Lexicon 300L User Manual

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Page 1

300L

Digital Effects/

LARC Interface

Owner's Manual

Page 2

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't 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 for a Class A computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designated to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference 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 présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la class A prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

This triangle, which appears on your component, alerts you to the presence of uninsulated, dangerous voltage inside the enclosure... voltage that may be sufficient to constitute a risk of shock.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

This triangle, which appears on your component, alerts you to important operating and maintenance instructions in this accompanying literature.

3 Oak Park

Bedford, MA 01730 USA

Tel 781-280-0300

Lexicon Part #070-10673

Fax 781-280-0499

Page 3

Introduction

1. Installing the 300L

Mounting............................................................................................. 1-2

Power Requirements .......................................................................... 1-2

The Rear Panel .................................................................................. 1-3

Connectors, Cables and Configurations............................................. 1-4

About the LARC.................................................................................. 1-6

How to Interface the LARC................................................................. 1-7

Setting Analog Audio Levels............................................................... 1-8

Configurations .................................................................................. 1-10

2. System Overview

Terms used in this manual ................................................................. 2-2

Operating Modes ................................................................................ 2-4

Checking your System's Status .......................................................... 2-5

System Overview................................................................................ 2-6

3. System Operation

Getting Started ................................................................................... 3-2

SoftSlider...................................................................................... 3-3

Selecting Analog and/or Digital Input ........................................... 3-4

Single Setups ..................................................................................... 3-5

Dual Mono Setups .............................................................................. 3-6

Cascade Setups ................................................................................. 3-8

Setup Select Mode ........................................................................... 3-10

The Setup Presets ..................................................................... 3-10

Setup Select ..................................................................................... 3-13

Storing a Setup................................................................................. 3-16

Working with the Effect Programs .................................................... 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 .................................................................................... 3-28

Analog and Digital Audio Selection ............................................ 3-28

Emphasis and SCMS ................................................................. 3-29

Copy (Enable/Disable, Bypass/Mute, Program Load,

Memory Purge ..................................................................... 3-30

Offline Copy Tools...................................................................... 3-30

MIDI: Automation, Dumps and Channel Selection..................... 3-31

MIDI: Maps................................................................................. 3-31

Time Code: Snap and View ....................................................... 3-32

Time Code: Event List and Time Code Edit/Add/Delete ............ 3-32

Input/Output Gains ..................................................................... 3-33

Contents

Page 4

Contents, cont'd.

4. The Algorithms and their Parameters

Single Setup Algorithms ..................................................................... 4-2

Random Hall ................................................................................ 4-2

Random Ambience....................................................................... 4-9

Rich Plate................................................................................... 4-12

Stereo Adjust.............................................................................. 4-16

Stereo Pitch Shift ....................................................................... 4-22

"Split" Setup Algorithms.................................................................... 4-25

Dual Delays................................................................................ 4-25

Chamber .................................................................................... 4-28

Mono Pitch Shift ......................................................................... 4-31

Small Stereo Adjust.................................................................... 4-33

Compressor................................................................................ 4-35

PONS (Psychoacoustically Optimized Noise Shaping).............. 4-36

5. 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 ............................................................. 5-18

Effect Presets by Bank ..................................................................... 5-26

6. Time Code Operation

Using Time Code................................................................................ 6-2

The Event List..................................................................................... 6-3

Using time code to initiate program changes ............................... 6-3

Snapping events .......................................................................... 6-4

Editing the List.............................................................................. 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 ........................................................................... 6-9

Deleting an event ......................................................................... 6-9

Dumping the List to MIDI storage devices.......................................... 6-9

Event List Log Sheet ........................................................................ 6-10

7. MIDI Operation

MIDI Connections ............................................................................... 7-2

Setting MIDI Channels........................................................................ 7-3

Using Fixed Program Change ............................................................ 7-4

Using MIDI Maps ................................................................................ 7-5

Making Patches .................................................................................. 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 .......................................................... 7-10

Using SysEx and Dynamic MIDI® Patches................................. 7-10

Controlling Multiple 300Ls ................................................................ 7-10

Page 5

8. Troubleshooting

Low Voltage........................................................................................ 8-2

Overheating ........................................................................................ 8-2

Common MIDI Problems .................................................................... 8-2

Common Time Code Problems .......................................................... 8-3

Common Digital Interfacing Problems ................................................ 8-3

Error Status Messages ....................................................................... 8-4

9. MIDI Implementation Chart

10. Specifications

Page 6

Page 7

Congratulations on your purchase of the 300L Digital Effects System with LARC Remote Interface! The 300L not only contains the finest sounds, as you've come to expect from Lexicon, it incorporates new functions that satisfy the needs of today's audio production.

Analog and Digital Audio Interfacing

For both analog and digital use the 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-selectable for feeding either professional or consumer equipment. This allows for format conversion as well as using the high quality A/D converters to feed digital recorders. Control of additional Channel Status information is provided as well.

Dual DSP Architechture

The 300L utilizes two proprietary high performance DSP engines. The configuration 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.

Introduction

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 twist to 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 capability opens new avenues to all time code users.

Dynamic MIDI® is included for real-time performance control and effects automation. 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.

Page 8

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 effects and presets, and complete MIDI Implementation data — all the information you need to access the full power of the 300L.

Page 9

Page 10

Installing the 300L

1-1

Page 11

300L Owner's Manual

Lexicon

Mounting

Power Requirements

Before rack-mounting the 300L, you may want to remove the four rubber feet 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.

1-2

Page 12

Time Code In

3-pin female XLR connector for input of SMPTE (Drop or Nondrop), EBU, or FILM time code formats. (Electronically balanced, 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 S4.40-1992). Input/output impedance levels of the AES/EBU connectors comply with the CCITT V.11 EIA RS-422A.

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 be grounded for unbalanced operation.

Input impedance is 50kΩ unbalanced, and 100kΩ balanced. Inputs accept input levels from

-14dBu to +20dBu. Output impedance is 75Ω, and levels up to

+18dBu are possible.

must

AC Power

Standard 3-pin IEC power connector.

AES/EBU

PUSH

COMM PORT

DOTIME CODE IN

Communications Port

DE9 LARC connector.

OUT

EIAJ CP340

DO DI

MIDI

THRU IN

R OUT R IN

DI DO

PUSH

MIDI Connectors

Out: Transmits MIDI data to other equipment. Thru

: Passes any MIDI data received without

change.

: Receives MIDI information from other MIDI

equipment such as master keyboard controllers, MIDI foot controllers, sequencers and synthesizers.

L OUT L IN

PUSH

INPUT GAIN

Input Gain

2-position (In/Out) switch for matching input gain to the source being used. In = +16dB; Out = 0dB.

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Page 13

300L Owner's Manual

Connectors, Cables

and Configurations

Lexicon

Connectors

Signal Mating Connector Description

L and R Analog XLR A3M Active balanced, pin 2 high Audio Input +2dBu min; +20dBu max

at 0dB setting

L and R Analog XLR A3F 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 A3F Balanced RS-422 Digital Output pin 2 high

S/PDIF RCA Unbalanced 75Ω EIAJ CP340 Consumer Digital Input and Output

S/PDIF EIAJ Consumer Digital EIAJ CP340 Audio format Consumer Digital Audio Optical Input and Output

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

Male

Female

Pin 2 high by convention.

2 = high

3 = low

1 = ground

3 = low

2 = high

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Page 14

Cables

Installing the 300L

For best performance, maintain balanced connections, and use high-quality, low-capacitance, twisted-shielded pair cable.

When connecting to single-ended, unbalanced devices, connect the low side to signal ground at the unbalanced piece of equipment.

For mono connection, connect the left and right input channels in parallel. Be careful to keep input and output to all channels wired consistently. Out-of-

phase wiring can produce audible effects.

This interface requires balanced connections using high-quality, low-capacitance, 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 75Ω RG-59 coaxial cable.

Use commercially-available, consumer audio optical cable assemblies.

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

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)

MIDI IN, OUT and THRU

1-5

Page 15

300L Owner's Manual

About the LARC

Program Select

Press to enter Program mode. Press repeatedly to scroll through presets in a bank.

Press to enter Register mode. Press repeatedly to scroll through registers in a bank.

Slider Display Line

Shows abbreviated names of the parameters currently under the control of the sliders. Full name appears in the Main Display.

Main Display

Shows names and values for all selections.

PROG REG

VAR

Headroom Indicator

+12 dBm indicates analog or digital clipping. Proper input level is with +12 dB and ovld

unlit

LEDs

-24 18 12 6 0 6 +12 ovld dB

162738495

MUTE ENTER PAGECTRL MACHSTOBANK SETUP

Lexicon

Numeric Keypad

Press one of these keys to load a program selected with PROG or REG. Also used to select pages.

Function Keys

Bank scrolls through

groups of programs or registers.

SETUP brings you to the tope level of the user interface.

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 selected.

Control Sliders

Adjust parameter values.

1-6

MUTE toggles the removal and restoration of processed audio from the outputs.

ENTER loads selected setups.

PAGE steps through pages of setup and program parameters.

Slider Display Keys

Show parameter name and value in main display. Press twice to engage vernier (fine) adjustment mode when available.

Page 16

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.

Installing the 300L

How to Interface the LARC

PUSH

COMM PORT

DOTIME CODE IN

AES/EBU

OUT

EIAJ CP340

DO DI

MIDI

THRU IN

DI DO

R OUT R IN

L OUT L IN

PUSH

INPUT GAIN

PUSH

Wiring diagram for the 300L COMM PORTconnector.

1-7

Page 17

300L Owner's Manual

-24 18 12 6 0 6 +12 ovld dB

Lexicon

Setting Analog

Audio Levels

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:

STEREOADJUST SG: SET P 81

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 occur. This is indeed true if the LFT (left) input and RT (right) input sliders are set to 0dB. In fact, with the Output sliders set to 0dB, 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 0VU, the 300L’s input will be left with only 7dB before converter saturation. This is not good. A 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 +0dB. Attenuate them one at a time and make sure they are matched. Pressing the buttons under each of the active sliders will interrogate the current values.

1-8

Page 18

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 have to boost the 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 is to 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

1-9

Page 19

300L Owner's Manual

Configurations

Connection to a

mixing console's

effects sends

Lexicon

Effects Send (L) Effects Send (R)

Channel Input or Effects Return (L)

Channel Input or Effects Return (R)

OUT

EIAJ CP340

DO DI

MIDI

THRU IN

DI DO

R OUT R IN

L OUT L IN

PUSH

INPUT

GAIN

PUSH

COMM PORT

DOTIME CODE IN

AES/EBU

PUSH

If you will be using a 300L as your primary effects unit, and your system includes a console with one or more auxiliary (effects) sends, connect the 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.

1-10

Page 20

DIGITAL AUDIO

DIGITAL VIDEO

MACHINE

Installing the 300L

AES/EBU to AES/EBU

AES/EBU Format

Source Machine

AES/EBU Format

DIGITAL AUDIO

DIGITAL VIDEO

MACHINE

Destination Machine

S/PDIF to S/PDIF

Out In

AES/EBU

DOTIME CODE IN

PUSH

COMM PORT

PUSH

OUT

EIAJ CP340

DO DI

MIDI

THRU IN

DI DO

Out

Analog outputs for monitoring

Out

R OUT R IN

L OUT L IN

PUSH

INPUT GAIN

CONSOLE

HEADPHONE AMP

RDAT MACHINE

CD PLAYER

S/PDIF Format

Source Machine

EIAJ CP340

PUSH

DO DI

DI DO

MIDI

OUT

THRU IN

Out

RDAT

MACHINE

AES/EBU

DOTIME CODE IN

PUSH

COMM PORT

S/PDIF Format

Analog outputs for monitoring

Destination Machine

Note: These digital connections can be made with fiber optic, or XLR cables instead of 75Ω coaxial RCA cables.

Analog outputs for monitoring

Out

R OUT R IN

L OUT L IN

PUSH

INPUT GAIN

CONSOLE

HEADPHONE AMP

1-11

Page 21

300L Owner's Manual

AES/EBU to S/PDIF

Source Machine

DIGITAL AUDIO

DIGITAL VIDEO

MACHINE

Lexicon

Conversion

AES/EBU Format

Analog outputs for monitoring

RDAT

MACHINE

Destination Machine

Source Machine

RDAT MACHINE

CD PLAYER

PUSH

COMM PORT

DOTIME CODE IN

AES/EBU

EIAJ CP340

PUSH

DO DI

MIDI

OUT

THRU IN

Out

S/PDIF Format

Analog outputs for monitoring

S/PDIF Format

DI DO

Out

R OUT R IN

L OUT L IN

PUSH

INPUT GAIN

CONSOLE

HEADPHONE AMP

S/PDIF to AES/EBU Conversion

DIGITAL AUDIO

DIGITAL VIDEO

Destination Machine

1-12

AES/EBU Format

MACHINE

OUT

EIAJ CP340

DO DI

MIDI

THRU IN

DI DO

PUSH

COMM PORT

Out

AES/EBU

DOTIME CODE IN

PUSH

Analog outputs for monitoring

Out

R OUT R IN

L OUT L IN

PUSH

INPUT GAIN

CONSOLE

HEADPHONE AMP

Page 22

Installing the 300L

ANALOG I/O and AES/EBU to AES/EBU

Digital Source

DIGITAL AUDIO

DIGITAL VIDEO

MACHINE

AES/EBU Format

DIGITAL AUDIO

DIGITAL VIDEO

MACHINE

Digital Destination

AES/EBU Format

Out In

AES/EBU

DOTIME CODE IN

PUSH

COMM PORT

PUSH

OUT

Analog outputs for monitoring

EIAJ CP340

DO DI

MIDI

THRU IN

Analog Source

ANALOG

MACHINE

CONSOLE

Analog audio

InIn

PUSH

INPUT GAIN

DI DO

Out

R OUT R IN

L OUT L IN

Out Analog audio

CONSOLE, HEADPHONE AMP

ANALOG MACHINE

Analog Destination

ANALOG I/O and

AES/EBU Digital Output

AES/EBU Format

DIGITAL AUDIO

DIGITAL VIDEO

MACHINE

Destination Machine

Analog outputs for monitoring

Out

PUSH

COMM PORT

DOTIME CODE IN

AES/EBU

Source Machine

CONSOLE

MIKE PREAMP

Analog audio

EIAJ CP340

PUSH

DO DI

DI DO

MIDI

OUT

THRU IN

Out

R OUT R IN

L OUT L IN

Out

PUSH

INPUT

GAIN

Analog audio

CONSOLE, HEADPHONE AMP

ANALOG MACHINE

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Page 23

300L Owner's Manual

ANALOG In

with Digital Patch Point

to ANALOG Out

Lexicon

DIGITAL PROCESSOR

AES/EBU Format

Out

PUSH

COMM PORT

DOTIME CODE IN

AES/EBU

ANALOG

MACHINE

CONSOLE

Out

InOut

EIAJ CP340

PUSH

DO DI

OUT

MIDI

THRU IN

OutInOut

DI DO

R OUT R IN

Out

L OUT L IN

PUSH

INPUT GAIN

1-14

Page 24

System Overview

2-1

Page 25

300L Owner's Manual

Terms used

in this manual

Lexicon

In discussing 300L operation, the following terms are used.

Algorithm

The 300L contains eleven 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.

algorithms

. An algorithm is a set of instructions that

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 The machines can be used with independent inputs and outputs (Dual Mono configuration), they can share the same stereo input signal (Single configuration), or the outputs of one machine can be fed into the input of another (Cascade configuration).

configuration

Effect

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 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 either Machine A or Machine B.

Machine

A and

Machine

Pages

Because effects (and other modes of operation) have more parameters than can be displayed at one time, parameters are grouped into several between pages by pressing the dedicated function key labeled PAGE.

pages

. You move

Parameter

Each algorithm has a set of The settings of the parameters can be changed to create radically different sounds from a single algorithm.

parameters

(controls) that uniquely characterize it.

Patch

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.)

Registers

effects. 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.

are simply memory locations where you can store your own setups and

Presets

are factory-installed setups and effects. The presets cannot be

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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

setup

consists of a internal I/O routing configuration, an identifying name, and pointers for one or two effect programs.There are three basic types of setups: Single, Dual Mono and Cascade.

SINGLE SETUP

INPUT LEVEL

ANALOG DIGITAL

METERS

LEFT RIGHT

INPUT BALANCE

ANALOG DIGITAL

MOD EDIT

PATCH PATCH

MACHINE

OUT MIX

EFFECT ID

BANK PROG

LFO

RATE SHAPE

SETUP

NAME

Single Setups contain pointers to a Single type Effect.

SINGLE (MACHINE A) EFFECT

RANDOM HALL STEREO ADJUST RANDOM AMBIENCE STEREO PITCH SHIFT RICH PLATE

ALGORITHM

PARAMETER

VALUES

MOD EDIT

PATCH PATCH

EFFECT

NAME

INPUT LEVEL

A LVL B LVL

METERS

LEFT RIGHT

INPUT

LEVEL

BALANCE

METERS

LEFT RIGHT

DUAL MONO SETUP

A BAL B BAL

MOD EDIT

PATCH PATCH

CASCADE SETUP

INPUT

CASCADE

FEEDBACK

MOD EDIT

PATCH PATCH

MIXINPUT BALANCE

EFFECT ID

MACH A MACH B

MIX

OBA

EFFECT ID

MACH A MACH B

LFO

RATE SHAPE

SETUP

NAME

LFO

RATE SHAPE

SETUP

NAME

Dual Mono and Cascade Setups each

contain pointers to 2 "Split" type Effects

SPLIT EFFECT (MACHINE A OR B)

DUAL DELAYS SMALL ST ADJUST CHAMBER COMPRESSOR MONO PITCH SHIFT

ALGORITHM

SPLIT EFFECT (MACHINE A OR B)

DUAL DELAYS SMALL ST ADJUST CHAMBER COMPRESSOR MONO PITCH SHIFT

ALGORITHM

PARAMETER

VALUES

PARAMETER

VALUES

MOD EDIT

PATCH PATCH

MOD EDIT

PATCH PATCH

EFFECT

NAME

EFFECT

NAME

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Operating Modes

The 300L is always in one of the following four operating modes:

Setup (preset or register) Select Mode Program 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

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

• Edit time code Event List

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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 I/O EMPHASIS EMPHASIS IN SCMS BYPASS MODE LOAD MODE MIDI AUTOMATION MIDI CHANNEL SYSTEM: MACH A, B MIDI MAP MODE TIME CODE CURRENT SETUP CURRENT EFFECT(S)

System Overview

Checking Your System's Status

300L Power-Up State

Normally if power is lost, or turned off, and then restored, the 300L will return to its last previous state.

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300L Owner's Manual

System Overview The 300L 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 I/O configuration and effect parameter by hand each time you use it, you probably wouldn't enjoy it — so we've tried to organize the 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 sent to effect processing, then converted to appropriate analog and digital outputs (on the right).

48 kHz

Digital

XLR

RCA OPT

Analog

Digital

Emph

44.1 kHz PL

A/D

Sample Rate

Effect

DSP

(SR)

D/A

Digital

Out

Emph

Lexicon

Digital

Out

XLR RCA

OPT

Analog

Out

0.0 or +16dB Rear Panel

Gain Switch

-10 to +10dB Input Level

Control

DSP

Panel, MIDI and Time Code

Program Change

-10 to +10dB Output Level

Control

As you can see from the figure, the 300L has a rich set of I/O capabilities, with many choices available to the user, including:

Sample Rate Analog or Digital Input connector Digital and Analog Emphasis/De-emphasis Digital Output format (AES or SPDIF) Digital Copy (SCMS) and Emphasis bit manipulation Processor Configuration

The I/O organization is part of the 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.

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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 as machine input(s) and source balance(s), the relationship between wet (effect) and dry (input) mixing for each machine, meter functions, LFO rates and shapes, and a 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.

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.)

System Overview

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 running in a single unified machine (both DSP engines working as one).

Dual Mono and Cascade can be thought of as “split” configurations, and are capable of simultaneously running two different (or identical) effects.

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 collections 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.

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).

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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

3. Effect load select (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.

4. Copy Tools for setups, effects, and MIDI Mod edits

5. MIDI Mode

6. MIDI Map Table

7. Time Code Mode

8. Event List Management

9. Analog I/O gain controls

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...

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System Operation

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Getting Started

SINGLE SETUP

INPUT LEVEL

ANALOG DIGITAL

METERS

LEFT RIGHT

INPUT BALANCE

ANALOG DIGITAL

PATCH PATCH

MOD EDIT

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

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.

MACHINE

OUT MIX

EFFECT ID

BANK PROG

Single Setups contain pointers to a Single type Effect.

LFO

RATE SHAPE

SETUP

NAME

SINGLE (MACHINE A) EFFECT

RANDOM HALL STEREO ADJUST RANDOM AMBIENCE STEREO PITCH SHIFT RICH PLATE

ALGORITHM

PARAMETER

VALUES

MOD EDIT

PATCH PATCH

EFFECT

NAME

(Bank

INPUT LEVEL

A LVL B LVL

METERS

LEFT RIGHT

INPUT LEVEL

BALANCE

METERS

LEFT RIGHT

DUAL MONO SETUP

A BAL B BAL

MOD EDIT

PATCH PATCH

CASCADE SETUP

INPUT

CASCADE

FEEDBACK

MOD EDIT

PATCH PATCH

MIXINPUT BALANCE

EFFECT ID

MACH A MACH B

MIX

OBA

EFFECT ID

MACH A MACH B

LFO

RATE SHAPE

SETUP

NAME

LFO

RATE SHAPE

SETUP

NAME

Dual Mono and Cascade Setups each

contain pointers to 2 "Split" type Effects

SPLIT EFFECT (MACHINE A OR B)

DUAL DELAYS SMALL ST ADJUST CHAMBER COMPRESSOR MONO PITCH SHIFT

ALGORITHM

SPLIT EFFECT (MACHINE A OR B)

DUAL DELAYS SMALL ST ADJUST CHAMBER COMPRESSOR MONO PITCH SHIFT

ALGORITHM

PARAMETER

VALUES

PARAMETER

VALUES

MOD EDIT

PATCH PATCH

MOD EDIT

PATCH PATCH

EFFECT

NAME

EFFECT

NAME

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When the 300L is first powered up, the upper LARC display should read:

System Operation

LARGE HALL SG: SET P 1

-24 18 12 6 0 6 +12 ovld dB

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. This 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 of the 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

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Selecting Analog and/

or Digital Input

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 enter 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 (CLK), 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, use this slider to designate one digital input connector ( XLR, RCA or Optical) as the master for the 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 select the Input type 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 signal. 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 displayed as shown below. If you get this message, check all your cables, and other settings.

!BAD 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.

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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.

System Operation

Single Setups (1-100) configure both DSP engines with microcode which enables them to function as a unified engine. Both analog and digital inputs can be utilized simultaneously. Each type of input (A or D) has a source

Balance

control. The Level control varies the input level to the DSP engine for

Level

and

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.

Dry

Analog

Level

Analog

Balance

EFFECT

EDIT

Digital

(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.)

Digital

Level

Digital

Balance

Dry

Single Setups

Analog and Digital Out

Overall

Mix

ANA: LVL BAL DIG: LVL BAL

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Example

Dual Mono Setups

Virtually all Single Setups have Balance set to 50%. This means an equal proportion of Left and Right input signal is passed into the (Single) Effect.

1. Press the button below the ANA: BAL slider (Analog Balance).

2. Pull the slider down to let more of the Left input pass through.

3. Advance the slider to allow more of the Right channel to pass through.

4. Return the parameter to 50%, allowing proper stereo to pass to the DSP effect.

Before the signal passes into the loaded effect, a post input level and post balance is picked off and bypasses the effect. 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.) The resulting mix is passed out both analog and digital.

NOTE: Most studio applications assume a 100% Wet mix. Most SINGLE Setups are set with OMIX at 100% Wet. However, it is possible that some prefade 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 PRE slider to “cue 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 of the 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

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System Operation

Fixed Format

Analog or Digital

When

both

Analog and Digital are specified to operate as MAIN Inputs, we refer

Level

Balance

Dry

Patch Points

EFFECT

EDIT A

EFFECT

EDIT B

Patch Points

Dry

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), are "MA: BAL" and “MB: BAL", located on Page Two of the Setup mode.

MA: LVL BAL MB: LVL BAL

Mix

Out

Mixed Format

Analog

Digital

Level

Balance

Dry

EFFECT

EDIT A

EFFECT

EDIT B

Dry

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)

Mix

Out

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Setup Balances

Most Dual Mono setups have the MA: BAL and MB: BAL set to Left-CHannel and Right CHannel respectively. This assumes a fixed format 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 and a voice in the right input and both Balances were set to 50%, a summed input with equal amounts of piano and voice would be passed to each DSP engine.

A dry signal is picked off before the signal passes into each Split DSP Effect. The mono wet output of each DSP effect sums with the dry signal and is proportionally 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 0%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

Analog or Digital

L R

Input

Level

Input

Balance

Cascade Setups are another type of “Split” configuration. They are numbered 126-150 in Setup mode. While in Setup mode, you can use the PREset slider to locate the Cascade Setups. Pressing ENTER will load two split type programs: one in Machine A, the other in Machine B.

Dry

Feedback

Patch Points

Out

Dry

Σ Σ

EFFECT

EDIT A

Patch Points

Mix

EFFECT

EDIT B

Feedback

Mix

Overall

Mix

Out

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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

Patch Points elsewhere in this chapter.)

As in the other setups, there are Input

Output Types and

level and source Balance Controls. Cascade setups, however, have three mix controls. AMIX proportions the dry signal to A's wet signal. BMIX proportions the resulting A output with Machine B's output. OMIX takes the resulting A+B mix and blends(mixes) it with the dry signal which is picked off before EFFECTA. Cascade setups also include an overall feedback control which routes the B output back to Machine A's input. Be careful!! This parameter can wipe out

tweeters, woofers and ears if used too liberally.

If the sum of the feedback parameters in EFFECT A , EFFECT B and the above-mentioned overall Feedback parameter is greater than 100%, runaway feedback will occur.

For example, assume Machine A is running a Dual delay effect with Delay1 Feedback set to 40% and Delay3 Feedback set to 40%. Machine B is running a Mono Shift program with the feedback parameter set to 40%. The total

amount of feedback in the system is 80%. So far, so good.... that is until you

add more than 20% Cascade Feedback. BE CAREFUL!!!!

System Operation

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.

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Setup Select Mode

The Setup Presets

Setup Select mode allows you to select and run Setup Presets and Registers. 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 assignments 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# Setup Name SoftSlider Effect: Bank Program

P1 LARGE HALL DECAY MA: B1P1 LARGE HALL P2 MEDIUM HALL DECAY MA: B1P2 MEDIUM HALL P3 SMALL HALL DECAY MA: B1P3 SMALL HAL P4 SYNTH HALL LIVENESS MA: B1P4 SYNTH HALL P5 DANCE HALL LIVENESS MA: B1P5 DANCE HALL P6 SOLO HALL DECAY MA: B1P6 SOLO HALL P7 CHURCH DEPTH MA: B1P7 CHURCH P8 GOTHIC HALL DEPTH MA: B1P8 GOTHIC HALL P9 GATED HALL SIZE MA: B1P9 GATED HALL P10 DEEP END HOW DEEP? MA: B1P0 DEEP END P11 ROOMS SIZES MA: B2P1 ROOMS P12 REHURSAL ROOM PADDING MA: B2P2 REHURSALROOM P13 STUDIO A LIVENESS MA: B2P3 STUDIO A P14 STUDIO B LIVENESS MA: B2P4 STUDIO B P15 STUDIO C LIVENESS MA: B2P5 STUDIO C P16 LARGE ROOM LIVENESS MA: B2P6 LARGE ROOM P17 SMALL ROOM LIVENESS MA: B2P7 SMALL ROOM P18 BEDROOM REFLEXIONS MA: B2P8 BEDROOM P19 W.C. DECAY MA: B2P9 W.C. P20 INVERSE ROOM DURATION MA: B2P0 INVERSE ROOM P21 CHAMBER DECAY MA: B3P1 CHAMBER P22 BRICK WALL DIFFUSION MA: B3P2 BRICK WAL P23 OIL DRUM TUNING MA: B3P3 OIL DRUM P24 WIDE CHAMBER DECAY MA: B3P4 WIDE CHAMBER P25 FAT CHAMBER DECAY MA: B3P5 FAT CHAMBER P26 CHUNKY CHUNK MA: B3P6 CHUNKY P27 HOMEROOM DECAY MA: B3P7 HOMEROOM P28 OPEN WIDE DECAY MA: B3P8 OPEN WIDE P29 WET SUIT DECAY MA: B3P9 WET SUIT P30 BASEMENT LIVENESS MA: B3P0 BASEMENT P31 AMBIENCE SIZES MA: B4P1 AMBIENCE P32 MARBLE FOYER SLAP LEVEL MA: B4P2 MARBLE FOYER P33 LARGE AMB. HIGH CUT MA: B4P3 LARGE AMB. P34 MEDIUM AMB. HIGH CUT MA: B4P4 MEDIUM AMB. P35 SMALL AMB. HIGH CUT MA: B4P5 SMALL AMB. P36 V SMALL AMB. HIGH CUT MA: B4P6 V SMALL AMB. P37 HEAVY AMB. REVERB LVL MA: B4P7 HEAVY AMB. P38 BRIGHT AMB. REVERB LVL MA: B4P8 BRIGHT AMB. P39 SMOOTH AMB. HOW SMOOTH? MA: B4P9 SMOOTH AMB. P40 WAVE AMB. HOW LONG? MA:B4P0 WAVE AMB. P41 IN A ROOM HOW BIG? MA: B5P1 IN A ROOM P42 STAIRWELL # OF FLOORS MA:B5P2 STAIRWELL P43 CAR INTERIOR WINDOW DN/UP MA:B5P3 CAR INTERIOR P44 MEETING ROOM LIVENESS MA: B5P4 MEETING ROOM P45 LIVING ROOM LIVENESS MA: B5P5 LIVING ROOM P46 POWDER ROOM DECAY MA: B5P6 POWDER ROOM P47 FULL CLOSET HOW FULL? MA: B5P7 FULL CLOSET P48 PODIUM DISTANCE MA: B5P8 PODIUM P49 STUDIO D HIGH CUT MA: B5P9 STUDIO D P50 OFFICE LIVENESS MA: B5P0 OFFICE P51 LIVEDRUMROOM IMPACT MA: B6P1 LIVEDRUMROOM P52 ON STAGE LIVENESS MA: B6P2 ONSTAGE P53 GUITAR CAVE DECAY MA: B6P3 GUITAR CAVE

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Single Setup Presets cont'd.

Setup# Setup Name SoftSlider Effect: Bank Program

P54 DRUM CAVE DECAY MA: B6P4 DRUM CAVE P55 BALLROOM SIZE / SHAPE MA: B6P5 BALLROOM P56 SCORE STAGE LIVENESS MA: B6P6 SCORE STAGE P57 DRUM GATE DURATION MA: B6P7 DRUM GATE P58 LE GATE! HIGH CUT MA: B6P8 LE GATE! P59 THIN LIZZY SIZZLE MA: B6P9 THIN LIZZY P60 BAND IN ROOM LIVENESS MA: B6P0 BAND IN ROOM P61 SPACE & EKOZ BLEND MA: B7P1 SPACE & EKOZ P62 VOCAL STAGE DECAY MA: B7P2 VOCAL STAGE P63 WAVE O WALLS DECAY MA: B7P3 WAVE O WALLS P64 BRAND “X” DECAY MA: B7P4 BRAND “X” P65 HANGAR HIGH CUT MA: B7P5 HANGER P66 EARLY REFLEX SPACING MA: B7P6 EARLY REFLEX P67 STAGE SLAP PREDELAY MA: B7P7 STAGE SLAP P68 HUGE SPACE DECAY LEVEL MA: B7P8 HUGE SPACE P69 VOCAL SHEEN SPACE MA: B7P9 VOCAL SHEEN P70 ALMOST VERB PREDELAY MA: B7P0 ALMOST VERB P71 RICH PLATE DECAY MA: B8P1 RICH PLATE P72 GLOSSY PLATE DECAY MA: B8P2 GLOSSY PLATE P73 WARM PLATE DECAY MA: B8P3 WARM PLATE P74 PERC PLATE SIZE MA: B8P4 PERC PLATE P75 CONTEM-PLATE DECAY MA: B8P5 CONTEM-PLATE P76 EKO PLATE EKO DELAY MA: B8P6 EKO PLATE P77 5K HALL DECAY MA: B8P7 5K HALL P78 ROUND PLATE DECAY MA: B8P8 ROUND PLATE P79 SALAD PLATE DECAY MA: B8P9 SALAD PLATE P80 VOX PLATE DECAY MA: B8P0 VOX PLATE P81 STEREOADJUST LEVEL MA: B9P1 STEREO ADJUST P82 STEREO DELAY DELAY MA: B9P2 STEREO DELAY P83 3 FRAME DLY FINE DELAY MA: B9P3 3 FRAME DLY P84 4 FRAME DLY FINE DELAY MA: B9P4 4 FRAME DLY P85 PHASE INVERT PHASE MA: B9P5 PHASE INVERT P86 MS DECODE MATRIX M/S MA: B9P6 MS DECODE P87 TELEPHONE LEVEL MA: B9P7 TELEPHONE P88 MULTI CANYON DEPTH MA: B9P8 MULTI CANYON P89 LFO PANNER LFO SPEED MA: B9P9 LFO PANNER P90 THIN EKOZ FEEDBACK MA: B9P0 THIN EKOZ P91 STEREO SHIFT SHIFT DN/UP MA: B0P1 STEREO SHIFT P92 OCTAVE DOWN FINE PITCH MA: B0P2 OCTAVE DOWN P93 VOX CHORUS SPLIT SHIFT MA: B0P3 VOX CHORUS P94 POLE FLANGE FEEDBACK MA: B0P4 POLE FLANGE P95 BULKIE ROLL DELAY MA: B0P5 BULKIE ROLL P96 MR. BIG FINE PITCH MA: B0P6 MR. BIG P97 ZORCH! FEEDBACK MA: B0P7 ZORCH! P98 GOING, GOING FEEDBACK MA: B0P8 GOING, GOING P99 GTR CHORUS FINE PITCH MA: B0P9 GTR CHORUS P100 FADE DOWN FINE PITCH MA: B0P0 FADE DOWN

System Operation

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Dual Mono Setup Presets

Setup # Setup Name SoftSlider Mach A Effect Mach B Effect

P101 DM: REV/REV INPUT PAN MA:B13P1 CHAMBER MB:B13P2 KEY CHAMBER P102 DM: REV/DLY INPUT PAN MA:B11P3 DRUM CHAMBER MB:B12P8 LFO:FAZE DELAYS

P103 DM: REV/PCH INPUT PAN MA:B13P4:GUITAR ROOM MB:B15P2: GUIT SHIFT P104 DM: REV/COMP INPUT PAN MA:B14P9 PLATE MB:B16P1 EZ COMP 2:1 P105 DM: DLY/DLY LFO RATE MA:B12P3 CHORUS MB:B12P4 CHORUS+EKOZ P106 DM: DLY/PCH DELAY MACH A MA: B11P1 BASIC DELAY MB: B15P7 SKY DOWN P107 DM: DLY/COMP SPACE MACH A MA: B11P4 SPACE EKOZ MB: B16P2 DRUMCOMP3:1 P108 DM: PCH/PCH INPUT PAN MA:B15P3 UP SHIFT MB:B15P8 ECHO DOWN P109 DM: PCH/COMP INPUT PAN MA:B15P6 VOCAL SHIFT MB:B16P3 VOICE OVER P110 DM: COMP/COMP INPUT PAN MA:B16P5 SMAKO! MB:B16P5 SMAKO! P111 DM: SLOW SPIN LFO RATE MA:B12P8 LFO:FAZEDLYS MB:B12P3 CHORUS P112 DM: WIDEFLANG LFO RATE MA:B12P1 OVERTHETOP1 MB:B12P2 OVERTHETOP2 P113 DM: X-TRAFFIC DELAY MACH B MA:B12P4 CHORUS+EKOZ MB:B12P0 SKY DELAYS P114 DM: GEAR UP INPUT PAN MA:B15P3 UP SHIFT MB:B15P5 EKO SHIFT P115 DM: TWO ROOMS INPUT PAN MA:B13P0 JOE’S GARAGE MB:B13P8 BASEMENT P116 DM: TWO HALLS INPUT PAN MA:B14P7 RECITAL HALL MB:B14P1 BIG HALL P117 DM: DELAYS DELAY SPACE MA:B11P2 SLAP ECHO MB:B11P0 VOX DOUBLER P118 DM: REVPAN DECAY TIME MA:B13P7 “U”CHAMBER MB:B13P6 “L”CHAMBER P119 DM: UP&DOWN DELAY MA:B15P9 HALFSTEPSUP MB:B15P0 HALFSTEPSDN P120 DM: MYGUITAR INPUT PAN MA:B15P2 GUIT SHIFT MB:B12P6 ENV:PEAK P121 DM: ENVSPOOGE INPUT PAN MA:B12P6 ENV:PEAK MB:B12P7 ENV:PHAZER P122 DM: FLNG&DLYS DELAY MACH B MA:B12P5 NEGATIVEFLNG MB:B11P4 SPACE EKOZ P123 DM: DLY DAZE DELAY MA:B11P6 3 VOICE DLYS MB:B11P5 PINGOPONGO P124 DM: CLUSTERS DELAY MACH B MA:B12P4 CHORUS+EKOZ MB:B11P6 3 VOICE DLYS P125 DM: 2 FLANGES INPUT PAN MA:B12P2 OVERTHETOP2 MB:B15P7 SKY DOWN

Lexicon

Cascade Setup Presets

Setup # Setup Name SoftSlider Mach A Effect -> Mach B Effect

P126 CC: REV ->DLY DELAY SPACE MA:B13P1 CHAMBER -> MB:B11P3 STEREO SLAPS P127 CC: DLY ->REV SLAP & SIZE MA:B11P2 SLAP ECHO -> MBB13P9 JOE’S B&G

P128 CC: REV->PCH DECAY MACH A MA:B13P7 “U”CHAMBER -> MB:B15P2 GUIT SHIFT P129 CC: PCH->REV BMIX MA:B15P7 SKY DOWN -> MB:B13P3 DRUM CHAMBER P130 CC: REV->COMP THRESHOLD MA:B13P4 GUITAR ROOM -> MB:B16P4 COMP 4 VERB P131 CC: COMP->REV NONE MA:B16P2 DRUM COMP 3:1 -> MB:B13P8 BASEMENT P132 CC: DLY->PCH LFO RATE MA:B12P3 CHORUS -> MB:B15P1 SHIFT IT! P133 CC: PCH->DLY DELAY SPACE MA:B15P6 VOCAL SHIFT -> MB:B11P5 PINGOPONGO P134 CC: DLY->COMP DELAY SPACE MA:B11P6 3 VOICE DLY -> MB:B16P1 EZ COMP 2:1 P135 CC: SLAPS SPACE MA:B16P9 SPATIAL EQ -> MB:B11P3 STEREO SLAPS P136 CC: PCH->COMP LFO RATE MA:B15P2 GUIT SHIFT -> MB:B16P5 SMAKO! P137 CC: SURRVERB SPATIAL EQ MA:B14P7 RECITAL HALL -> MB:B16P9 SPATIAL EQ P138 CC: V3COMP NONE MA:B16P6 SMALL ST ADJ -> MB:B16P1 EZ COMP 2:1 P139 CC: EQ/DITHER NONE MA:B16P6 SMALL ST ADJ -> MB:B16P0 PONS P140 CC: FILT DLYS DLY/BANDPASS MA:B11P4 SPACE EKOZ -> MB:B16P8 FILTER PASS P141 CC: JETVERB LFO RATE MA:B14P3 GREAT HALL -> MB:B12P5 NEGATIVEFLNG P142 CC: BIGBRICKS DIFFUSION MA:B14P4 BIG BRICKS -> MB:B16P2 DRUM COMP 3:1 P143 CC: REV->EKOZ RVB LEVEL MA:B14P1 BIG HALL -> MB:B12P4 CHORUS+EKOZ P144 CC: REV->KORUS RVB LEVEL MA:B13P5 BIG & SHORT -> MB:B12P3 CHORUS P145 CC: OVER!TOP LFO RATE MA:B12P1 OVERTHETOP1 -> MB:B12P2 OVERTHETOP2 P146 CC: GUITAR XP LFO RATE MA:B12P9 LFO:PAN&FAZE -> MB:B12P8 LFO:FAZEDLYS P147 CC: EKO->FAZE AMIX MA:B15P5 EKO SHIFT -> MB:B12P7 ENV:PHAZER P148 CC: VERB->DOWN B MIX MA:B14P7 RECITAL HALL -> MB:B15P8 ECHO DOWN P149 CC: THE SKY DELAYS MA:B15P7 SKY DOWN -> MB:B12P0 SKY DELAYS P150 CC: SPINOLA LFO RATE MA:B12P3 CHORUS -> MB:B16P7 PANOLA

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System Operation

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).

The 6 LARC sliders are primarily used to adjust parameter values. At the top level of the User Interface, the slider labeled SOFT can be used as a single or multiparameter 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: SET P 1

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Setup Select

Example

Press the button below the SOFTSlider. The LARC will now display:

DECAY

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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, a long text message will be shown in the display.

(The specific items available on this page are determined by the type of Setup (Single, Dual Mono or Cascade) which is loaded.)

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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. The LFO has a shape and a rate (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 Preset 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

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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 TO NO PATCH

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System Operation

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

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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 most cases, require you to modify the scale value.

Go to Page 4 (press 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.

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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.

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: SET R 1

The top line of the display shows the name of the 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

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Then will revert to the previous display (LARGE HALL SG: SET R 1). This store 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.

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System Operation

The 300L is shipped with 160 Effect programs within the Setups described earlier. Sooner or later you will want to alter the sounds of these effects to more 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

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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 RTM slider will display:

Working with the Effect Programs

MID RT

2.03 SEC

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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.

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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:

DRUM CHAMBER 300MA: B13P3

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The display over the sliders will change to:

RTM BAS XOV SIZ TDC PDLY

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 RFG

Press the MACH key again to revert to Machine A.

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System Operation

The last two pages in any Effect Program or Register are always the MIDI Patch Page, and the Naming Page. As these are identical in every algorithm, they are not shown with the other effect parameters in Chapter 4. Both of these pages are shown below for reference. The use of these pages is discussed elsewhere in detail.

R SEL SRC DEST SCL THR VAL

SEL <L>ARGE HALL CHG

The 300L has 50 registers available to store edited versions of the preset effects. After you have made the changes you want to an effect’s parameters, you can store the changed version into an Effect Register by pressing STOre.The following display will appear:

AVAILABLE 300MA: B01R1

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The MIDI Patch Page and the Naming Page

Storing Individual Effect Registers

The display will show the current bank and register location is available, in this example, B01R1. 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, B01R5, 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:

AVAILABLE 300MB: B01R2

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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 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.

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Note

Automatic Storing of

Modified Effects

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 DM: SET R 1

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Press STOre again. The message "STORED" will be displayed briefly to indicate that a successful store operation was completed.

If you have modified the effect(s) running in the Setup and wish to skip storing 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 Effect into 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.

the first 7 characters of the original program name

S=Setup

A=Machine A

1=Setup Register 1

LARGE H @SA 1 300MA: B01P1

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If both effects in a split Setup have been modified, 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

REV/RE @SA 1 300MA: B01R2

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REV/RE @SB 1 300MA: B01R3

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System Operation

The BANK and PROG keys can 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

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indicating the Machine (MA), Bank (B1) and Program location (P1) for that 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:

Using Banks and Programs

DANCE HALL

-24 18 12 6 0 6 +12 ovld dB

300MA: B01P5

The Bank and Program location will flash to indicate that DANCE HALL is Effect currently running in the current Setup. To

load

not

the

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 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: B05P1

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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.

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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

load

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. Press 4

3. Press PROG

4. Press 0 The display will read as follows (without flashing, as this is now the currently

running Effect.:

WAVE AMB. 300MA: B04P0

If you’ve modified an Effect and want to store it into an Effect Register, press STOre. The display will show:

AVAILABLE 300MA: B1R1

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The location for storing (B01R1 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 REG repeatedly until the display shows:

AVAILABLE 300MA: B05R9

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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.

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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:

System Operation

SPLIT REV 1 300MA: B13P3

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Press MACH to display the Bank running in the other Machine (Machine B in this example):

MOD DELAYS 300MB: B12P8

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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

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Press MACH to display the Effect currently running in the other Machine (Machine A in this example).

DRUMCHAMBER 300MA: B13P3

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Now, suppose you want to load two entirely different effects into each machine. For 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

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Press PROG repeatedly to display the Vocal Shift Program:

VOCAL SHIFT 300MA: B15P6

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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

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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.

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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 of a Setup. To do this, press SETUP. The display will show:

System Operation

DM: REV/DLY DM: SET P102

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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

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Press the STOre key again to save the Setup with the two modified Effects, and automatically store each effect into its own Effect Registers. (Much easier!)

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300L Owner's Manual

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 B1P0 DEEP END

BANK 2 ROOMS

B2P1 ROOMS B2P2 REHURSALROOM B2P3 STUDIO “A” B2P4 STUDIO “B” B2P5 STUDIO “C” B2P6 LARGE ROOM B2P7 SMALL ROOM B2P8 BEDROOM B2P9 W.C. B2P0 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 B3P0 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 B4P0 WAVE AMB

BANK 5 DIALOG

B5P1 IN A ROOM B5P2 STAIRWELL B5P3 CAR INTERIOR B5P4 MEETING ROOM B5P5 LIVING ROOM B5P6 POWDER ROOM B5P7 FULL CLOSET B5P8 PODIUM B5P9 STUDIO “D” B5P0 OFFICE

Banks and Programs

BANK 6 INSTRUMENT

B6P1 LIVE DRUM ROOM B6P2 ON STAGE B6P3 GUITAR CAVE B6P4 DRUM CAVE B6P5 BALLROOM B6P6 SCORE STAGE B6P7 DRUM GATE B6P8 LE GATE! B6P9 THIN LIZZY B6P0 BAND IN ROOM

BANK 7 LIVE SOUND

B7P1 SPACE & EKOZ B7P2 VOCAL STAGE B7P3 WAVE O WALLS B7P4 BRAND “X” B7P5 HANGAR B7P6 EARLY REFLEX B7P7 STAGE SLAP B7P8 HUGE SPACE B7P9 VOCAL SHEEN B7P0 ALMOST VERB

BANK 8 PLATES

B8P1 RICH PLATE B8P2 GLOSSY PLATE B8P3 WARM PLATE B8P4 PERC PLATE B8P5 CONTEM-PLATE B8P6 EKO PLATE B8P7 5K HALL B8P8 ROUND PLATE B8P9 SALAD PLATE B8P0 VOX PLATE

BANK 9 STEREO ADJUST

B9P1 STEREO ADJUST B9P2 STEREO DELAY B9P3 3 FRAME DLY B9P4 4 FRAME DLY B9P5 PHASE INVERT B9P6 MS DECODE B9P7 TELEPHONE B9P8 MULTI CANYON B9P9 LFO PANNER B9P0 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 B10P9 GTR CHORUS B10P0 FADE DOWN

Split Effects (Banks 11-16)Single Effects (Banks 1-10)

BANK 11 DELAYS

B11P1 BASIC DELAY B11P2 SLAP ECHO B11P3 STEREO SLAPS B11P4 SPACE EKOZ B11P5 PINGO PONGO B11P6 3 VOICE DLYS B11P7 DUCKED EKOZ B11P8 CANYON EKOZ B11P9 PAN DELAYS B11P0 VOX DOUBLER

BANK 12-MOD EFFECTS

B12P1 OVERTHETOP 1 B12P2 OVERTHETOP 2 B12P3 CHORUS B12P4 CHORUS+EKOZ B12P5 NEGATIVEFLNG B12P6 ENV:PEAK B12P7 ENV:PHAZER B12P8 LFO:FAZEDLYS B12P9 LFO:PAN&FAZE B12P0 SKY DELAYS

BANK 13 SPLIT REV 1

B13P1 CHAMBER B13P2 KEY CHAMBER B13P3 DRUM CHAMBER B13P4 GUITAR ROOM B13P5 BIG & SHORT B13P6 “L”CHAMBER B13P7 “U”CHAMBER B13P8 BASEMENT B13P9 JOE’S B&G B13P0 JOE’S GARAGE

Lexicon

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 B14P0 SIZZLECITY

BANK 15 MONOSHIFT

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 B15P0 HALFSTEPSDN

BANK 16 MASTERING

B16P1 EZ COMP 2:1 B16P2 DRUM COMP 3:1 B16P3 VOICE OVER B16P4 COMP 4 VERB B16P5 SMAKO! B16P6 SMALL ST ADJ B16P7 PANOLA B16P8 FILTER PASS B16P9 SPATIAL EQ B16P0 PONS

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System Operation

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 PATCH n

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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, internal controllers such as the LFO, Meter, or SoftSlider. The available source controllers 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.

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

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.

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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

Page One

Analog and Digital

Audio Selection

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

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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 input 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 clock is not present, the message “!BAD DIGITAL WORD CLOCK!” will be displayed.

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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”. If the 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 cables.

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 DualMono 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.

System Operation

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 deemphasis 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, you 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.

Page Two Emphasis and SCMS

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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.

Page Three

CopyProtect (on, off),

Bypass/Mute, Program

Load, Memory Purge

COPY BYP 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 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.

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Page Four

Offline Copy Tools

Page 4 is an”offline” copy page that allows you to copy Setups, or Effects from one location to another.

SETUP COPY - > 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 all the 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.

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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, NonRegistered 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 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.

System Operation

Page Five MIDI: Automation, Dumps and Channel Selection

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 TYPE 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.

Page Six MIDI: Maps

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.

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Page Seven

Time Code:

Snap and View

Page Eight

Time Code: Event List

and Time Code

Edit/Add/Delete

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 event list), and SNAP (enter an event into 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.

+ – H: M: S: F: EXIT

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 to 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.

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System Operation

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.

Page Nine Input/Output Gains

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The Algorithms and their Parameters

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300L Owner's Manual

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.

In the 300L, the Size, Spread and Shape controls allow adjustment of the buildup and decay of the initial part of the reverberation envelope. Shape controls the shape of the envelope, while Spread and Size set the time over which this shape is active.

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 Reverb Time vary

linearly

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.

with the setting of Size. Thus maximum reverb time and spread require

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 both the buildup and the sustain. As a rough estimate, the sustain will be approximately the time value indicated by the Spread display (in milliseconds).

As Shape is raised further, the buildup and sustain remain similar, but now a secondary sustain appears in the envelope, at a lower level than the first. This secondary plateau simulates a very diffused reflection off the back wall of a hall, and is effective in creating a sense of size and space. This reflection becomes stronger and stronger, reaching an optimal loudness when Shape is at about 1/ 2 of its range.

4-2

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.

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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 ambience—a sound which is spacious and has great depth—without the long reverberation of a church.

The Algorithms and their Parameters

The Random Hall algorithm in the 300L incorporates random delay elements. These elements have several effects. 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 values of Bass Multiply of 1.0 or less, so a value of 0.8 could be tried when attempting to match an existing hall.

Random Delays

Creating a Realistic Sound

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.

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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

PAGE TWO

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 0µS-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 +93% 0-2800MS OFF-24.0DB-UP FULL -93 TO +93%

* Parameter ranges are dependent on settings of SIZ and LNK.

Lexicon

Diffusion Predelay

RTM (Mid-Frequency

Reverb Time)

Feedback 3

Delay 3 Level 3

Delay 1

Reverberator RTM SIZ SHP SPR XOV BAS TDC LNK

SPN WAN SHLF

Delay 2

Feedback 4

Level 1

Level 2

R Level

Level 4Delay 4

High Frequency

Cutoff

Random Hall Page One

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.

4-4

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.

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The Algorithms and their Parameters

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 at the 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 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 have an uneven buildup of initial reverberation. This uneven buildup is controlled by the SPR and SHP controls.

SPR (Spread)

SIZ (Size)

HFC 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. 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 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 slapecho 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.

HFC (High Frequency Cut)

PDLY (Predelay)*

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Random Hall Page Two

BAS (Bass Multiply)

XOV (Bass Crossover)

TDC (Treble Decay)

DIF (Diffusion)

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 cutting low frequencies.

TDC sets the frequency above which sounds decay at a progressively faster rate. It filters all the sound except the pre-echoes. When set relatively low, 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 result in 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.

LNK (Link)

RLVL (Reverb Level)

SPN (Spin)

WAN (Wander)

RTM (Mid-Frequency

Reverb Time)

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 time that the early reflections will move. For best results 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.

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The Algorithms and their Parameters

SHLF modifies the low-pass characteristic of the rolloff control, turning it into a 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, 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.

SHLF

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.

DL1*, LV1

DL2*, LV2

RTM (Mid-Frequency Reverb Time)

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RLVL (Reverb Level)

DL3*, LV3, FB3

DL4*, LV4, FB4

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 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 exit this fine control mode, double-click on the button again.

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The Algorithms and their Parameters

Random Ambience

The 300L's Random Hall effects are designed to add a cushion of reverberance to recorded music, while leaving the clarity of the direct sound unaffected. Random Ambience is different. It is intended to become a part of the direct sound — 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 effective way of realistically adding distance to a close-miked signal. If an ensemble has been recorded with close-mikes and pan pots, Ambience can provide the missing blend and depth. The apparent position of the instruments is preserved in the reverb while the apparent 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.

General Description

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.

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Random Ambience

Parameters

PAGE ONE

RT* RVL SIZ ROL DIF PDLY**

.24-64.17SEC OFF, -48TO-1DB, UP FULL 4.0-39.4M 0.5KHZ-21.2KHZ 0-99 0-99.877MS

PAGE TWO

SPN WAN DDLY

0-48 0µS-37.1MS 0-99.877MS

* Parameter range is dependent on setting of SIZ. ** Parameter range is dependent on setting of Sample Rate.

D Delay

Ambience Generator

Lexicon

L R

Diffusion Predelay

D Delay

RT (Reverb Time)

RVL (Reverb Level)

SIZ (Size)

SIZ RTM

SPN WAN

RLVL

Rolloff

Σ Σ

Random Ambience Page One

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 sets the amount of reverberation in the processed signal. It should normally be set between -6 and -12dB.

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.

4-10

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.

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The Algorithms and their Parameters

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.

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.

DIF (Diffusion)

PDLY (Pre-Delay)

SPN (Randomization)

WAN (Wander)

DDLY provides a delay for the "dry" audio path.

DDLY ( Dry Delay)

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Rich Plate

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General Description

The Rich Plate program is 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 0.1-26.5KHZ, 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

PAGE THREE

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 1

Delay 1

Diffusion Predelay

Delay 3

Delay 2

Delay 4

Delay 5 Level 5

Reverberator

RTM SIZ SHP SPR XOV BAS TDC LNK RAN

Feedback 2

4-12

Feedback 5

Feedback 6

Level 3

Level 4

R Level

Level 6Delay 6

High Frequency

Cutoff

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Rich Plate Page One

The Algorithms and their Parameters

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.

RTM (Reverb Time)

SHP (Shape)

SPR (Spread)

SIZ (Size)

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.

* 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

HFC (High Frequency Cut)

PDLY* (Pre-Delay)

BAS (Bass Multiply)

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XOV (Bass Crossover)

TDC (Treble Decay)

DIF (Diffusion)

LNK (Link)

RLVL (Reverb Level)

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 except the 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 result in 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.

RAN (Randomness)

DL1* , DL2*

FB1 , FB2

Rich Plate Pages Three, Four & 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.

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The Algorithms and their Parameters

DL3 (0ms-1000ms) and DL4 (0ms-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 (0ms-2800ms) allow you to build non-diffused recirculating echoes independent of the reverberator. Each 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 are undiffused preechoes.

DL3* , DL4*

LV3, LV4

DL5* , DL6*

FB5, FB6

LV5, LV6

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Stereo Adjust

Lexicon

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

OFF,-72.00DB TO +12.00DB L+3 TO R+3 L+3 TO R+3 CUT, -18 TO +6DB CUT, -18 TO +6DBCUT, -6.00 TO +6.00DB

LVL BAL ROT BAS TRB SPEQ

PAGE TWO

DLY BXO TXO TXLR TBL TBR

0-5000MS 0.1-26.5KHZ 0.1-26.5KHZ 0.1-26.5KHZ CUT, -18DB - +6DB CUT, -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 +99% 0-10.417MS -99 TO +99%

* Parameter ranges are dependent on setting of Sample Rate.

Sample

Σ Σ

Level

RFS Balance Rotate

Σ Σ

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.

LFF

RFF

BXO TXO

TXLR

Equalizer

BAS

TBL

DEMP

SPC TBR

SHUF

L Delay

L/R Dly

R Delay

RFB

LFB

L Fine

R Fine

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The Algorithms and their Parameters

BAL implements a sine/cosine balance adjustment. Balance is smoothly adjusted over a wide range, with excellent resolution in the critical area around zero. The display indicates the actual channel gains as the control is varied.

ROT 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 microphones, moving the ROT slider is exactly equivalent to rotating the microphone pair. Other microphone arrays and multimicrophone setups do not rotate perfectly, but using this control is frequently preferable 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.

BAL (Balance)

ROT (Rotate)

BAS (Bass EQ)

TRB is a 6 dB/octave shelving EQ controls with a range of +6 dB boost and -18dB cut. It moves in .50 dB steps from +6 to -6 dB. The crossover point is adjusted with 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 spaciousness and depth of the sound. It is particularly useful on material recorded with panpots, or coincident and semi-coincident microphone technique.

TRB (Treble EQ)

SPEQ (Spatial EQ)

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,

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Lexicon

this compensation will be quite accurate as long as SPEQ is set to less than 3 dB boost.

Stereo Adjust Page Two

DLY (Master Delay)

BXO (Bass Crossover)

TXO (High Frequency

Cutoff)

TXLR (Independent

Treble Crossover)

TBL, TBR (Independent

Treble Boost/Cut)

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, and is 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

-3 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 level 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

SAM (1/2 sample)

(De-emphasis On/Off)

4-18

DEMP

When this control is on, the left channel is delayed relative to the right by 11µsec (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!

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The Algorithms and their Parameters

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 problem created previously in the recording process.

+L+R = Normal Routing +L-R = Right Channel polarity inverted (flipped) +R+L = Left and Right Channels swapped

-R+L = Right flipped and swapped with Left

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 converters 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 5second post-equalization delay line.

RFS (Right Channel Flip 'n' Swap)

DC (DC Offset Nulling)

DCL and DCR (Left and Right Channel DC Offset)

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.

LDL* (Left Channel Coarse)

RDL* (Right Channel Coarse)

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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

LFD* (Left Channel Fine)

RFD* (Right Channel Fine)

LFB, RFB, LFF and RFF

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 exit the 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 exit the 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 adjustable in 1% increments from -99% to +99%. If the magnitudes of both feedback gains for a channel sum to more than 100%, that channel will overload.

4-20

On the 300L, overall and fine are differentiated by the following labels:

LFB = Overall Left Channel Feedback LFF = Fine Left Channel Feedback RFB = Overall Right Channel Feedback RFF = Fine Right Channel Feedback

Page 86

The Algorithms and their Parameters

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 R. The effect is to convert small time differences (which are not audible in loudspeaker reproduction) between the two microphones into level differences, which are audible. The effect can be dramatic.

The frequency below which the boost acts is set by the SHUF control. A setting of 5 will give a 3dB L-R boost at about 150Hz; a setting of 10 will be 3dB up at 250Hz. Response rises at 6dB/octave below this frequency. More than 18dB of gain can be obtained at 20Hz when SHUF is set to 10.

This control has been optimized for true binaural recordings, where the difference signal at low frequencies is minimal. If it is used on ordinary stereo material, or with binaural material to which reverberation has been added, excessive low frequency difference signals can result. On such material, it is better to use the SPEQ control which will achieve a similar result.

The SHUF control varies from 0 (shuffler off) to a maximum of 10. While theory would suggest a setting of 10 for a 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.

SHUF (Binaural Shuffler)

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Stereo Pitch Shift

Lexicon

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 300L 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 associated with pitch shift. In stereo mode both channels are linked, and the sum of the two channels (L & R) is used in the pitch detector. In mono mode each channel splices independently. In either case it takes about 40 ms for the pitch detector to obtain an optimal pitch value. Setting the 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 FIN

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

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Bandpass Sync Mode

Mono or

Stereo

Feedback

Shifter

Σ Σ

PCH FIN

Shifter

PCH FIN

Feedback

L Delay

R Delay

Page 88

Stereo Pitch Shift Page One

The Algorithms and their Parameters

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 pitchcorrect classical music, it may be better to set SNC to Off. There is an automatic sync tracking feature which will keep the two channels locked to within 2 samples. If precise synchronization is desired, the LDL and RDL controls should be set to 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 exact tuning 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.

MOD (Mode)

SNC (Synchronization)

PCH (Pitch Interval)

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 adjusts 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.

FIN (Fine Pitch)

LDL, RDL (Left and Right Delays)

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300L Owner's Manual

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FBL, FBR (Left and Right

Feedback)

BNPS (Bandpass Filter)

FBL and FBR control the amount of positive feedback from the output of the echo 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 is a bandpass filter which rolls off the frequency responce of the audio before the splicing algorithm. The -3dB point is 100 Hz. The purpose of the bandpass filter is to give the pitch shifter

less

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.

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Page 90

The Algorithms and their Parameters

"Split" Setup Algorithms

Dual Delays

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 independent 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 delay lines.

General Description

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.

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300L Owner's Manual

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.

Lexicon

Flanger

FBD

LFG

FDL FDL

RFG

FDL (Flange Delay)

FBD (Left and Right Flange

Base Delays)

LFG and RFG (Left and

Right Flange Gain)

AP 1 APD 1 FB 1

Delay 1

Delay 2

AP 2 APD 2 FB 2

Delay 3 L Delay L Pan

FB 3

FB 4

Delay 4 R Delay R Pan

Dual Delays Page One

FDL is a separate 20 ms ganged gliding stereo delay line.

The FBD controls are base delays which get summed with the stereo ganged flange delay.These base delays are adjustable throughout a 20 millisecond range.

LFG and RFG are flange gains which are adjustabe as a feed forward amplifier loop (+99% positive value) or feedback amplifier loop (-99% negative value).

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Dual Delays Page Two

The Algorithms and their Parameters

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 exit this fine control mode, double-click on the button again.

FB1 and FB2 set the gain of feedback for 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

DL1*, DL2*

FB1, FB2

APD1, APD2 (All Pass Left and Right Delays)

AP1, AP 2 (All Pass Left and Right Gain)

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 exit this fine control mode, double-click on the button again.

FB3 and FB4 control the gain of the cross- feedbacks 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 exit this 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

DL3*, DL 4*

FB3, FB4

LDL*, RDL*

LPAN, RPAN

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300L Owner's Manual

Chamber

Lexicon

General Description

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 InMono 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 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.

Chamber

Parameters

PAGE ONE

RTM* BAS XOV SIZ TDC PDLY

.19-51.50S 0.2-4.0X 0.1-26.5KHZ 4.0-66.4M 0.5-21.2KHZ 0-1000MS

PAGE TWO

NONE,0-98%,UP FULL 0-99 0-255 0-255 LINK/UNLINK

* Parameter ranges are dependent on settings of SIZ and LNK.

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RAN DIF SHP SPR* LNK

Split Chamber

RTM SIZ SHP SPR

Diffusion

Predelay

XOV BAS TDC LNK RAN

Page 94

Chamber Page One

The Algorithms and their Parameters

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 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 1.2x or less.

RTM (Mid-Frequency Reverb Time)

BAS (Bass Multiply)

XOV (Bass Crossover)

SIZ (Size)

TDC sets the frequency above 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.

TDC (Reverb Treble Cutoff)

PDLY* (Pre-Delay)

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300L Owner's Manual

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 slapecho effects on vocal tracks.

* 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.

Chamber Page Two

RAN (Randomization)

DIF (Diffusion)

SHP (Shape)

SPR (Spread)

RAN sets the amount of randomization within the reverb process. Acoustically it is similar to the Spin control in Random Hall.

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.)

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LNK (Link)

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.

Page 96

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. It takes about 40 ms for the pitch detector to obtain an optimal pitch value. Setting the DLY control to this value will give the smoothest pitch shift. Shorter values can be used for special effects, or when extra delay cannot be tolerated.

Mono Pitch Shift Parameters

PAGE ONE

PCH FIN DLY FBK - BNPS

-2OCT TO MAJ7+96¢ 0-510MS NONE-98%, MAX - OFF/ON

Feedback

Shifter

Bandpass

PCH FIN

Delay

Mono Pitch Shift Page One

PCH adjusts pitch interval. The exact tuning can be altered by FIN, and the exact 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 number of cents added to, or subtracted from, the semitone intervals. Remember 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 additive or subtractive to the PCH control.

DLY adjusts the length of a delay line from zero to 510ms in 2ms steps.Optimal pitch shift occurs when DLY is about 40ms.

FBK controls the amount of positive feedback from the output of the 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.

PCH

FIN

DLY

FBK

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300L Owner's Manual

BNPS

Lexicon

BPS is a band-pass filter which rolls off the frequency responce of the audio before the splicing algorithm. The -3dB point is 100 Hz. The purpose of the bandpass 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 performance of the pitch shifter.

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Page 98

The Algorithms and their Parameters

Small Stereo Adjust

The Small Stereo Adjust algorithm is a scaled-down version of Stereo Adjust with

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

PAGE ONE

OFF, -72.05DB TO +12DB L+3 TO R+3 CUT, -18DB - +6DB CUT, -18DB - +6DB 0.1-26.5KHZ CUT, -6.00 TO +6.00DB

MST BAL BAS BAS BXO SPEQ

PAGE TWO

TXO TBL TBR ROT

0.1-26.5KHZ CUT, -18DB - +6DB CUT, -18DB - +6DB L+3 TO R+3

Equalizer

BAS BAS BXO

Master Balance Rotate

TBL TBR TXO

SPEQ

Stereo Adjustments Page One

MST 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 -60dB the calibration comes in larger steps, finally dropping to zero output at -72dB.

These are 6dB/octave shelving EQ controls with a range of +6 dB boost and 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 are set to full cut, the level is -3 dB at the frequency set with BXO.

MST (Master Fader)

BAL (Balance)

BAS (EQ Shelving)

BXO (Bass Crossover)

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300L Owner's Manual

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SPEQ (Spatial EQ)

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.

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.

TXO (Independent Treble Crossover)

TBL, TBR (Left and Right

Treble Boost/Cut)

ROT (Rotate)

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 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.

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Page 100

The Algorithms and their Parameters

Compressor

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 threshold. 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 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 Compressor 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 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 [0VU]) 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 compressing 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.

the threshold. Note,

General Description

Adding some pre-delay gives the control mechanism time to react before the audio reaches the digital VCA. Of course, the more predelay you add, the more “out of sync” the audio will become. Attack constants should be kept to short values (7,15, or 30ms). A good starting point for release time is 91 or 114 ms.

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