer into Record and change the 300L s parameters to get the sounds you want When you play the sequence back the 300 will respondto the recorded information just as it was recorded Note The choice between SysEx or Non Registered Parameters is determined by your sequencer s capabilities and your current utilization of its available functions With a bit of experimentation and taking into consideration other MIDI data you need to record you can find the best combination for your equipment Note Program Change messages are transmitted over the SYSTEM channel when automation is set to PROG CHANGE MIDI Operation Real time MIDI Effects Automation Using Real time SysEx and Non Registered Parameters 7 9 300L Owner s Manual Using Dynamic MIDI to transmit and receive MIDI Controller Information Using SysEx and Dynamic MIDI Patches Controlling Multiple 300Ls Lexicon Some sequencers cannot record SysEx or Non Registered Parameter informa tion In this case you can use Dynamic MIDI patches and record the MIDI Controller information used to getthe real time effect changes you want Simply create the patches you want and record the Controller information on your sequencer When the sequence is played back the 300L s Dynamic MIDI patches will respond to the recorded Controller commands This type of operation gives the best of all
164. rate Emphasis off Gain switch at OdB and Gain Control at unity OdB 48kHz sample rate 10Hz tp 21 5kHz 0 2dB 80dB maximum 10Hz to 20kHz 90dB minimum A weighted 0 0196 maximum 10Hz to 20kHz 0 0196 maximum 90dB minimum Balanced female XLR digital input Balanced male XLR digital output Conforms to AES 3 1992 ANSI S4 40 1992 Both input and output are transformer coupled Input output levels and impedance comply with CCITT V 11 and EIA RS 422A Unbalanced coaxial RCA type digital input and output SPDIF compatible Optical fiber optic type digital input and output 48kHz 5Hz 42 kHz to 50kHz 44 1 kHz 5Hz Master Slave Balanced female XLR EIA 422 input 100mV p p minimum Formats supported Speed Range SMPTE 0 75 to 1 18 Drop or Non drop EBU 0 80 to 1 33 Film 0 82 to 1 33 5 pin DIN connectors provided for MIDI IN MIDI OUT and MIDI THRU Four mode select buttons BANK PROG SETUP REG used with ten numeric select buttons 1 to 0 a page select button PAGE aload key ENTER a control program key CTRL a machine select key MACH two auxiliary control buttons MUTE STO six sliders for smoothcontrol of up to 128 parameters per program with associated display select buttons Two lines of 12 alphanumeric LEDs for interactive display additional line of 24 alphanu meric LEDs sixgroups of four for each slider dual 16 position LED headroom indicator calibrated 24 to 12 dBm with overload war
165. rb Time vary linearly with the setting of Size Thus maximum reverb time and spread require high settings of Size To find an appropriate reverb sound start with a preset with a similar sound to what you want to end up with Simply varying Size is often sufficient to arrive at the exact sound you are seeking Once a size has been selected Spread and Shape are used to adjust the shape and duration of the initial reverb envelope which together provide the major sonic impression of room size When SHAPE is at minimum the reverberation envelope builds up very quickly to a maximum amplitude and then dies away quickly at a smooth rate This envelope is characteristic of small reverberation chambers and reverberation plates There are few if any size cues in this envelope so it is ineffective in creating ambience With this Shape setting Spread has no effect The density is set by the size control and the rate of decay is set by Reverb Time This reverberation envelope is typical of many of the popular digital reverberators of the last few years As Shape is raised to about 1 8 of its range the initial sharp attack of the reverberation is reduced and reverberation builds more slowly The envelope then sustains briefly before it begins to die away at the rate set by Reverb Time Spread has little or no effect on this shape When Shape is at 1 4 of its range buildup is even slower and the sustain is longer Now Spread affects the length of bot
166. rb time and spread values scale linearly as the SIZ control is varied For some special effects RTM and SPR can be unlinked The Algorithms and their Parameters Mono Pitch Shift The Mono Pitch Shift Algorithm has several useful effects including delay General Description feedback and glide The pitch shifter in the 300L includes a pitch detection feature which automatically adjusts the period of the splices to match the pitch of incoming signals This feature makes the splicing intelligent and greatly reduces the artifacts associated with pitch shift Ittakes about 40 ms for the pitch detector to obtain an optimal pitch value Setting the DLY control to this value will give the smoothest pitch shift Shorter values can be used for special effects or when extra delay cannot be tolerated There are two interacting controls for pitch described below Pitch Interval and Fine Pitch Adjusting any pitch control activates a display that shows the musical interval and any fine adjustment in cents Mono Pitch Shift Parameters PCH FIN DLY FBK BNPS 2 TO MAJ7 96 0 510MS NONE 98 MAX OFF ON esse Shifter i v a OA Mono Pitch Shift Page One PCH adjusts pitch interval The exact tuning can be altered by FIN andthe exact PCH pitch shift in intervals and cents is displayed FIN must be set to the exact middle of its range if perfect pitch intervals are to be obtained Fine pitch is shown by the nu
167. ree Four amp Five These pages provide control over three stereo delay pairs All three are summed with the output of the reverberator Many many different echo combinations are possible RAN sets the rate of the randomization process Plates should generally use low amounts of randomization DL1 and DL2 0ms 2000ms are recirculating delay lines assigned to the left 1 and right 2 channel inputs The path of either is picked off after the diffusor with the amount of recirculation defined by the adjustment of FB1 for DL1 and FB2 for DL2 DL1 and DL2 are the only delays which feed back recirculate into the reverberator as well as into the other delay lines A quick double click on the DL1 or DL2 slider button will allow you to control the delay with more resolution To exit this fine control mode double click on the button again FB1 and FB2 determine the amount of recirculation passed back through to the left and right inputs DL3 Oms 1000ms and DL4 Oms 1000ms are also picked off after the diffusor The level of each is controlled by LV3 and LV4 respectively A quick double click on the DL3 or DL4 slider button will allow you to control the delay with more resolution To exit this fine control mode double click on the button again LV3 and LV4 determine the loudness of DL3 and DL4 DL5 0ms 2800ms and DL6 Oms 2800ms allow you to build non diffused recirculating echoes independent of the reverberator E
168. reset 1 Large Hall as described on the previous page 2 Press PAGE followed by the number 5 The UPPER display should read LARGE HALL SETUP PAGE 5 System Operation The lower displays over the slider will read SEL SRC DEST SCL THR VAL Slider 1 SEL addresses the patch you are creating Advancing the slider will address either Patch 1 or Patch 2 For this example pull the slider down to create patch 1 Slider 2 SRC assigns a control source which will drive the destination parameter Press the button directly under the slider to display OFF NO PATCH Advance the slider and the top display line will scroll through all the available MIDI and non MIDI source controllers The last source selection is LFO Slider 3 DEST behaves in the same way This slider determines what Setup parameter the DESTination will be controlled by the LFO For this example slowly advance the slider until the display shows ANALOG BAL Analog Balance Press the button under the SCL slider to display SCALE 100 THRESH 0 Sliders 4 and 5 work together to yield the overall control mechanism to the selected destination parameter in this example Analog Balance For this example we will not change these controls Slider 6 VAL allows you to set the displayed parameter value to the source controller s current value Note that changing VAL will in mostcases require you to modify the scale value Go to Page 4 pres
169. rs The 300L has 2 patches forSetup parameters and 4 patches for each Effect Machine In Dual Mono and Cascade Setups each machine can have 4 patches 7 5 300L Owner s Manual Lexicon SEL Select This slider defines the current patch In SETUP mode this slider will go from 1 to 2 The upper display will read 300 SETUP PATCH Zn OFF In PROG or REG mode the upper display will read CNTLR 0 MODWHEEL BREATH CNTLR 3 FOOTPED PORTATIME VOLUME CNTLR 9 PAN EXPRESSN CNTLR 12 15 GPCNTRL1 4 CNTRL20 31 SUSTAIN If you are currently running a Split Setup and are in PROG or REG mode the PORTA SW SOSTENSW MACH key is active Pressing MACH will jump you to the other Machine Go to SOFTPED the patch page and press the button under the SEL slider The display will show SWITCH68 79 GP CNTRL5 8 SWITCH84 95 PITCHWHL AFTERTCH LASTNOTE LAST VEL MIDI CLK SOFTSLID L METER R METER LFO Available Source selections SRC Source Use this slider to select the source controller which will control your selected parameter 300 MACH A B MOD PATCH n L Prt 300 MACH B A 7 0 e2oa a MOD PATCH n DEST Destination Use this slider to select the parameter to be modulated by the controller SCL Scale Use this slider to set the effective range of your source controller Scaling can be set from 200 to 420096 When SCL is set to 100 the full range of the MIDI controller will correspond to the full range of
170. rter The same arrangement exists for the pre echoes SMALL HALL SoftSlider DECAY 64 An even smaller version a bit denser good for general reverb fill P4 SYNTH HALL SoftSlider LIVENESS 50 A very diffuse medium sized room with a long RT value The SoftSlider advances Spread Delay 1 Level Delay 2 Level and Hi Cut Rolloff P5 DANCE HALL SoftSlider LIVENESS 50 Medium bright hall 1 4 seconds of reverb time Super on backing vox Great for the whole band The SoftSlider is patched to Spread HiCut PreDelay P6 SOLO HALL SoftSlider DECAY 64 A medium size hall with more impact and less Diffusion Great on solo voice or instrument P7 CHURCH SoftSlider DEPTH 64 This preset is big and spread out There are 2 close in pre echoes and 2 longer and softer delays which have low recirculation added The SoftSlider controls Spread Treble Decay and the delay times for Pre Echoes 3 and 4 P8 GOTHIC HALL SoftSlider DEPTH 50 Suitably large space 29 8M filtered medium bright as in a space made of rock and stone A hefty sound is an understatement Smaller sizes make beefy dense spaces The SoftSlider controls Mid Rt Shape and Spread P9 GATED HALL SoftSlider SIZE 64 If one existed this might be it Very diffused strong and abrupt P10 DEEP END SoftSlider HOW DEEP 64 This preset actually goes from the Deep End to Deeper The SoftSlider advances Size Delay 3 time and Delay 4 time P11 ROOMS SoftSlider SIZES 64 Thi
171. ry natural sounding P17 SMALL ROOM SoftSlider LIVENESS 50 Short quick room which is great for adding resonance to a voice Like Large Room the Liveness changes without changing the Room Size P18 BEDROOM SoftSlider REFLEXIONS 64 Short and brighter than Small Room The SoftSlider turns up all 4 pre echoes and increases the Stereo nature of the sound 19 SoftSlider DECAY 64 Stand up in the water closet Bright reflective and non diffuse SoftSlider controls the decay P20 INVERSE ROOM SoftSlider DURATION 60 Let s face it this ain t real The SoftSlider changes the Room Size and delay times for pre echoes 3 and 4 P21 CHAMBER SoftSlider DECAY 64 Imagine a chamber with a reflective plaster finish The SoftSlider is patchedto the Mid Rt parameter Advancing the slider increases the decay value P22 BRICK WALL SoftSlider DIFFUSION 65 This preset is wide and abrupt sounding gated in nature The SoftSlider changes the diffusion characteristics P23 OIL DRUM SoftSlider TUNING 64 Round and booooomy All of the pre echoes are utilized to present strong reflections from the original source The SoftSlider changes the Size and Spread parameters P24 WIDE CHAMBER SoftSlider DECAY 64 Similar size 23 6M with a wider shape and spread Pre echoes are added for wall strength A good starting point for pop sounds The SoftSlider modifies Mid Rt P25 FAT CHAMBER SoftSlider DECAY 64 A medium space 22 5M with a mildly exagg
172. s First there is a reduction of long lived modes in the reverberant decay which makes the decay less metallic and reduces the apparent reverb time The random elements also improve the steady state timbre of the program The speed at which the delay elements move is controlled by Spin Values of Spin which are higher than about 38 can cause audible pitch wobble in very critical material such as classical guitar or piano and can also cause noise on pure tones This noise is not audible in speech however and for mixed music or speech values up to 48 will give an improved sound Wander is typically set to about 10ms at larger settings of Size Smaller values of Wander should be used when smaller Sizes are used When you set out to create a sound the first and most important decision is how big a space you want The best way to start is to listen to several presets and choose the one which sounds closest to what you have in mind If necessary use Size to make a slightly larger or smaller sound as needed Next use Reverb Time to fine tune the amount of time the reverberation takes to die away at the end of musical phrases Actual halls vary a great deal in their actual Reverb Time values The setting of Bass Multiply is also critical in matching the sound of an existing hall An ideal concert hall would have a Bass Multiply setting of 1 2 It is rare when actual physical spaces exceed 1 5 Many if not most good recording environments have va
173. s Flange Glide Delays Advancing the SoftSlider will drive the LFO faster and speed things up but may cause Machine A to pitch too heavily This preset can be used with either mono or stereo sources but discrete echoes will appear at the left output MA B12P8 LFO FAZEDLYS Faze Dlys makes use of the LFO to the Flange Glide Delay FDLY The base delays are set in different time domains one side at 1 9ms with a feedforward gain the other at 5 6 with a negative feed gain As the Glide passes over each base delay the phase of each gain is changed In between the output is a mixture of each A great effect on a ripping guitar solo MB B12P3 CHORUS This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa In a Dual Mono Setup this is of course inaudible The Presets 5 13 300L Owner s Manual 5 14 Lexicon P112 DM WIDEFLANG SoftSlider LFO RATE 50 MA B12P1 OVERTHETOP1 MB B12P2 OVERTHETOP2 This preset can be used with either two mono sources or one stereo source One channel glides with a positive resonance the other flanges with a negative resonance This preset sounds extra heavy with pre fader sends going to each input The LFO which is pres
174. s Manual About the LARC Main Display Shows names and values for all selections Program Select Press to enter Program mode Press repeatedly to scroll through presets in a bank Register Select Press to enter Register mode Press repeatedly to scroll through registers in a bank Slider Display Line Shows abbreviated names of the parameters currently under the control of the slid ers Full name appears in the Main Display Control Sliders Adjust parameter values Lexicon Headroom Indicator 12 dBm indicates analog or digital clipping Proper input level is with 12 dB and ovid LEDs unlit Numeric Keypad Press one of these keys to load a program selected with PROG or REG Also used to select pages Function Keys Bank scrolls through groups of programs or reg isters lexicon SETUP brings you to the tope level of the user inter face 1 6 BANK sepr sro CTRL MACH MUTE JENTER Pace VAR PROG REG STO stores edited setups and program registers CTRL toggles in and out of the control mode MACH toggles between machines when Split or Cascade setups are se lected MUTE toggles the removal and restoration of proces sed audio from the outputs ENTER loads selected set ups Saale aie PAGE steps through pages of setup and program pa rameters Slider Display Keys Show parameter name and value in main display Press twice to engage v
175. s PAGE followed by number 4 and set the LFO rate to 1 00 Hz To view the parameter being modified go to Page 2 and press the button under slider 3 ANA BAL This is the basic model for making MIDI MOD patches in the 300L 300L Owner s Manual Storing a Setup Lexicon To disable the patch press SETUP press the button under the PRE slider then press ENTER to re select the Setup thereby restoring the original settings Page 6 is a dedicated page for naming the Setup with as many as 12 characters The two active sliders are sliders 1 and 6 Slider 1 selects the character Slider 6 changes the character We strongly encourage you to rename setups whenever storing a setup If you make changes to any of the setup parameters and want to save your changes into a Setup Register press STOre The display will show AVAILABLE SG 1 The top line ofthe display shows the name ofthe Register slot where the modified Setup will be stored If AVAILABLE is displayed the register is empty The bottom line which shows the register location where your setup will be stored will flash to indicate you are in the middle of a store routine If you want to store the setup into a different register than the one displayed use the REGister slider to select a different location Press STOre again The display will briefly read STORED SG SET R 1 Then will revert to the previous display LARGE HALL SG SET R 1 This store
176. s base delay MB B12P2 OVERTHETOP2 Similar to OverTheTop1 except the flange delay glides between 0 08 ms and 10 7ms This flange delay is patched to the LFO Base delays are set to 10ms with a negative amplifier gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay The channel outputs are reversed such that the left input will pass through to the right output and vice versa P146 CC GUITARXP SoftSlider LFO RATE 50 EA B12P9 LFO PAN amp FAZE EB B12P8 LFO FAZE DLYS GuitarXP incorporates a left right panning effect in Machine A into a modulating glide effect with added delays The LFO set to 0 20Hz with a triangle waveform ties it all together Here re some suggestions add some extra LDLY Left delay and RDLY Right delay to Machine B in the Program Go back to Setup and reduce BMIX to less than the preset 100 say to something like 4595 find the Cascade feedback parameter and add a small NO MORE THAN 1596 amount of feedback gain either positive or negative then store it all in a Setup Register MA B12P9 LFO PAN amp FAZE This cool wavy preset should be run pre fader with the Setup LFO at about 20Hz With a mono or stereo signal attached to both inputs the acoustic effect is a slow rotation in phase Clean compressed guitars are the best here MB B12P8 LFO FAZEDLYS Faze Dlys makes use of the LFO patched to the Flange Glide Delay FDL The base delays are set in different time domains one side
177. s preset links Room Size to the SoftSlider As you advance the SoftSlider Room Size will go from its initial value of 17 5M 1 24 8 and down to 9 6M These rooms are diffuse and very articulate sounding Lower values of SIZE tend to be more resonant sounding Good for dialog reads P12 REHURSALROOM SoftSlider PADDING 64 This is a dense brashy sounding space with the listener in the back of the room Rolling off the high cut filter will put the carpeting on the walls as you advance the SoftSlider Room Size is setto 15 2M so the sound is very tight Good on vocals and mix fill P13 STUDIO A SoftSlider LIVENESS 50 This preset sounds like the big rooms 125 hour The SoftSlider is patched to Delay Levels 3 and 4 as well as to the Rolloff and Treble Decay parameters Advancing the slider increases all of these parameters making the studio brighter and more reflective Very stereo sounding P14 STUDIO SoftSlider LIVENESS 60 A smaller Studio area than Studio A The SoftSlider is patched to Treble Decay Spread and Hi Cut Rolloff Advancing the slider makes the Studio more reflective and live P15 STUDIO C SoftSlider LIVENESS 50 Cut your dialog and scratch vox in here The SoftSlider interacts similar to the B room making things more reflective P16 LARGE ROOM SoftSlider LIVENESS 64 Characteristic size 19 1M with a fast randomization The SoftSlider modifies HiCut Spread and Shape without changing the Room Size Ve
178. sfeed has a positive sign When the control is set to either maximum or minimum the gain in the crossfeed circuit is unity The result of this control is to change the separation of low frequency stereo signals When the control is raised low frequencies in the sum mono channel are reduced and low frequencies in the difference stereo channel are raised With the control at maximum low frequency mono signals are completely removed This represents an extreme setting which should seldom be needed in practice With material which has stereo bass information or which contains some reverberation the effect of raising SPEQ is to increase the sense of spacious ness and depth of the sound It is particularly useful on material recorded with panpots or coincident and semi coincident microphone technique When most of the bass in a recording is in the sum mono channel raising SPEQ may reduce the bass level This effect can be compensated for by raising the overall bass level with the BAS controls Since both controls use the same BXO setting this compensation will be quite accurate as long as SPEQ is set to less than 3 dB boost Small stereo Adjust Page Two TXO sets the crossover point for TBL and TBR When either is set to full cut the level is 3 dB at the frequency set with TXO These controls allow independent adjustment of left and right treble ROT is similar to BAL but it treats stereo information somewhat differently Any si
179. shold to make it work for the particular signal you re feeding it The release parameter rips the signal up within 91ms B16P6 SMALL ST ADJ This preset is a cut down version of the larger Stereo Adjust program available in Single Setups Level Balance Rotate separate Left and Right Bass and Treble along with Spatial EQ are available There are no SoftSlider patches in this preset B16P7 PANOLA A stereo adjust program with the Balance set to full left The Balance parameter is patched to the LFO If loaded into a Setup which has the LFO running Panola will cause the audio to move between the left and right speakers B16P8 FILTER PASS This program is meant to reduce the bandwidth of the source audio The SoftSlider is patch to the Bass crossover and Treble Crossover parameters When this Program is loaded into another Setup the Bandpass will be set to what ever the SoftSlider value is set to B16P9 SPATIAL EQ A cut down version of the larger Stereo Adjust program available in Single Setups This particular preset has the Soft knob patched to three parameters Spatial EQ SPEQ Bass Left BASL and Bass Right BASR boosts and cuts B16P0 PONS DITHER This program has dither turned on and set to PONS Psycoacoustically Optimized Noise Shaping with level of 32 Experiments have shown this to be an optimum starting level of dither Bank 16 Mastering The Presets 5 29 300L Owner s Manual Lexicon 5 30 Time Code Operation 6 6
180. sional or consumer equipment This allows for format conversion as well as using the high quality A D converters to feed digital recorders Control of additional Channel Status information is provided as well Dual DSP Architechture The 300L utilizes two proprietary high performance DSP engines The configu ration of these engines can be determined by the end user to suit a particular audio application The Single Setup configuration unites both DSP engines Two split configurations Dual Mono and Cascade allow each DSP engine to run a special program especially designed for Split applications The Single algorithms include Random Hall Random Ambience Rich Plate Stereo Pitch Shift and Stereo Adjust The split algorithms include Dual Delays Chamber Mono Pitch Shift Compressor a special mastering dither program called PONS Psychoacoustically Optimized Noise Shaping and a less extensive version of Stereo Adjust Comprehensive Effects Automation The 300L makes effects automation available in three different ways If you use time code the 300 s Event List and Time Code Reader add a new twistto effects processing Each entry in the 50 item list contains a time code value and a 300L effect preset register number allowing incoming time code to trigger setup and effect changes as well as setup and effect parameter glides For changing effects in music or changing rooms and environments for film and video the 300L s time code capab
181. ter For example if BAS is set to 2x and RTM is set to two seconds the low frequency reverb time will be four seconds For a natural sounding hall ambience we recommend values of 1 2x or less XOV sets the frequency at which the transition from RTM to BAS takes place XOV should be set at least two octaves higher than the low frequency you want to boost For example to boost a signal at 100 Hz set XOV to 400 Hz This setting works well for classical music XOV works best around 400 for boosting low frequencies and around 1 5 kHz for cutting low frequencies SIZ sets the rate of buildup of diffusion after the initial period which is controlled by DIF It also acts as a master control for RTM and SPR The SIZ control changes a reverb sound from very large to very small Generally you should set the SIZ control to approximate the size of the acoustic space you are trying to create before adjusting anything else The size in meters is roughly equal to the longest dimension of the space Moving SIZ while a signal is present may cause audible transients on critical material The apparent size of the space created is actually a combination of the settings of the SIZ SHP and SPR controls Small acoustic spaces are characterized by a rapid buildup of diffusion However both small and large spaces frequently havean uneven buildup of initial reverberation This uneven buildup is controlled by the SPR and SHP controls TDC sets the frequency abo
182. ternal controllers such as the LFO Meter or SoftSlider The available source control lers are listed to the side DST Destination This slider allows you to select which parameter you want the designated source to control The choices will include all of the parameters of the currently running algorithm SCL Scale This slider sets the effective control range of the source Scaling can be set from 200 to 200 When Scale is set to 100 the full range of the controller will cover the full range of the selected parameter Setting a negative value will give the controller inverse control of the parameter values THR Threshold This slider sets a threshold below which the controller will have no effect on the parameter 1 127 VAL Value Pressing the button directly below the VAL slider will display the current parameter value The slider lets you match the value of the destination parameter to the source controller s current value This is provided as a convenience for setting parameters when making mod patches System Operation MIDI Modulation Patching OFF CNTLR 0 MODWHEEL BREATH CNTLR 3 FOOTPED PORTATIME VOLUME CNTLR 9 PAN EXPRESSN CNTLR 12 15 GPCNTRL1 4 CNTRL20 31 SUSTAIN PORTA SW SOSTENSW SOFTPED SWITCH68 79 GP CNTRL5 8 SWITCH84 95 PITCHWHL AFTERTCH LASTNOTE LAST VEL MIDI CLK SOFTSLID L METER R METER LFO Available Source selections 300L Owner s Manual Control Mode Page One Analog
183. the 300L s MIDI capabilities As previously described create the patches you want Set the 300L to one of the Automation modes Put your sequencer into Record and use the MIDI Control lers to create the effect parameter changes you need As you change the effect parameters the 3001 will transmit information to your sequencer in the format you have chosen System Exclusive or Non registered Parameters This allows you to control and record as many as five parameters simultaneously Again when you play back the sequence the 300L will respond just as the changes were recorded In applications that require more than one 300L to work together you can use one 300L as a master and slave as many 300Ls as you needto the master This is done by connecting the MIDI OUT of the master machine to the MIDI IN of the firstslave then connecting the MIDI THRU ofthe first slaveto the next slave and SO On Set the Automation mode on all machines to the same setting and make sure that all machines are operating on the same MIDI Channel Note If master and slave machines have different input sources i e a mix of analog and digital effect changes will not work in SysEx and Non Registered Parameter modes 8 Troubleshooting 8 1 300L Owner s Manual 8 2 Troubleshooting Low Voltage Overheating Common MIDI Problems Lexicon This chapter is intended primarily to help you recognize some common error states which can be corrected fro
184. the different Banks press BANK repeatedly All of the Banks will be shown sequentially You can also press BANK then press a specific number key to display a particular Bank For example press BANK then press 5 The display will show DIALOG 300MA BO5P1 This display identifies DIALOG as the name of the Bank The Bank and Program location will flash to indicate the displayed Bank and Program location currently running If you are running a Single Setup only Banks 1 0 and the Effects continned in them are displayed and made available System Operation Using Banks and Programs 300L Owner s Manual Lexicon If you are lost and don t remember which Bank and Program is currently running press MACH to restore the display of the currently running Bank and Program Remember to oad a Program after selecting a Bank you must press PROG then enter a number For example to load WAVE AMB in Bank 4 at program location 0 1 Press BANK 2 Press4 3 Press PROG 4 PressO The display will read as follows without flashing as this is now the currently running Effect WAVE AMB 300MA BO4P0 If you ve modified an Effect and want to store it into an Effect Register press STOre The display will show AVAILABLE NN 300MA B1R1 2 The location for storing BO1R1 in this example will be flashing To select a different register to store to for example Bank 5 Register 9 press BANK then press 5 then press RE
185. the right density and tuning Chamber is bright by design so you may want to use lower values of RTC maybe even as low as 1 0kHz or 500Hz The randomization circuit in Chamber is designed to reduce coloration and or frequency nodes caused by low frequency input If you want to create your own special Chambers or Halls you should keep RAN set to 80 or 90 Typically SIZs of 14 24 meters with RTCs higher than 3 4kHz will emulate bright sounding metal plates Remember to set SHP and SPD to extremely low values to maintain the explosiveness of the reverb decay Because plates are very diffuse any preset mimicking a plate should have DIF set relatively high 70 80 while BAS is kept to some value less than 1 2kHz DIF and PDL precede the reverberator When Chamber programs are loaded into Dual Mono setups the audio will be Mono In Mono Out When loaded into Cascade setups audio is routed summed Mono In Stereo Out PAGE ONE SIZ TDC PDLY 0 1 26 5KHZ 4 0 66 4M 0 5 21 2KHZ 0 1000MS PAGE TWO SHP SPR LNK 0 255 0 255 LINK UNLINK Parameter ranges are dependent on settings of SIZ and LNK Split Chamber RTM RAN 2 Piftusion gt Predelay gt xov Bas toc Chamber Page One RTM sets the reverb time for mid frequency signals Because BAS is a multiplier of RTM RTM acts as a master control for the reverb time BAS sets the reverb time for low frequency signals as a multiplier of the RTM parame
186. the selected Destination parameter Setting a negative value will reduce the parameter value as the controller value increases 7 6 MIDI Operation THR Threshold Use this slider to set the point below whcich contoller values will not have an effect on the parameter VAL Value This slider lets you conveniently set the parameter value against the current controller value This obviates the need to go to the actual parameter location NOTE If the SRC controller is dynamic in nature like a modulating setting VAL may be difficult as you will be trying set the parameter to a moving target In cases like this turn the LFO OFF To better understand the 300L MIDI patching system let s review the Soft Slider patch in Setup 1 LARGE HALL 1 Press SETUP 2 Use the PRE slider to select SETUP 1 LARGE HALL 3 Press the button under the SOFT slider The display will show This shows the name of the parameter the SoftSlider is assigned to as well as the stored value of the SoftSlider Keep this value in your head as we proceed with this example 4 Press PROG PAGE then 6 to go to page 6 of the LARGE HALL Effect 5 Press the SEL slider button The display will show 300 MACH A MOD PATCH 1 7 7 300L Owner s Manual Lexicon 6 Press the SRC slider button The display now gives you 2 pieces of information the controller source and parameter destination It SOFTSLID TO 257 MID RT Pressing the DEST
187. ther effect parameters in Chapter 4 Both of these pages are shown below for reference The use of these pages is discussed elsewhere in detail SEL SRC DEST SCL THR VAL SEL lt L gt ARGE HALL The 300L has 50 registers available to store edited versions of the preseteffects Storing Individual After you have made the changes you want to an effect s parameters youcan Effect Registers store the changed version into an Effect Register by pressing STOre The following display will appear AVAILABLE 24 Hf 300MA BO1R1 The display will show the current bank and register location is available in this example BO1R1 Unless you choose another location this is where the modified effect will be stored The message STORED will be displayed briefly to indicate that the store operation was completed To choose a different location for example BO1R5 press REG repeatedly until the display shows that location then press STOre If you wish to store the modified effect in Machine B press the MACH button The upper display will change so that the lower line reads 300MB B10P5 Press STOre and the display will change again to show L AVAILABLE MEM Pil 24 18 12 6 0 6 120 dB Pil 300MB BO1R2 LILI R If you press STOre again the message STORED will be displayed briefly to indicate that a store operation was successfully completed to this location When you store an effect it still has the same name as
188. this example we ll load a mono shift effect from Bank 15 into Machine A and a reverb effect from Bank 14 into Machine B Press BANK then press 1 then press 5 Bank 15 The display will show the Mono Shift Bank MONO SHIFT 300MA B15P1 VOCAL SHIFT 300MA B15P6 Press 6 to load this Effect into Machine A Press MACH to select Machine B Press BANK then press 1 then press 4 Bank 14 The display will show SPLIT REV 2 300MB B14P1 Press PROG repeatedly to display BIG BRICKS Program 4 Now press 4 to load BIG BRICKS into Machine B Note that when running split setups only Banks 11 16 and the programs contained in them are displayed and made available System Operation With both Effects loaded you can now modify each Effect to suit your own needs Once you ve done this you should store each Effect into its own Effect Register To do this you can follow the store procedure discribed earlier for the SINGLE Effect performing the procedure once for each Machine OR you can store both of effects as part ofa Setup To dothis press SETUP The display will show DM REV DLY DM SET P102 Press PAGE then press 6 to display the Setup naming page Use the SELect and CHG change sliders to enter the name VOX BRIX Press the STOre key The display will show AVAILABLE DM SET R 1 Press the STOre key again to save the Setup with the two modified Effects and automatically store each effect int
189. tunnels downward due to the liberal amount of delay feedback If the effect is too heavy lower the Feedback value This preset has no Mod Edit patches P107 DM DLY COMP SoftSlider SPACE MACHA 34 MA B11P4 SPACE DELAYS MB B16P2 DRUMCOMP3 1 This preset presents a delay preset to the left effect input output and a Drum compressor preset to the right effect input output The SoftSlider is attached to the left and right output delays in Space Delays MA B11P4 SPACE DELAYS This preset incorporates a bit of left right diffused delays along with some small delay offset between left and right delay outputs If the effect is too strong try lowering feedback levels for delays 3 and 4 MB B16P2 DRUMCOMP 3 1 This is abit more aggressive with 7dB of boost below the selected threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter P108 DM PCH PCH SoftSlider INPUT PAN 0 MA B15P3 UP SHIFT MB B15P8 ECHO DOWN Atrue Dual Mono pitch preset Advancing the SoftSlider will move the left and right inputs to opposite processors MA B15P3 UP SHIFT A sweet sounding microshift up 7cents There is a slight chorus edge due to a modest amount feedback around a Oms delay line MB B15P8 ECHO DOWN 14 cents down with a 272ms recirculating delay line This program works great either before or after a Reverb preset in a Cascade Setup P109 DM PCH COMP SoftSlider INPUT PAN 0 MA B15P6
190. type of audio configuration If you elect to work in a Mixed format all Dual Mono setups will require individual adjustment of ABAL and BBAL to 50 This ensures that both left and right sources will be mixed to mono before being passed to each DSP engine When working in a Fixed format with only analog or digital Dual Mono inputs each machine has its own level control The output of each level adjustment is split to each source balance control Most Dual Mono Setup Presets default to MA BAL panned to LEFT ONLY and MB BAL panned to RIGHT ONLY Level and Balance controls are located on Page Two of the Setup mode Working in a fixed dual mono mode if you had for example a piano in the left input anda voice in the right input and both Balances were set to 5096 a summed input with equal amounts of piano and voice would be passed to each DSP engine A signalis picked off before the signal passes into each Split DSP Effect The mono wet output of each DSP effect sums with the dry signal and is proportion ally mixed under the MIX controls AMIX and BMIX The third Setup page contains AMIX and BMIX Continuing with the above example if both AMIX and BMIX were set to O WET you could use AIN and BIN as level controls mixing two independent signals to mono as part of an analog or digital process Cascade Setups are another type of Split configuration They are numbered 126 150 in Setup mode While in Setup mode you can use the PR
191. u acoustically set emphasis ON make sure you set DIG EMPH to YES with slider 5 DIG EMPH Digital Output Emphasis bit Slider 5 sets the digital ouput emphasis bit ON or OFF The top line indicates the status of the digital input emphasis bit System Operation Page Two Emphasis and SCMS 300L Owner s Manual Page Three CopyProtect on off Bypass Mute Program Load Memory Purge Page Four Offline Copy Tools Lexicon SCM Serial Copy Management System If you have selected S PDIF as the output format this slider will allow you select from among three levels of Copy Protection The choices are MULTI COPY ONE COPY OR NO COPY The factory default setting is MULTI COPY LOAD PURGE COPY PROTECT Set this slider to OFF to allow copy functions to work Select ON to protect register locations The factory default is ON BYP Bypass This slider lets you determine the action of MUTE button INPUT MUTE or BYPASS DRY In split Setups the MUTE button affects both machines With INPUT MUTE selected pressing the MUTE button will cause the message AUDIO MUTED to be displayed briefly With BYPASS DRY selected pressing MUTE will cause the message AUDIO BYPASS to be displayed The factory default setting is INPUT MUTE LOAD Program Load This control allows you to determine to behavior of the 300L on program load BYPASS DRY or MUTE The factory default is MUTE Note On configuration changes audio
192. ut connector output type I O emphasis digital emphasis bypass mode load mode automation MIDI channel assignments for Machines A and B Map mode Timecode mode Current Setup Current effect for Machine A and B CLK Changing the Analog Clock Rate This slider allows selection of the analog sampling rate Press the button under the slider to show the current rate Use the slider to select a new clock sample rate If Digital clock has been selected to master the 300L this display will show the current sample rate If valid clockis not present the message BAD DIGITAL WORD CLOCK will be displayed DIN Digital Input Connector Specifying the Digital Input connector should be done before setting the 300L to receive Digital Word Clock Use the slider to specify XLR RCA or OPT connector All three connector ports can be occupied but only one can be selected to be the audio source for the system INP Input Analog and or Digital Before moving this slider be sure to identify the type of input connector which will be receiving digital clock with the DIN controller In SINGLE and CASCADE Setups there are three choices ANALOG DIGITAL or ANA DIG If you select DIGITAL and the system is properly locked the Input field will briefly display either AES or SPDIF Ifthe system is not properly locked to the incoming word clock the message BAD DIGITAL WORD CLOCK will be displayed If you See this message check your c
193. ve which sounds decay at a progressively faster rate When set relatively low it gives a darker tone to the reverberation simulating the effect of air absorption in a real hall TDC also helps keep the ambience generated by the program from muddying the direct sound PDLY adjusts an additional time delay between the input of signal and the onset of reverberation The control is not intended to mimic the time delays in natural spaces In real rooms the build up of reverberation is gradual and the initial time gap is usually relatively short Natural spaces are best emulated by setting SHP at a middle value and adjusting SPR for the desired initial reverb envelope Additional delay added with the PDLY control can increase the initial time gap slightly emulating a situation where reverberant pick up microphones are located much further from the source than the main microphones If more than The Algorithms and their Parameters RTM Mid Frequency Reverb Time BAS Bass Multiply XOV Bass Crossover SIZ Size TDC Reverb Treble Cutoff PDLY Pre Delay 300L Owner s Manual RAN Randomization DIF Diffusion SHP Shape SPR Spread LNK Link Lexicon about 30ms of pre delay is added this additional delay can add clarity with some music but it can also sound unnatural Large pre delays can be useful for slap echo effects on vocal tracks A quick double click on the slider button will allow you to control
194. version and Analog Output Output Channels 2 Output Impedance Full Scale Output Level Frequency Response Phase Linearity Delay Crosstalk Signal to Noise Ratio Total Harmonic Distortion SMPTE Intermodulation Distortion Dynamic Range De emphasis Gain Control 10 2 Lexicon Balanced XLR pin 2 high 50kQ unbalanced 100kQ balanced Gain switch in OdB position 2dBu minimum 20dBu maximum Gain switch in 16dB position 14dBu minimum 4dBu maximum DC to 2kHz 60dB minimum 2kHz to 20kHz 40dB minimum 48kHz sample rate 10Hz to 21 5kHz 0 2dB 44 1kHz sample rate 10Hz to 20kHz 0 2dB 32kHz sample rate 10Hz to 14 5kHz 0 2dB 5 degrees 10Hz to 20kHz Frequency Independent From Analog Input to Digital Output 0 75mS 80dB maximum 10Hz to 20kHz 90dB minimum A weighted 0 0196 maximum 10Hz to 20kHz 0 0196 maximum 90dB minimum 15 40 9us 50us 3us 20 in 0 1dB increments Balanced XLR pin 2 high 750 2dBu to 18dBu 48kHz sample rate 10Hz to 21 5kHz 0 2dB 44 1kHz sample rate 10Hz to 20kHz 0 2dB 32kHz sample rate 10Hz to 14 5kHz 0 2dB 5 degrees 10Hz to 20kHz Frequency Independent From Digital Input to Analog Output 1 8mS 90dB maximum 10Hz to 20kHz 100dB minimum A weighted 0 0196 maximum 10Hz to 20kHz 0 0196 maximum 90dB minimum 15us 40 9us and 50us 3us 20 in 0 1dB increments Unless otherwise specified specifications presume 48kHz sample
195. wapped so don t drive yourself crazy trying to find the backward cabling MA B13P5 BIG amp SHORT This reverb effect is short almost gated Big room size set to 54 6M and Rt set to 0 9 seconds This preset really opens up a sparse track MB B12P3 CHORUS This preset makes use of a small variation in the glide delay to modulate the sound The glide moves between 9 7ms and 11 8ms Advancing the LFO to values near 1 50Hz to 2 0 Hz yields a nice chorusing effect There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa P145 CC OVER TOP SoftSlider LFO RATE 50 MA B12P1 OVERTHETOP1 MB B12P2 OVERTHETOP2 Use pre fader or in an insert point One flanger feeds the next Very heavy duty The input gain to the Setup is set to 4dB This is to compensate for the heavy amount of flange gain in both Machines Since the LFO is in the setup domain it drives both flange glide delays in each Machine The speed ofthe LFO is controlled by the SoftSlider Remember the outputs of OverThe Top2 are reversed so don t drive yourself crazy trying to find reversed patch cords MA B12P1 OVERTHETOP1 This preset should be used pretty much through the box i e patched to the LFO When properly modulated the flange delay glides between 9 5ms and 18 7ms The base delays are set to 10ms with a positive feedback gain Over the top cancellation occurs as the glide delay passes over the 10m
196. wing the examples above the 300L will be in FIXED mode Advance the MAP slider slowly so that the upper display reads 1 5 kkkkk IGNORE The lower display will show MAP TYPE SEL The upper display shows the MIDI Program followed by the type of response SETUP MACH A or MACH B and the SELected name of the Setup or Effect MAP Advancing the MAP slider will scroll all of the MIDI Map numbers through 128 For your convenience a MIDI map of factory Setups is stored in the 3001 TYPE Use the TYPE slider to select MACH A effect MACH B or the Setup to be changed SEL The SEL slider selects all the available items for the defined type Note for either type of MIDI Program Change FIXED or MAP use the System channel to communicate to Setups and the MACH channels to communicate to Machine Effects Programs or Registers Remember that you can t load Split effects into a currently running Single Setup or load a Single effect into a Split Setup Dynamic MIDI allows you to patch virtually any MIDI controller to any effect Making Patches parameter in the 300L Parameter patches can be made in the SETUP PROGram or REGister modes The actual page is determined by the algorithm from which the effect is made Once in the SETUP PROG or REG mode press the PAGE repeatedly until the lower display reads SEL SRC DEST SCL THR VAL To use Dynamic MIDI you assign MIDI or Non MIDI Source controllers to paramete
197. ws into a Bar and Grill P128 CC REV gt PCH SoftSlider DELAY 50 5 18 MA B13P7 U CHAMBER MB B15P2 GUIT SHIFT This preset runs 4096 of a reverb effect into a pitch shift program The remaining 6096 of the reverb effect bypasses the pitch shifter and appears at the stereo output Modify BMIX to even lesser values if you want to bypass more of the pitch shifter If BMIX is set to all wet the reverb will be mono because the Pitch algorithm is mono in mono out MA B13P7 U CHAMBER This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall The SoftSlider controls the Mid Rt MB EB B15P2 GUITAR SHIFT This preset offers a medium amount of micropitch shift 14c along with a small amount of recirculating predelay Actually the glide pitch parameter GLD is patched to the LFO running in the Setup The LFO causes the GLD to glide between 14c and 7 cents If you turn off the LFO on Setup page 4 then return to program edit and move the GLD parameter to 21c the preset becomes raunchy sounding on beefy guitars P129 CC PCH REV SoftSlider 50 MA B15P7 SKY DOWN MB B13P3 DRUM CHAMBER This Setup links a tunneling downward pitch program into a great sounding reverb Play around with BMIX which is attached to the SoftSlider for a different kind of effect MA B15P7 SKY DOWN This preset tunnels downward due to the liberal amount of de
198. y individual parmeter changes 3 Using MIDI Program Change messages to load Setups or Effects 4 UsingMIDI Controller information and Dynamic MIDI patches to record and play parameter changes 5 Using the 300L s System Exclusive or Non Registered Parameter mes sages that are the result of Dynamic MIDI patches This allows you to control record and play as many as five of the 300L s variable parameters simultaneously 6 Controlling multiple 30015 from a single master 3001 When using the 300L s Automation capabilities itis good practice to put the 300L on adifferent MIDI Channel from those used by other equipment in your system This avoids the possibility of the 300L responding to commands that aren t really intended for it The 300L will transmit System Exclusive or Non Registered Parameter mes sages as you vary any of the available parameters if this function is assigned in automation mode As you advance the Softslider to vary one of the 300L s effect parameters MIDI data in the selected output format will be transmitted from the 300L s rear panel MIDI OUT connector as a Program Change All parameter values are sent when the effect itself is changed This information can be recorded on your sequencer To set the automation mode go to page 5 in Control mode Press the button under the AUTO slider then use the slider to select either SysEx or Non registered Params There is also an OFF setting to prevent unwanted MIDI t

LARC Interface Owner`s Manual

Contents

Download Pdf Manuals

Related Search

Related Contents