Lexicon 300 - V3.0 REV, 300 V 3.0 Owner's Manual

300

Digital Effects

System

V 3.0
Owner's
Manual

Unpacking and Inspection

After unpacking the 300, save all packing materials in case you ever need to ship the unit. Thoroughly inspect the
300 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 300 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 300 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 300's connectors.

• Before turning the 300 on or off, mute your monitor speakers to avoid possible damage from transients.

• To prevent fire or shock hazard, do not expose the 300 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.

Copyright 1993
All Rights Reserved.

Lexicon Part #070-09678

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.

Lexicon Inc.
3 Oak Park
Bedford, MA 01730 USA
Tel [phone]
Fax [phone]

Introduction

1. Installing the 300

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

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

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

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

Connectors................................................................................... 1-4

Cables .......................................................................................... 1-5

Setting Analog Audio Levels ........................................................ 1-6

Configurations .............................................................................. 1-7

2. System Overview

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

The Front Panel.................................................................................. 2-4

Overview of Front Panel Controls ................................................ 2-5

Overview of the 300 Display ........................................................ 2-6

System Overview................................................................................ 2-7

3. System Operation

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

Selecting digital input and/or changing analog sampling rate ...... 3-3

Single Setups ..................................................................................... 3-4

Dual Mono Setups .............................................................................. 3-5

Cascade Setups ................................................................................. 3-7

Setup Select Mode ............................................................................. 3-9

The Setup Presets ....................................................................... 3-9

Using the Soft Knob as a Parameter Controller ......................... 3-12

Setup Edit Mode ............................................................................... 3-13

Single Setups ............................................................................. 3-13

Dual Mono and Cascade Setups ............................................... 3-15

Naming the Setup............................................................................. 3-17

Storing the Setup.............................................................................. 3-17

Effect Edit Mode ............................................................................... 3-18

Parameter Selection................................................................... 3-18

Naming and Storing Effects ....................................................... 3-19

Mod Edit Mode ................................................................................. 3-20

Soft Knob Patches ..................................................................... 3-21

Control Mode .................................................................................... 3-22

Time Code Event List................................................................. 3-22

MIDI Mode and Map Table......................................................... 3-23

Machine Configuration ............................................................... 3-24

Digital Interface and Sampling Rates......................................... 3-24

SCMS Mode............................................................................... 3-25

Emphasis ................................................................................... 3-25

Bypass/Effect Load Mode .......................................................... 3-26

Copy Tools ................................................................................. 3-26

Purge Tools................................................................................ 3-27

Contents

Contents, cont'd.

4. The Algorithms and their Parameters

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

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

Random Ambience....................................................................... 4-8

Rich Plate................................................................................... 4-11

Stereo Pitch Shift ....................................................................... 4-15

Stereo Adjust.............................................................................. 4-18

"Split" Setup Algorithms.................................................................... 4-23

Dual Delays................................................................................ 4-23

Split Chamber ............................................................................ 4-26

Mono Pitch Shift ......................................................................... 4-29

Compressor................................................................................ 4-31

PONS (Psychoacoustically Optimized Noise Shaping).............. 4-33

Small Stereo Adjust.................................................................... 4-34

5. The Presets

Single Setup (and Effect) Presets ...................................................... 5-2

Split Setup Presets and Their Effects................................................. 5-6

Split Setup Effect Descriptions ......................................................... 5-20

Effect Preset Parameters ................................................................. 5-25

Effect Presets Using the Random Hall Algorithm....................... 5-25

Effect Presets Using the Random Ambience Algorithm............. 5-27

Effect Presets Using the Rich Plate Algorithm ........................... 5-28

Effect Presets Using the Stereo Adjust Algorithm...................... 5-29

Effect Presets Using the Stereo Pitch Shift Algorithm................ 5-30

Effect Presets Using the Dual Delays Algorithm ........................ 5-31

Effect Presets Using the Split Chamber Algorithm..................... 5-34

Effect Presets Using the Mono Pitch Shift Algorithm ................. 5-36

Effect Presets Using the Compressor Algorithm........................ 5-36

Effect Presets Using the PONS Algorithm ................................. 5-36

Effect Presets Using the Small Stereo Adjust Algorithm............ 5-36

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

Dynamic MIDI ..................................................................................... 7-4

Using MIDI Program Change Messages with the 300........................ 7-5

MIDI Table mode.......................................................................... 7-5

Editing the MIDI Table.................................................................. 7-5

Real-time MIDI Effects Automation .................................................... 7-6

Using Real-time SysEx and Non-registered Parameters ............. 7-6

Using Dynamic MIDI® to transmit and receive MIDI

Controller Information ............................................................ 7-7

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

Controlling Multiple 300s .................................................................... 7-7

MIDI Dumps of Current Setup, Event List, MIDI Table, and

All Registers ................................................................................. 7-8

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

9. MIDI Implementation Chart

10. Specifications

Congratulations on your purchase of the 300 Digital Effects System! The 300 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 300 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 300 will automatically accept and lock
to any AES/EBU/SPDIF format; the 300'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 300 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 small version of Stereo
Adjust.

Introduction

Comprehensive Effects Automation

The 300 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 300
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
300'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 300 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.

Lexicon Sound

Even with the best functions and features, the heart of any signal processor is
its sound. The 300 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, 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 300’s combination of state-of-the-art sound
and extraordinary versatility 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 300.

Installing the 300

Installing the
300

1

1-1

300 V 3.0 Owner's Manual

Lexicon

Mounting

Power Requirements

Before rack-mounting the 300, you may want to remove the four rubber feet
attached to the bottom of the 300 chassis. Gently pry off the black plastic buttons
in the center of each foot, then remove the foot itself.

The 300 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 300 is securely screwed into the rack adapter If the 300 is mounted
in a rack or road case, support the rear of the chassis to prevent possible
damage from mechanical shock and vibration.

The 300 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 300 is internally wired to operate at 100, 120, 220 or 240 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 300 Service Manual.

1-2

DO

PUSH

L IN

MIDI

OUT

DO

IN

R IN

INPUT

GAIN

THRU

PUSH

L OUTR OUT

DI

DI

EIAJ CP340

PUSH

DIDO

PUSH

TIME CODE IN

AES/EBU

COMM PORT

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 both the AES ANSI
S4.40-1985 spec and the EBU doc tech 3250.
Input/output impedance levels of the AES/EBU
connectors comply with the CCITT V.11 EIA­422A specification.

Installing the 300

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.

Communications
Port

DE9 connector, re­served for future en­hancements.

MIDI Connectors

Out: Transmits MIDI data to other equipment.
Thru

: Passes any MIDI data received without

change.

In

: Receives MIDI information from other MIDI

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

Input Gain

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

1-3

300 V 3.0 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

1 = ground

3 = low

2 = high

1-4

Cables

Installing the 300

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

300 V 3.0 Owner's Manual

Lexicon

Setting Analog

Audio Levels

Level Indicators

Red DSP Overload

Amber -3

-6

Green -12

-18

-24

-30

-36

-42

values are dB approximate

When shipped, the 300 is set for the Analog I/O configuration. Once you have
connected the analog inputs and outputs, you can set up the analog input and
output levels. To do this, press the 300 front panel key marked LEVEL. The
display will show:

This line is selected, and will

change as you turn the Soft
Press this button to toggle
selection of INL on and off.

knob to give a visual indica-

tion of the level settings

INL ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ (-10.0dB to +10.0dB)
INR ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ (-10.0dB to +10.0dB)

LEVEL

LEVEL

Press this button to toggle
selection of INR on and off.

Actual level settings (in dB)
are shown here.

The front panel PAGE UP and PAGE DOWN keys allow you to switch the display
from input levels (IN L and R) to output levels (OUT L and R).

When a line is selected, the boxes on the display will be lengthened. (The
illustration above shows the upper line selected.) If both lines on the display are
selected, turning the Soft knob will alter both settings simultaneously. The
buttons directly above and below the display act as toggle switches to individu­ally select and un-select these lines.

If additional gain is needed, the rear panel INPUT GAIN switch allows you to set
unity gain of the 300 to 0dB (switch OUT), or to +16dB (switch IN).

Feed a 1kHz tone (or a musical signal at the maximum peak level used in your
system) to the 300. Use the front panel Soft knob to adjust the level so that the
peak input level falls just short of lighting the red overload LED. To set the output
level, press the front panel PAGE UP or PAGE DOWN key and use the Soft knob
to set the output to provide appropriate levels for your console or system.

1-6

Effects Send (L)
Effects Send (R)

Channel Input or
Effects Return (L)

Channel Input or
Effects Return (R)

Installing the 300

Configurations

Connection to a
mixing console's
effects sends

OUT

EIAJ CP340

DO

MIDI

THRU

DI

DI
DO

IN

TIME CODE IN

PUSH

COMM PORT

AES/EBU

DIDO

PUSH

If you will be using a 300 as your primary effects unit, and your system includes
a console with one or more auxiliary (effects) sends, connect the 300 as shown
above. In most applications, it is preferable to connect the 300 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 300'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 300 in parallel.

The following diagrams give a few examples of various possible configurations
for interfacing to digital equipment.

L IN

R IN

L OUTR OUT

PUSH

PUSH

INPUT

GAIN

1-7

300 V 3.0 Owner's Manual

AES/EBU to AES/EBU

DIGITAL AUDIO

or

DIGITAL VIDEO

MACHINE

Lexicon

AES/EBU Format

Source Machine

AES/EBU Format

DIGITAL AUDIO

or

DIGITAL VIDEO

MACHINE

Destination Machine

S/PDIF to S/PDIF

Out In

TIME CODE IN

PUSH

COMM PORT

AES/EBU

DIDO

PUSH

EIAJ CP340

DI

DO

MIDI

THRU

OUT

Analog outputs for monitoring

Analog outputs for monitoring

DI
DO

IN

Out

Out

L IN

R IN

L OUTR OUT

PUSH

PUSH

INPUT
GAIN

HEADPHONE AMP

CONSOLE

or

RDAT MACHINE

or

CD PLAYER

Source Machine

RDAT

MACHINE

Destination Machine

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

1-8

S/PDIF Format

AES/EBU

DIDO

PUSH

TIME CODE IN

PUSH

COMM PORT

S/PDIF Format

EIAJ CP340

DO

OUT

Out

Analog outputs for monitoring

Analog outputs for monitoring

In

DI

DI
DO

MIDI

THRU

IN

Out

L OUTR OUT

Out

L IN

R IN

PUSH

PUSH

INPUT
GAIN

CONSOLE

or

HEADPHONE AMP

Source Machine

DIGITAL AUDIO

or

DIGITAL VIDEO

MACHINE

Installing the 300

AES/EBU to S/PDIF
Conversion

AES/EBU Format

Analog outputs for monitoring

RDAT

MACHINE

Destination Machine

Source Machine

RDAT MACHINE

or

CD PLAYER

In

TIME CODE IN

PUSH

COMM PORT

AES/EBU

DIDO

PUSH

EIAJ CP340

DO

MIDI

THRU

OUT

Out

S/PDIF Format

Analog outputs for monitoring

S/PDIF Format

Out

DI

DI
DO

IN

Out

L IN

R IN

L OUTR OUT

PUSH

PUSH

INPUT
GAIN

CONSOLE

or

HEADPHONE AMP

S/PDIF to AES/EBU
Conversion

AES/EBU Format

DIGITAL AUDIO

or

DIGITAL VIDEO

MACHINE

Destination Machine

Out Out

AES/EBU

DIDO

PUSH

TIME CODE IN

PUSH

COMM PORT

In

EIAJ CP340

DO

DI

DI
DO

MIDI

OUT

THRU

Analog outputs for monitoring

Analog outputs for monitoring

Out

L IN

R IN

L OUTR OUT

PUSH

PUSH

INPUT
GAIN

IN

CONSOLE

or

HEADPHONE AMP

1-9

300 V 3.0 Owner's Manual

ANALOG I/O and

AES/EBU to AES/EBU

Lexicon

Digital Source

DIGITAL AUDIO

or

DIGITAL VIDEO

MACHINE

AES/EBU Format

DIGITAL AUDIO

or

DIGITAL VIDEO

MACHINE

Digital Destination

AES/EBU Format

Out In

TIME CODE IN

PUSH

COMM PORT

AES/EBU

DIDO

PUSH

OUT

Analog outputs for monitoring

EIAJ CP340

DO

Analog Source

ANALOG

MACHINE

CONSOLE

In

R IN

L OUTR OUT

DI

DI
DO

MIDI

THRU

IN

Out

PUSH

Out
Analog audio

CONSOLE, HEADPHONE AMP

ANALOG MACHINE

or

Analog Destination

or

Analog audio

In

L IN

PUSH

INPUT
GAIN

ANALOG I/O and

AES/EBU Digital Output

AES/EBU Format

DIGITAL AUDIO

or

DIGITAL VIDEO

MACHINE

Destination Machine

Analog outputs for monitoring

Out

TIME CODE IN

PUSH

COMM PORT

AES/EBU

Source Machine

CONSOLE

or

MIKE PREAMP

Analog audio

In

DIDO

PUSH

EIAJ CP340

DO

DI

DI
DO

MIDI

OUT

IN

THRU

Out

L OUTR OUT

Out

In

L IN

R IN

PUSH

PUSH

INPUT
GAIN

Analog audio

CONSOLE, HEADPHONE AMP

ANALOG MACHINE

or

1-10

Installing the 300

ANALOG In
with Digital Patch Point
to ANALOG Out

DIGITAL PROCESSOR

AES/EBU Format

Out

In

TIME CODE IN

PUSH

COMM PORT

AES/EBU

ANALOG

MACHINE

or

CONSOLE

Out

In

InOut

DIDO

PUSH

EIAJ CP340

DO

OUT

OutInOut

DI

DI
DO

MIDI

THRU

IN

Out

In

In

L IN

R IN

L OUTR OUT

PUSH

PUSH

INPUT
GAIN

1-11

System Overview

2

System Overview

2-1

300 V 3.0 Owner's Manual

Terms used

in this manual

Lexicon

In discussing 300 operation, the following terms are used.

Algorithm

The 300 contains eleven
the 300's audio processors how to process the input signal. One algorithm
produces pitch shift effects, another produces reverberation, etc. Algorithms are
stored inside the 300 on ROM (Read-only memory) chips.

algorithms

. An algorithm is a set of instructions that tells

Configuration

The 300 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

An

effect

consists of an algorithm, the parameter values which create a specific

sound, four associated patches, and an identifying name.

.

Machine

The 300 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

B.

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 keys labeled PAGE UP and
PAGE DOWN.

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

A

patch

is a routing assignment that allows one of the 300's parameters to be

driven by a source controller (LFO, footswitch, mod wheel, etc.)

Register/Preset

Registers

effects.
overwritten, but they can be modified and stored as custom setups in the
registers. Registers and presets are differentiated on the 300 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

2-2

System Overview

Effect presets:

100 effect presets are installed in the 300 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:

100 setup presets provide a convenient starting point for
selection of effect combinations. (50 setup registers are provided for
storage.)

Setup

A

setup

consists of a single effect or a pair of effects, the configuration
associated with them, and an identifying name.The three basic setup configu­rations: Single, Dual Mono and Cascade, are shown below.

SINGLE SETUP

INPUT LEVEL

ANALOG DIGITAL

INPUT BALANCE

ANALOG DIGITAL

RANDOM HALL STEREO ADJUST
RANDOM AMBIENCE STEREO PITCH SHIFT
RICH PLATE

MACHINE

ALGORITHM

OUT MIX

LFO

RATE SHAPE

EFFECT

PARAMETER

VALUES

METERS

LEFT RIGHT

MOD EDIT

PATCH PATCH

PATCH PATCH

PATCH PATCH

EFFECT

NAME

MOD EDIT

SETUP

NAME

A LVL B LVL

ALGORITHM

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

SMALL STEREO ADJ SMALL STEREO ADJ

INPUT

BALANCE

ALGORITHM

SMALL STEREO ADJ SMALL STEREO ADJ

EFFECT A

INPUT

BALANCE

EFFECT A

INPUT BALANCEINPUT LEVEL

A BAL B BAL B

MOD EDIT

PARAMETER

VALUES

PARAMETER

VALUES

PATCH PATCH

PATCH PATCH

CASCADE

FEEDBACK

PATCH PATCH

PATCH PATCH

MOD EDIT

DUAL MONO SETUP

MIX

A

EFFECT

NAME

LFO

RATE SHAPE

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

CASCADE SETUP

MIX

A

B

EFFECT

NAME

O

LFO

RATE SHAPE

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

METERS

LEFT RIGHT

ALGORITHM

METERS

LEFT RIGHT

ALGORITHM

MOD EDIT

PATCH PATCH

EFFECT B

PARAMETER

VALUES

MOD EDIT

PATCH PATCH

EFFECT B

PARAMETER

VALUES

SETUP
NAME

MOD EDIT

PATCH PATCH

PATCH PATCH

SETUP

NAME

PATCH PATCH

PATCH PATCH

MOD EDIT

EFFECT

NAME

EFFECT

NAME

2-3

300 V 3.0 Owner's Manual

The Front Panel

MIDI and Sample
Rate LEDs

The amber MIDI LED
indicates activity over
the designated MIDI
channels. The sam­pling rate of the 300 is
shown by the green
LEDs.

MIDI
48 kHz

44.1 kHz
32 kHz

300

DIGITAL EFFECTS SYSTEM

Level

Used to adjust Analog
input and output levels
(in conjunction with
the Soft knob and the
Page Up/Down keys).
Levels are shown on
the LED bar graphs di­rectly above the
LEVEL key. The lower
6 LEDs are green, fol­lowed by 2 amber, and
one red - indicating
overload.





LEVEL

Page Up/Down

Allow access to dis­play pages of adjust­able parameters.





Bypass

Enable digital bypass
of Machine A or B to
provide an unproc­essed signal, or to
mute the effect input.

7 89



PAGE

UP

PAGE

DOWN

456



123



—0

ENTER





Power

Power on/off.

CONTROL

SETUP

SELECT

SETUP

MACH

EDIT

EFFECT

STORE

EDIT

VALUE

MOD

EDIT

Lexicon

BYPASS



A



BYPASS



B

POWER

Soft buttons

Each of these eight
buttons is used to se­lect the parameter
displayed directly
above or below. Once
selected, parameters
can be changed incre­mentally by additional
button pushes, or they
can be adjusted by
the Soft knob.

Soft knob

Used to adjust para­meters displayed and
selected with the Soft
buttons.

Numerical Keypad

Used for numeric entry
of program numbers
(as an alternative to
Soft Knob selection)
and for time code en­tries.

Dedicated-function keys

Setup Select: Used to

select and run setups.

Mach

: In appropriate

configurations, allows
selection of either of
the 300's two process­ing modules (Machine
A and Machine B) for
front panel control.

Store

: Used to memo-

rize effects and set­ups

.

Value: Used to display

parameter values for
Soft button or Soft
knob adjustment.

Control

cess system parame­ters.

Setup Edit: Used to
create or modify the
current setup.

Effect Edit

adjust the parameters
of effects.

Mod Edit

create patches.

: Used to ac-

: Used to

: Used to

2-4

System Overview

The 300 front panel has been designed for ease-of-use and intuitive access to
all of the 300's functions.

In general the user will be operating in one of the following modes of operation,
each of which is accessed from the dedicated keypad on the front panel. Each
mode key has an LED which lights when the key is activated. The functions of
the VALUE and STORE keys are discussed later in this section.

SETUP SELECT

It is from Setup Select mode that setups are selected and loaded. Setups can
be selected with the Soft knob, or by entering a setup number on the numeric
keypad and then pressing ENTER.

CONTROL

Control mode provides access to global system functions which include: Digital
I/O Configuration, MIDI Channels, Modes, and Effect Change tables. Selecting
Control mode does not interrupt the audio operation of the 300.

MACH

This button allows you to toggle between the 300's two DSP engines. Each
machine can process audio continuously and simultaneously. However, the
front panel can only actively

control

one effect at a time.Each time you press
MACH, the 300 switches control; the display indicates whether Machine A or B
is being controlled.

Overview of
Front Panel Controls

CONTROLSETUP

SELECT

SETUP

MACH

EDIT

STORE

EFFECT

EDIT
MOD

VALUE

EDIT

SETUP EDIT

This mode is used to modify the current setup. In this mode you can select the
effect for the setup, and the name assigned to the setup

EFFECT EDIT

In this mode you can modify the effect used in the current setup, and change the
name of the effect. The available parameters for each effect are organized onto
display pages. The algorithms and their parameters are discussed in detail in
Chapter 4.

MOD EDIT

In Modulation Edit you can assign MIDI and Soft knob patches.

Switching between these various modes is as simple as pressing a button. The
operation of the 300 in each of these modes is discussed in the following
sections.

2-5

300 V 3.0 Owner's Manual

Lexicon

Overview of the

300 Display

CONTROLSETUP

SELECT

SETUP

MACH

EDIT

EFFECT

STORE

EDIT

VALUE

MOD

EDIT

Generally, the display will indicate a page of parameters, any of which can be
selected by pressing the button directly above or below it. In the example below,
the "RTIM" parameter has been selected and is highlighted by an underscore
cursor on the display.

RTIM SIZE ROLL PDLY

RLVL TDCY BASS XOVR

LEVEL

Once selected, parameters can be adjusted over their entire range with the Soft
knob. The parameter and its current value will appear on the display as long as
the Soft knob is being adjusted.

Pressing the front panel VALUE key will display all of the current parameter
values for the selected page. in this example, pressing VALUE will cause the
following display to appear:

2.0s 37.1M 2.9k 22m
FULL 3.6k 2X 0.5k

Here again, turning the Soft knob will adjust the selected parameter over its
entire range; the buttons will select other parameters for adjustment.

PAGE

PAGE

DOWN

2-6

The PAGE UP and PAGE DOWN keys are used to access various pages of
additional parameters (or parameter values) which can then be edited via the

UP

Soft knob.

System Overview

L

The 300 presents you with an incredible number of choices — all of which can
be made through the front and rear panel. Although you could certainly operate
the 300 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 300
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

300. 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

In

XLR

RCA
OPT

Analog

In

Digital

In

Emph

44.1 kHz
PL

SR

A/D

Sample Rate

(SR)

Effect

DSP

System Overview

Digital

Out

XLR
RCA

OPT

Analog

Out

SR

D/A

SR

Digital

Out

Emph

0.0 or +16dB
Rear Panel

Gain Switch

-10 to +10dB
Input Level

Control

Panel, MIDI and Time Code

Program Change

DSP

As you can see from the figure, the 300 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 300'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.

-10 to +10dB
Output Level

Control

2-7

300 V 3.0 Owner's Manual

SELECT

MACH

STORE

VALUE

CONTROLSETUP

SETUP

EDIT

EFFECT

EDIT
MOD

EDIT

Lexicon

By far the most important aspect of the 300 is the Setup and its association to
the digital effect(s) that you want to use. The 300 has three types of Setups:
Single, Dual Mono, and Cascade. Each is strikingly different and together they
provide incredible audio possibilities.

Each Setup includes 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
300 is shipped with 100 Setup Presets. (The organization of the Setup Presets
is shown to the left.) These factory presets cannot be overwritten, but can be
modified and stored as User Setups in any of 50 Setup Registers.

Setup Presets

The Setup Presets are organized
as follows:

101-150 = Single Setups
201-225 = Dual Mono Setups
301-325 = Cascade Setups

Single Set-Ups contain 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.

Effect Presets

Effect Presets are organized as
follows:

101-115 = Random Hall Presets
201-210 = Random Ambience
301-308 = Rich Plates
401-409 = Stereo Adjust
501-508 = Stereo Pitch Shift

These can only be loaded into
Single Setups (101-150)

.

Audio effects, of course, are what the 300 is all about, and a total of 100 Effect
Presets 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 Setups is also shown to the left.)

Each algorithm has its own control parameters. Random Hall, for example, has

28. The front panel EFFECT EDIT key and the Soft knob, allow effect
parameters to be adjusted along a range of values, dramatically altering the
audible effect of the algorithm. An effect can also activate as many as 4 patches,
each linking a source controller to a parameter. This MOD EDIT function is
intrinsically mapped as an extension of the EFFECT 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 300 is organized into setups and effects. Setups are collections
of many decisions, including DSP routing, Input levels, Source, Balances, LFO
Rate and Shape, and 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 included in a Setup 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.

601-616 = Dual Delays
701-720 = Split Chambers
801-810 = Mono Pitch Shift
901-902 = Compressor
001 = the PONS Program for
Mastering Applications
010 = Small Stereo Adjust

These can only be loaded into
“Split” Setups (201-325).

2-8

The 300'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. Set-up Configuration and Input type select (Analog and/or Digital),

2. Analog sample rate select, Digital locked, Digital input connector type,
Digital Input format display and Digital Output format selection.

3. SCMS Detect and select

4. Digital emphasis detect and select

5. Effect Load select(Bypass, Mute) and Bypass function (Input mute, Bypass

6. Copy Protect/Copy Tools for Setups, Effects, and MIDI Mod Edits

7. Purge (Delete) Tools for Time Code Event List,All Registers, All Effects,
MIDI Map Table, and return to Factory Initialization.

8. Time Code Event List Management

9. MIDI Mode and MIDI Map Table

Note: The 300 Digital Effects System is shipped from the factory running in an
Analog Input, 48kHz mode with Setup Preset S:P101 SINGLE running Effect
Preset EA: P101 Large Hall.

System Overview

If you are already familiar with the operation of the 300 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 300, we suggest you remain in the
analog mode and read on...

2-9

System Operation

3

System Operation

3-1

300 V 3.0 Owner's Manual

Lexicon

Getting Started

INPUT LEVEL

ANALOG DIGITAL

When shipped, the 300 V3.0 defaults to an Analog In, 48K sample rate state. It
also loads Setup Preset 101 Large Hall, with the Random Hall Effect

Large Hall

(Effect Preset 101).
The various audio DSP routing configurations which can be utilized by the 300

are grouped into Setups. The three Setup types are: SINGLE, DUAL MONO, and
CASCADE.

SINGLE SETUP

INPUT BALANCE

ANALOG DIGITAL

RANDOM HALL STEREO ADJUST
RANDOM AMBIENCE STEREO PITCH SHIFT
RICH PLATE

MACHINE

ALGORITHM

OUT MIX

LFO

RATE SHAPE

EFFECT

PARAMETER

VALUES

METERS

LEFT RIGHT

MOD EDIT

PATCH PATCH

PATCH PATCH

MOD EDIT

PATCH PATCH

EFFECT

NAME

SETUP

NAME

A LVL B LVL

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

ALGORITHM

SMALL STEREO ADJ SMALL STEREO ADJ

INPUT

BALANCE

ALGORITHM

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

SMALL STEREO ADJ SMALL STEREO ADJ

EFFECT A

INPUT

BALANCE

EFFECT A

INPUT BALANCEINPUT LEVEL

A BAL B BAL B

MOD EDIT

PARAMETER

VALUES

PARAMETER

VALUES

PATCH PATCH

PATCH PATCH

CASCADE

FEEDBACK

PATCH PATCH

PATCH PATCH

MOD EDIT

DUAL MONO SETUP

MIX

A

EFFECT

NAME

LFO

RATE SHAPE

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

CASCADE SETUP

MIX

A

B

O

EFFECT

NAME

LFO

RATE SHAPE

SPLIT CHAMBER MONO PITCH SHIFT
DUAL DELAY COMPRESSOR
PONS

METERS

LEFT RIGHT

ALGORITHM

METERS

LEFT RIGHT

ALGORITHM

MOD EDIT

PATCH PATCH

EFFECT B

PARAMETER

VALUES

MOD EDIT

PATCH PATCH

EFFECT B

PARAMETER

VALUES

SETUP
NAME

MOD EDIT

PATCH PATCH

PATCH PATCH

SETUP

NAME

MOD EDIT

PATCH PATCH

PATCH PATCH

EFFECT

NAME

EFFECT

NAME

When the 300 is powered up, the SETUP SELECT button should be lit, indicating
that the unit is in Setup Select mode. Turning the Soft knob will cue a new setup
into the display window. Pressing ENTER will load the new Setup — and the
Effect(s) associated with it.

3-2

.

System Operation

If you wish to change the Analog Sampling rate or to slave-lock the 300 to an
external digital device or to external system word clock, you must go into the
300’s Control mode. To do this, simply press the CONTROL button. Press PAGE
DOWN twice to view Page Three, the Machine Configuration page.

This page allows you to define Input type, with the currently selected type
underscored. (When shipped, this will be the factory default Input type, ANA­LOG.)

Mach Conf : Single
I : ANALOG 0 : ana+dig

Before turning the Soft knob to change the Input type, press PAGE DOWN to
display the Digital Input and Sampling Rate page. This page allows you to select
different types of Analog and Digital I/O parameters.

Selecting digital Input,
and/or changing analog
sampling rate

Inp : ***** Clk : 48kHz
Out : AES Din : XLR

Inp: Indicates the Digital Format if properly locked. If ***** appears, the 300 is
not locked to an external digital sync.

Clk: Allows the engineer to select the Analog Sampling rate. Pushing either of
the 2 buttons above this label first selects the parameter. You can then push the
button again to toggle to 44kHz, or you can use the Soft knob.

Out: Allows you to select AES Professional or SPDIF(Sony/Phillips Digital
InterFace) Consumer as output formats.

Din: Allows selection from among the three(3) different Digital Input Connectors:
XLR, RCA, and OPTical.

If you wish to operate the 300 in the digital domain, push either of the 2 buttons
under the Din label to select that parameter. (The selected parameter will be
underscored.) Use the Soft knob or multiple button pushes to select the Digital
Input connector which suits your studio rig.

Press PAGE UP to display the Input I/O selection screen. In the SINGLE mode
there are three choices: ANALOG, DIGITAL, or ANAlog + DIGital. Use the Soft
knob to select DIGITAL, then press PAGE DOWN to display the next screen.

3-3

300 V 3.0 Owner's Manual

Lexicon

If the system is properly locked, the Inp field should now be displaying either
“AES” or “SPDIF”. If the system is not properly locked to the incoming word clock,
the following error message will be displayed:

BAD/NO DIGITAL INPUT

Check Din connector!

Go back and check all your cables.
Once you’ve configured the Analog or Digital audio type, return to the Setup

Select mode by pressing SETUP SELECT.

Analog

L
R

Digital

L
R

Single Setups

Analog

Level

Digital

Level

SINGLE Setups (101-150) 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

Dry

Analog and
Digital Out

Analog

Balance

Σ

EFFECT

EDIT

Overall

Mix

L

R

Σ

Digital

Balance

of Left/Right balance feeds the DSP engine.

(Analog and digital input levels and balances are located on Page 2 of the

SETUP EDIT mode. Press SETUP EDIT, then press PAGE DOWN once.)

Dry

Example

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 ABAL (Analog Balance).

2. Turn the Soft knob counterclockwise to let more of the Left input pass through.

3. Turn the knob clockwise to allow more of the Right channel to pass through.

4. Return the parameter to 50%, allowing proper stereo to pass to the DSP
Before the signal passes into the loaded effect, a post input level and post

balance is picked off and bypasses the effect. Lexicon calls this the
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
found on the next Page. (Press PAGE DOWN once.) The resulting mix is passed
out both analog and digital.

3-4

effect.

Dry

signal

NOTE: Most studio applications assume a100% Wet mix. Most SINGLE
Setups are set with OMIX at 100% Wet. However, it is possible that some pre­fade sends to the 300 will require the mix to be set to another value.

System Operation

Dual Mono Setups (Setup Presets 201-225) are “Split” configurations. Turn the
Soft knob to cue up different Dual Mono Setups. The top line of the display
indicates the Setup Preset number and the two types of effects loaded in the
Setup. The bottom display line shows which “Split” Effect is loaded into which
machine. In the Dual Mono”Split” configuration each DSP engine, Mach A and
Mach B, can run special Split Effect Algorithms and Presets .

Analog and/or Digital formats can be input into the 300. 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.

Fixed Format

L

A

Level

A

Balance

Dry

Patch Points

EFFECT

EDIT A

Dual Mono Setups

A

Mix

L

Out

Analog or
Digital

R

B

Level

B

Balance

Dry

EFFECT

EDIT B

Patch Points

B

Mix

R

Out

3-5

300 V 3.0 Owner's Manual

Lexicon

When

both

Analog and Digital are specified to operate as MAIN Inputs, we refer
to it as "Mixed Format." The Mixed format gives you the option of using the left,
right, or summed mono input signals of each type of input(Analog or Digital). In
this format, patch points are given up. The parameters for determining what
blend of Left/Right is passed to each Machine (A and B), are “A BAL" and “B
BAL", located on Page Two of the Setup Edit mode.

Mixed Format

L

Analog

R

L

Digital

R

A

Level

B

Level

Dry

A

Balance

B

Balance

Dry

EFFECT

EDIT A

EFFECT

EDIT B

A

Mix

B

Mix

L

Out

R

Out

The determination of Fixed vs. Mixed formats is set in Control mode on Page
Three: the Machine Configuration page. Selecting ANALOG or DIGITAL on this
page specifies the Fixed format.

If you want to input both analog and digital audio (Mixed format), press CTRL to
get to Control mode. Press PAGE UP or PAGE DOWN to view the Machine
Configuration page. The leftmost button on the bottom row selects I: ANALOG
or DIGITAL. In Dual Mono Setups, the selections also include: A>L D>R, and
D>L A>R. Turn the Soft knob so that the display reads:

In this format, analog audio feeds the Input to the Left Processor (Machine A);
digital audio feeds the Input to the Right Processor (Machine B).

Machine A audio comes out Analog left (and digital left)
Machine B audio comes out Digital right (and analog right)

All Dual Mono setups have the ABAL and BBAL set to Left-CHannel and Right
CHannel respectively. This assumes a fixed format type of audio configuration.
If you elect to work in a Fixed format, all Dual Mono setups will require individual
adjustment of ABAL and BBAL to 50%.

3-6

Mach Conf: Dual-Mono
I : A>L D>R O : a>l d>r

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. Each Dual Mono Setup Preset defaults to
ABAL panned to LEFT ONLY, and BBAL panned to RIGHT ONLY. (AIN, ABAL,
BIN, and BBAL are located on Page Two of the Setup Edit 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 EDIT page
contains AMIX and BMIX.) Continuing with the above example, if both AMIX and
BMIX were set to 0%WET (or 100% DRY), you could use AIN and BIN as level
controls, mixing two independent signals to mono as part of an analog or digital
process.

System Operation

Cascade Setups are another type of “Split” configuration. They are numbered
301-325 in Setup Select mode. While in Setup Select mode, you can use the Soft
knob to locate the Cascade Setups. Pressing ENTER will load two split type
programs: one in Machine A, the other in Machine B.

Dry

Patch Points

Analog or
Digital

L

R

Input
Level

Input

Balance

Dry

Σ
Σ

EFFECT

EDIT A

Patch Points

A

Mix

EFFECT

EDIT B

Cascade Setups

Feedback

B

Mix

Feedback

Overall

Mix

Out

Out

L

R

3-7

300 V 3.0 Owner's Manual

Lexicon

From the 300's Control mode, there are two input format selections available
when running Cascade programs: Analog or Digital. If Analog is selected as the
main input type, then the Digital Input can be used as a patch point — either Pre­Machine A, Mid A - B, or Post Machine B. As in the other setups, there are Input
level and source Balance Controls. Cascade setups, however, have three mix
controls. AMIX proportions the dry signal to A's wet signal. BMIX proportions
the resulting A output with Machine B's output. OMIX takes the resulting 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.

Note:

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!!!!

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.

3-8

System Operation

Setup Select mode allows you to select and run setup presets and registers.

The 300 is shipped with 100 setup presets, as well as 50 setup registers for
storing your modified setups. The setup presets provide a convenient starting
point for selecting the audio DSP routing you want to use. Note: Presets marked
with an asterisk (*) have a Soft knob patch.

Single Setup Presets

Setup # Setup Name Mach Effect # Effect Name

P101 Large Hall A P101 Large Hall
P102 Medium Hall A P102 Medium Hall
P103 Small Hall A P103 Small Hall
P104 *Church A P104 *Church
P105 *Rooms A P105 *Rooms
P106 RehursalRoom A P106 Rehursal Hall
P107 *Chamber A P106 *Chamber
P108 LiveDrumRoom A P108 LiveDrumRoom
P109 *Studio A A P109 *Studio A
P110 *Studio B A P110 *Studio B
P111 *Brick Wall A P111 *Brick Wall
P112 *Deep End A P112 *Deep End
P113 Oil Tanker A P113 Oil Tanker
P114 *Synth Hall A P114 *Synth Hall
P115 Dance Hall A P115 Dance Hall

Setup Select Mode

The Setup Presets

Algorithms:

Random Hall

P116 *Ambience A P201 *Ambience
P117 In A Room A P202 In A Room
P118 Stairwell A P203 Stairwell
P119 *Hangar A P204 *Hangar
P120 MarbleFoyer A P205 Marble Foyer
P121 EarlyReflect A P206 EarlyReflect
P122 Lecture Hall A P207 Lecture Hall
P123 *CarInterior A P208 *CarInterior
P124 Score Stage A P209 Score Stage
P125 Gate It!! A P210 Gate It!!

P126 *Rich Plate A P301 *Rich Plate
P127 Glossy Plate A P302 Glossy Plate
P128 Warm Plate A P303 Warm Plate
P129 Perc Plate A P304 Perc Plate
P130 Contem-Plate A P305 Contem-Plate
P131 *EKO Plate A P306 *EKO Plate
P132 Bright Plate A P307 Bright Plate
P133 *Round Plate A P308 *Round Plate

P134 StereoAdjust A P401 Stereo Adjust
P135 Phase Invert A P402 Phase Invert
P136 2 Frame Dly A P403 2 Frame Dly
P137 3 Frame Dly A P404 3 Frame Dly
P138 4 Frame Dly A P405 4 Frame Dly
P139 MS Decode A P406 MS Decode
P140 *MultiEchoes A P407 *MultiEchoes
P141 LFO Panner A P408 LFO Panner
P142 Telephone A P409 Telephone

P143 *Stereo Shift A P501 *Stereo Shift
P144 Octave Down A P502 Octave Down
P145 Vox Chorus A P503 Vox Chorus
P146 Pole Flange A P504 Pole Flange
P147 Bulkie Roll A P505 Bulkie Roll
P148 Heavy Roll A P506 Heavy Roll
P149 *Going, Going A P507 *Going, Going
P150 Zorch! A P508 Zorch!

Random Ambience

Rich Plate

Stereo Adjust

Stereo Pitch Shift

3-9

300 V 3.0 Owner's Manual

Dual Mono Setup Presets

Setup # Setup Name Mach A Effect # Name Mach B Effect # Name

P201 Rev/Rev 701 Chamber 702 Key Chamber
P202 Rev/Dly 703 Drum Chamber 607 LFO:Faze Delays
P203 Rev/Pch 705 Guitar Room 802 Guit Shift
P204 Rev/Comp 707 “U”Chamber 901 EZ Comp2:1
P205 Dly/Dly 609 Chorus 612 Chorus+EKOz
P206 *Dly/Pch 601 *Dual Delays 804 Sky Down
P207 Dly/Comp 602 Space Delays 902 DrumComp3:1
P208 *Pch/Pch 803 *Up Shift 806 Echo down
P209 Pch / Comp 810 Vocal Shift 902 DrumComp3:1
P210 Comp/Comp 901 EZ Comp 902 DrumComp 3:1
P211 Slow Spin 607 LFO:FazeDlys 609 Chorus
P212 WideFlang 605 OverTheTop1 606 OverTheTop2
P213 X-Traffic 612 Chorus+EKOz 610 *Sky Delays
P214 *GearUp 803 *Up Shift 805 Env*EKOShift
P215 TwoRooms 715 Joe's Garage 709 Basement
P216 TwoHalls 720 Recital Hall 710 Big Hall
P217 *Verbs 717 *Drum Rooms 711 *Great Room
P218 *RevPan 707 “U”Chamber 708 *’L’Chamber
P219 Up&Down 807 HalfStepsUp 808 HalfStepsDn
P220 MyGuitar 802 Guit Shift 614 Env:Peak
P221 EnvSpooge 614 Env:Peak 608 Env:Phazer
P222 Flng&Dlys 616 Negative Flang 602 Space Dlys
P223 *Dly Daze 604 *3VoiceDlys 603 *PingoPongo
P224 Clusters 612 Chorus+EKOz 604 *3Voice Dlys
P225 2 Flanges 606 OverTheTop2 804 Sky Down

Lexicon

Cascade Setup Presets

Setup # Setup Name Mach A Effect # Name Mach B Effect # Name

P301 Rev->*Dly 701 Chamber 601 *Dual Delays
P302 *Dly->*Rev 601 *Dual Delays 714 *Joe's B&G
P303 Rev->Pch 707 “U”Chamber 802 Guit Shift
P304 Pch->Rev 804 Sky Down 703 Drum Chamber
P305 Rev->Comp 705 Guitar Room 901 EZ Comp 2:1
P306 Comp->Rev 902 Drum Comp 3:1 709 Basement
P307 Dly->Pch 609 Chorus 801 Mono Shift
P308 Pch->*Dly 810 Vocal Shift 603 *PingoPongo
P309 *Dly->Comp 604 *3Voice Dly 901 EZ Comp 2:1
P310 Comp->*Dly 901 EZ Comp 2:1 613 *Wall Slaps
P311 Pch->Comp 802 Guit Shift 901 EZ Comp 2:1
P312 *SurrVerb 720 Recital Hall 010 *Small St Adj
P313 *V3Comp 010 *Small St Adj 901 EZ Comp 2:1
P314 V3Chamber 701 Chamber 001 PONS+Dither
P315 *SpaceOut 711 *Great Room 604 *3Voice Dlys
P316 *JetVerb 712 *Great Hall 616 NegativeFlng
P317 BigBricks 713 Big Bricks 902 Drum Comp 3:1
P318 Rev->EKOz 710 Big Hall 612 Chorus+EKOz
P319 Rev->Korus 706 Big & Short 609 Chorus
P320 Over!Top 605 OverTheTop1 606 OverTheTop2
P321 GuitarXP 611 LFO:Pan&Faze 607 LFO:FazeDlys
P322 *EKO->Faze 805 Env*EKOShift 608 Env:Phazer
P323 Verb->Down 720 Recital Hall 806 Echo Down
P324 *The Sky 804 Sky Down 610 *Sky Delays
P325 Spinola 609 Chorus 011 Panola

3-10

System Operation

To enter Setup Select mode, simply press the front-panel key labeled SETUP
SELECT. This mode has two pages of controls:

Page One:

S : P101 Large Hall
EA :P101 Large Hall

Page One allows selection of a setup. The upper line indicates "S:" (setup), a
preset (P)or register (R) number, and the setup name. The upper row of buttons
will step sequentially through the list of setups; turning the soft knob will scroll
through the list. After finding a setup you want to load, note its number. There are
two ways to load this setup:

Simply press ENTER while the number of the setup you want is selected on the
display. If this is not the current setup, the number will flash on the display. If you
do not press ENTER within a few seconds, the display will automatically change
back to the current setup. Pressing ENTER once the display has changed will
still load the selected setup.

or
Enter the setup number you want on the numeric keypad to select a setup. Press
ENTER to load the setup.

Setup Select

Page Two:

KnobPatchS: _ _ 0

Dst1 : Dst2 :

This page displays the current Soft knob parameter value, as well as the
parameters which are patched to it.

Page Three:

KnobPatchA/B: _ _ 0

Dst1 :Dst2 Dst 3 Dst 4 :

Setup

This page displays the current Soft knob parameter value, as well as the
parameters which are patched to it.

Effect

3-11

300 V 3.0 Owner's Manual

Lexicon

Using the Softknob as a

Parameter Controller

The front panel Soft knob is primarily used to adjust different parameter values.
This Soft knob can also be programmed (in Mod Edit mode) as a multi-parameter
controller linking one or more parameters within Setups and Effects. The control
portion of the Soft knob parameter is part of the Setup, and is set in Setup Select
mode. The PAGE UP and PAGE DOWN keys enable you to utilize the Soft knob
as a parameter controller.

Example:

Setup Preset DM 223 *Delay Daze contains two effect presets (*3Voice Dlys and
*Pingo Pongo), each of which has delay parameters mapped to the Soft knob.

Load *Dly Daze, then press PAGE UP. The screen should display:

SoftknobA: 17

DLY3 DLY4 Dst3 Dst4

or

SoftknobB: 17

DLY1 DLY2 RDLY Dst4

SoftknobA is the Soft knob value for Machine A
SoftknobB is the Soft knob value for Machine B
SoftknobS is the Soft knob value for Setup Parameters

Note the current Soft knob value (this particular Setup has a preset value of 17),
and the labels for the effect parameters linked to the knob (DLY3 and DLY4 for
Soft knob A; DLY1, DLY2 and RDLY for Soft knob B).

Press VALUE to display the values of these effect parameters. Remember that
the display can only show one Machine’s effect at a time, to view parameters in
the other Machine which might be linked to the Soft knob, press MACH.

Leave the display in the value mode while turning the Soft knob on the front
panel, and you will see the displayed values change. The Soft knob parameter
has a range of 127 steps.

3-12

System Operation

Setup Edit mode is used to select the effect to be used in the setup. To enter
Setup Edit mode, first go to Setup Select mode and select and load the setup
you want to modify. With the setup selected, press SETUP EDIT.

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

Page 1 shows the Effect which is loaded in the currently running Setup and
identifies the setup as SINGLE, DUAL MONO or CASCADE. The Effect ID
number is underscored, indicating that you can load new Effect Presets or
Registers. To select another Effect, simply turn the softknob to cue up a new
Effect, then press ENTER.

Page One

EA : P209 Podium

[SINGLE MACH CONFIG]

Setup Edit Mode

SIngle Setups

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 turn the softknob. As you turn the softknob, a long text
message will be displayed in the display. After a brief timeout, the display will
return to its orginal state.

Page Two

Mach A + B Inputs :

ALVL ABAL DLVL DBAL

Note: Press VALUE to display parameter values rather than their labels. Once
you become familiar with the page layouts in the 300, you may find this mode
useful.

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).

3-13

300 V 3.0 Owner's Manual

Lexicon

The LFO (Low Frequency Oscillator) is a control generator which is designed to
modulate Effect or Setup parameters in the 300 when parameters are patched
to it. The LFO has a shape and a rate (speed) function, available on Page Four.
The shape can be SINEusoidal, TRIANGLE, SQUARE, or RANDOM. Rate is
adjustable from Off to 9.0Hz.

The action of the meters is determined on Page Five. The choices are:
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)

Note: If you choose Left Meter or Right Meter as Patch sources when making
MOD Edits, you are essentially linking the ballistics of the meter to the assigned
destination.

Pages Six and Seven allow you to make as many as two MOD patches in the
Setup domain. As an example, try patching the LFO to a Balance parameter as
follows:

1. The display should read:
Patch #1S DEST VALUE
SOURCE THRS SCALE

2. If DEST is not underscored, press the button directly beneath it to select it.

Once it is underscored, turn the softknob to select ANALOG BALANCE.
The display will revert to its state in Step 1 after approximately 20 seconds.
To return immediately to this display, press SETUP EDIT.

3. Select SOURCE by pressing the button directly beneath it. Turn the

softknob fully clockwise until the display reads LFO_1.

4. Before doing anything else, press PAGE UP twice to the LFO control page.

Select RATE and adjust it to .07Hz. (Leave Shape at SINE.) The display
should start to flicker.

5. Press PAGE UP twice to the Level and Balance Page. Press the VALUE

key. The value of ABAL (balance) should be modulating from left to right.

Although very simplified, this is the basic model for making MOD patches in the

300.

To disable the patch, press SETUP SELECT and reselect the Setup, thereby
restoring the original settings. Alternatively, you can return to the LFO Rate
page, and set the rate to OFF.

On Page Eight you can name your Setup prior to storing it into a register. The
arrow (cursor) keys allow you to select a letter to change; the softknob actually
changes the character. The maximum length of a name is 12 characters.

3-14

in a register, press STORE. The display will show:

Src: SET Large Hall
Dst: R # _ _ Available

The top line of the display shows the source (Src) — the currently selected setup
name. The bottom line shows the destination (Dst) — the register number into
which the the setup will be copied. Use the Soft knob to select the register
number you want, then press STORE again. The display will return to the last
Setup Edit page.

Note: The 300 has a memory protection feature which enables or disables
copying into the registers. When Copy Tools are disabled, all storing
functions are inhibited. The Control mode Copy Tools page allows this
feature to beenabled or disabled. For more details, see the section describ­ing Control mode at the end of this chapter.

System Operation

Storing the SetupWhen you have made all the necessary changes to a setup and want to save it

In both Dual Mono and Cascade Setups, Page One shows the Preset or
Register location and the full name of each Effect (A and B). Whichever Preset
or Register number is underscored is available for loading a new program. To
select the other machine, press any of the keys beneath the display. The
alternate machine’s Effect should be underscored. Turn the softknob to locate
a new program; press ENTER to load the program.

Note: The 300 automatically knows what Presets or Registers are loadable in
the current Setup. Split algorithms, such as Mono Shift or Dual Delay will never
be displayed if a Single Setup is running.

In Dual Mono Setups, Page Two provides adjustment for Level and Balance in
both Machine A and Machine B. Ordinarily Machine A and B are loaded Full
Level in the factory presets. Most of the presets default to Machine A receiving
audio from the Left Input and Machine B from the Right Input.

Cascade Setups have three controls on Page Two: INP, BAL and FDBK.

INP (Input) sets the gain going into Machine A (which feeds Machine B).
BAL (Balance)adjusts the blend of Left/Right information into Machine A.
FDBK (Feedback) adjusts the output of Machine B back into the input of

Machine A. This is a very dangerous control. Be careful!

Dual Mono and
Cascade Setups

3-15

300 V 3.0 Owner's Manual

Lexicon

Dual Mono Setups provide two Mix controls on Page Three: AMIX and BMIX.
These are independent mix controls for each machine.

Cascade Setups provide three Mix controls on Page Three: AMIX, BMIX and
OMIX.

AMIX varies the amount of “dry” input in Machine A’s wet output. This Mixture
of wet and dry (if any) is passed along to the input of Machine B.

BMIX adjusts the proportion of Machine A’s wet output to the “wet” output of
Machine B.

OMIX takes that mix result and mixes it with the “Dry” input signal.

The LFO (Low Frequency Oscillator) is a control generator which is designed to
modulate Effect or Setup parameters in the 300 when parameters are patched
to it. The LFO has a shape and a rate (speed) function, available on Page Four.
The shape can be SINEusoidal, TRIANGLE, SQUARE, or RANDOM. Rate is
adjustable from Off to 9.0Hz.

The action of the meters (FX-OUT for either Left or Right channel) is determined
on Page Five.

Note: If you choose Left Meter or Right Meter as Patch sources when making
MOD Edits, you are essentially linking the ballistics of the meter to the destination
parameter.

Storing the Setup

Pages Six and Seven allow you to make as many as two MOD patches in the
Setup domain.

On Page Eight you can name your Setup prior to storing it into a register. The
arrow (cursor) keys allow you to select a letter to change; the softknob actually
changes the character. The maximum length of a name is 12 characters.

When you have made all the necessary changes to a setup and want to save it
in a register, press STORE. The display will show:

Src: SET DM: Rev/Rev
Dst: R # _ _ Available

The top line of the display shows the source (Src) — the currently selected setup
name. The bottom line shows the destination (Dst) — the register number into
which the the setup will be copied. Use the Soft knob to select the register
number you want, then press STORE again. The display will return to the last
Setup Edit page.

3-16

Note: The 300 has a memory protection feature which enables or disables
copying into the registers. When Copy Tools are disabled, all storing
functions are inhibited. The Control mode Copy Tools page allows this
feature to beenabled or disabled. For more details, see the section
describing Control mode at the end of this chapter.

System Operation

Page Five

INS DEL ← ← → →

Current Setup Name

The bottom line of the display shows the name of the current setup, with a cursor
positioned under the first character. The two keys directly above the left and right
arrows cause the cursor to move left and right to select other characters.

Pressing the key directly above "INS" adds a blank space wherever the cursor
is currently positioned in the display. Pressing the key directly above "DEL"
removes the underscored character.

Turning the soft knob alters the underscored character. (Available characters
include: 0-9, a-z, A-Z, and an assortment of symbols.)

To rename the setup, simply position the cursor under the first character of the
current name, turn the softknob to replace this character with the first character
of the name you want, select the next character and change it, etc.

Naming the Setup

When you have made all the necessary changes to a setup and want to save it
in a register, press STORE. The display will show:

Src: SET Large Hall

Dst: R# Available

The top line of the display shows the source (Src) — the currently selected setup
name. The bottom line shows the destination (Dst) — the register number into
which the the setup will be copied. Use the Soft knob to select the register
number you want, then press STORE again. The display will return to the last
Setup Edit page.

Note: The 300 has a memory protection feature which enables or disables
copying into the registers. When Copy Tools are disabled, all storing
functions are inhibited. The Control mode Copy Tools page allows this
feature to beenabled or disabled. For more details, see the section
describing Control mode at the end of this chapter.

Storing the Setup

3-17

300 V 3.0 Owner's Manual

Lexicon

Effect Edit Mode

Parameter Selection

The 300 is shipped with 100 effect presets. Sooner or later you will want to alter
the sounds of these effects to more perfectly fit your requirements. To do this,go
to Run mode and load a preset setup that uses the effect you want to edit — or
select and load the effect you want to edit from Page One in Setup Edit mode.
Once the setup is loaded, pressing EFFECT EDIT will put you in Effect Edit
mode with the display showing one page of the parameters available for the
algorithm driving that effect.

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:

RTIM SIZE ROLL PDLY

RLVL TDCY BASS XOVR

The buttons directly above and below each display entry will select that
parameter. Once selected, parameters can be adjusted over their entire range
with the Soft knob. The parameter and its current value will appear on the display
as long as the Sof tknob is being adjusted. In the example above, "RTIM" has
been selected — turning the Soft knob will alter the parameter value, and cause
the display to show:

3-18

SELECT

MACH

STORE

VALUE

CONTROLSETUP

SETUP

EDIT

EFFECT

EDIT
MOD

EDIT

Mid Reverb Time

XX.XX seconds

Pressing the front panel VALUE key will display all of the current parameter
values for the selected page. in this example, pressing VALUE will cause the
following display to appear:

XX.Xs 37.1M 2.9k 22m
FULL 3.6k 1.2X 0.5k

Here again, turning the Soft knob will adjust the selected parameter over its
entire range; the soft buttons will select other parameters for adjustment. The
PAGE UP and PAGE DOWN keys are used to access various pages of
additional parameters which can then be edited via the Soft knob.

When changes have been made on a page, and you move to a new page, the
previous edits remain intact. However, when a new effect is loaded, edits will be
lost unless you have stored the edited effect in a register.

In Split Setups, effects are loaded into both Machine A and Machine B. Use the
MACH button to toggle between Machine Effects.

System Operation

The 300 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 simply by pressing STORE.The
following display will appear:

Src: EFFA *3VoiceDly

Dst R1 Available

The display will show the name of the current effect (in this example, *#VoiceDly,
running in Machine A), and a register location.

Press the button directly beneath "R#" to select a different register with the Soft
knob. Press STORE again to complete the operation. Once registers are filled,
they can be selected and loaded exactly like presets. You can edit parameters
in a register, and store the results in the same register or another register.)

When you store a register, the edited effect 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.

Naming and
Storing Effects

3-19

300 V 3.0 Owner's Manual

Lexicon

Mod Edit Mode

Off

Cntlr- 0

ModWheel

Breath

Cntlr-3
FootPedal
PortaTime

Volume

Cntlr-9

Pan

Expression

Cntlr-12-15

GP Cntlr-1-4

Cntlr-20-31

Sustain

PortaSw

SostenSw

SoftPedal

Switch-68-79

GP Cntlr-5-8

Sitch-84-95
PitchWheel

AfterTouch

LastNote

LastVel

MidiClock

Knob->

L-Meter

R-Meter

LFO-1

Available "Source" selections

Mod Edit mode is used to create or modify Dynamic MIDI® patches. To use
Dynamic MIDI®, you assign a MIDI controller or an event to a setup parameter
or an effect parameter, using the patch parameters found on the pages in Mod
Edit. (Two pages for Setup patches are available in Setup Edit mode.) Four
parameter patch pages are available at any one time in Mod Edit mode. The
pages will be for Machine A or Machine B, depending on the type of setup
currently running, and on the machine currently selected.

Each of the four available patch pages shows the following parameters:

Patch # 1A DEST VALUE
SOURCE THRS SCALE

Destination: This is used to select the effect parameter that the MIDI controller

is patched to. The available parameters are based on the algorithm that you are
currently running.

Value: This is used to set the initial value of the parameter that you are
controlling. This is provided as a convenience so that you do not have to go into
Effect Edit mode to view the available parameters of the running algorithm.

Source: This is used to select the MIDI controller, or event, that will control an
effect parameter in the 300. The list contains the selections shown to the left.

Threshold: This is used to set thecontroller value below which the controller will
not have an effect on the parameter.

Scale: This is used to set the effective control range of the MIDI controller.
Scaling can be set from -200% to +200%. When Scale is set to 100%, the full
range of the MIDI controller will cover the full range of the selected parameter.
Setting a negative value will cause the 300 to reduce the setting of the parameter
as the controller increases.

You can store any patches you create with the Effect simply by pressing STORE,
selecting a register number with the Soft knob, and then pressing STORE again.

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, they 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 300's rear-panel MIDI
IN connector.

3-20

System Operation

Soft knob patches are made in MOD Edit mode. Press MOD EDIT to display one
of the four possible patches in each Machine. Press PAGE UP or PAGE DOWN
to view other patches in the same effect. Press MACH to display patches in the
other Machine.

Example:

Setup Preset DM 223 *Delay Daze contains two effect presets (*3Voice Dlys and
*Pingo Pongo), each of which has delay parameters mapped to the Soft knob.
The *3Voice Dlys effect preset loaded into Machine A, has 2 patches (DLY3 and
DLY4); the *Pingo Pongo effect preset loaded into Machine B, has 3 patches
(DLY1, DLY2 and RDLY). Press VALUE to display the actual values of each
patch.

Selecting any of these parameters (or any field labeled Dst#) allows you to select
a different parameter to be patched to the Soft knob. Patched parameters
become part of the Setup, and control of their values is accessed in Setup Select
mode.

A Patch page viewed in "Label" mode:

Patch # 1A DEST VALUE
SOURCE THRESH SCALE

Soft knob Patches

A Patch page viewed in "View" mode:

Patch # 1A Dly3 120m
Knob-> 17 65%

Soft knob patches are made just like other MIDI patches; Choose the Destination
first (the parameter you wish to control), then the source controller (the MIDI
controller;Softknob, LFO, Mod Wheel, Pitch bender,etc.), then a scaling amount
(+% to increment or -% to decrement the parameter).

In the value mode, if you select “knob->” as a source controller, the actual Soft
knob value can be adjusted. Press the button directly under the Soft knob value.
In this example this would be the button under “17”. Now, as you turn the Soft
knob, the MOD EDIT display will show the interaction between the Soft knob
contoller and the patched effect parameter.

Remember! All MOD Edits are an extension of the individual effect. There are
four patches in each effect (machine). Therefore, all MOD patches are stored
with the effect. However, it is important to realize that the Soft knob parameter
controller is much like any other external MIDI controller, in that it is actually part
of the

Setup

.

3-21

300 V 3.0 Owner's Manual

Lexicon

If the Soft knob value is set to 37, and then stored into a Setup Register, when
you recall that Setup, the knob will automatically set the effect parameter value
which it controls.

It is also important to understand that, if you load a Setup which has a Soft knob
value of say, 66, and then load any other effect(s) into that setup,

any Soft knob
patches which exist in the newly loaded effect(s) will cause the linked parame­ters to jump to some new value

parameter(s) at all times.

. The Soft knob value controls the linked

Control Mode

Page One

Time Code Event List

Control mode provides access to general global parameters and miscellaneous
functions including audio configuration. Selecting Control mode does not
interrupt the audio operation of the 300.

There are nine Control mode pages:

Event List
MIDI Mode and Map Table
Machine Configuration
Digital Interface and Sampling Rates
SCMS Mode
Emphasis
Bypass/Effect Load Mode
Copy Tools
Purge Tools

Each of these pages is described below.

Event List: OFF VIEW

This page allows creation and modification of a list of up to 50 events triggered
standard timecode or MIDI timecode. Four main functions are provided: Add,
Delete, Edit and Snap. (For more information, see Chapter 6:

Operation.

3-22

ADD DEL EDIT SNAP

Time Code

System Operation

The MIDI Control page allows you to specify mapping of MIDI Non-registered
parameters, System Exclusive messages or Program Change messages to the
300 registers. The button directly above "AUTO" allows you to set this MIDI
Mode.

MIDI Mode: AUTO CHNL
P Chg Map: EDIT DUMP

On the upper line, selecting "AUTO" activates output automation on the 300. The
choices are OFF, SysEx, Non-registered parameters, and Program Change
Only. When the AUTO Mode is set to "OFF", the 300 will not output MIDI data.

Note: In "Program Change Only" automation mode, effect registers R29-50 are
not transmitted as their sequence numbers fall outside of the range of what can
be legally represented by a MIDI data byte (0x00-0x7F). Therefore:

program change # 0x00-0x63 = E: P1-100
program change # 0x64-0x7F = E: R1-28

(For more information on Automation, see MIDI Operation.)

Page Two
MIDI Mode and Map Table

Selecting "CHNL" allows you to set the system and machine channels on which
the 300 can send and receive messages. Possible setttings are: 1-16, OMNI. All
bulk dump and SysEx messages, except Program Change, follow the system
channel, while all generic MIDI and Non-registered parameter messages follow
the machine channel assignment.

Selecting "EDIT" allows you to speciy the MIDI mapping mode. The three
choices available are: OFF, FIX or MAP. For complete information on the MIDI
Table, see Chapter 7:

MIDI Operation.

Selecting "DUMP" allows you to dump all registers, the current setup, the MIDI
Map Table, or a MIDI Timecode Event List.

3-23

300 V 3.0 Owner's Manual

Page Three

Machine Configuration

Lexicon

Mach Conf: Dual-Mono
I : ANALOG O : ANA+DIG

The upper line of this page describes the current machine configuration (Single,
Dual Mono or Cascade). The information that appears here is determined by the
type of Setup currently running.

Either of the two left buttons on the botton allow selection of Input: ANALOG and
DIGITAL are available as choices with all types of setups. A>L D>R (Analog/
Left, Digital/Right), or D>L A>R (Digital/Left, Analog/Right) is available for
selection in Dual Mono setups..

The two right buttons on the bottom row allow selection of Output: ANA+DIG is
available in all setup types. A(D Pre), or A(D Pst) and D(A Pre), or D(A Pst) are
available in Dual Mono setups. Cascade setups display choice between A(D
Pre, Mid or Pst) and D(A Pre, Mid or Pst) for patch point selection.

Page Four

Digital Interface and

Sampling Rates

Inp: * * * * * Clk : 48kHz
Out: AES Din : XLR

This upper line of this page describes the current format being input to the 300.
When no digital signal is present, the display will show "* * * * *" as above.

If the incoming audio signal is analog, selecting "Clk" allows Soft knob selection
of the system sample rate for analog operation: 48kHz or 44.1kHz. (The
appropriate sample rate LEDs on the left side of the display will illuminate to
indicate the sample rate selected.) If the input is digital, the system will
automatically lock to the sample rate of the incoming data and display "Lock."
Otherwise, "***" will be displayed to indicate that the incoming digital signal has
not yet been detected.

Either of the two left buttons on the botton allow selection of AES or SPDIF as
output format.

The two right buttons on the bottom row allow you to specify the connector used
for audio input: XLR, RCA, or OPT.

3-24

SCMS Inp: XX
SCMS Out: MULT-COPY

This page provides control over the SCMS (Serial Copy Management System)
bits embedded in certain digital audio formats. The upper line of this page
describes the SCMS status of your input source.

Either of the two right buttons on the botton allow Soft knob selection of the
SCMS setting which will be output by the 300. The choices are: NO COPY, ONE
COPY and MULT-COPY.

System Operation

Page Five
SCMS Mode

Emph Inp: D>N A>N
Emph Out: D>N A>N

The top line (I) displays the input status of the incoming digital audio signal. (*****
if none detected). The bottom line (O) shows your selections for the output data
stream.

The soft buttons act as toggle switches for the selections on this page. The Soft
knob can also be used to alter selected items.

"D>N" on the top line shows the Incoming pre-emphasis bit status (in this
example "N"). Pressing the key directly below "D>N" sets the bit's outgoing
status, Y(on) or N(off).

The rightmost buttons on both the top and bottom row select analog pre- and de­emphasis. The choices are: Y (on) or N (off). Control of emphasis/de-emphasis
links the input and output, i.e. you can select both or neither.

Page Six
Emphasis

3-25

300 V 3.0 Owner's Manual

Page Seven

Bypass/Effect Load Mode

Lexicon

Effect Load: MUTE
Bypass Btns: INMUTE

If you change between setups which use different algorithms, the system will
either mute or bypass while the parameter changes are being made, depending
on the selection you make here under "Effect Load".

Selecting "MUTE" will mute the analog and digital outputs during these
transitions; selecting "BYPASS" allows you to hear the unprocessed audio
signal.

This page also allows you to select whether the front panel BYPASS buttons
mute the incoming signal (INMUTE) or bypass processing (BYPASS).

Page Eight

Copy Tools

The Copy Tools page allows you to copy setups, effects, or the mod portion of
effects into the registers. This page also allows you to enable and disable the
300's memory protection function. When you call up the Copy Tools page, the
display will show:

Copy Tools: ENABLE
SETUP EFX MIDI

The upper line on this page allows you to enable, or prohibit, the 300's copy
functions. Pressing either of the two righthand buttons above the display will
toggle the memory protect function between "ENABLE" and "DISABLE". Dis­abling the memory function will prevent: Event List and MIDI Map editing, Setup
and Effect storing, Setup and Effect copying, as well as incoming MIDI loads of
any of the above.

The lower line allows selection of: "SETUP", "EFX", or "MIDI". Selecting
"SETUP" will cause the display to show:

3-26

Src : SET Large Hall
Dst: R # _ _ Available

Select "Src" and use the Soft knob to designate a setup number (or the current
setup) to be copied; select "Dst" and use the Soft knob to specify the register
number where you want this copy stored. When you have made these selec­tions, press STORE.

Selecting "EFX" will cause a similar page to appear which allows you to copy the
effect and the patches used in any effect to any other register.

Selecting "MIDI" allows you to copy patches from one effect to another.

System Operation

The Purge page allows you to delete all setup or effect registers, the MIDI
Program Change Map Table, or the Time Code Event List. It also allows
reinitialization of a Lexicon demonstration (erasing all user effects and Time
Code Event List data), and a complete reinitialization of the system to its factory
configuration.

Selecting "FACTORY" restores the 300 to its factory memory
configuration. This selection will destroy all user modifica-

tions of the original factory configurations.

Purge Tools: FACTORY
SETUP EFX MIDI TCODE

Select "SETUP" to clear all
setup registers.

Select "EFX" to clear all ef­fect registers.

Select "MIDI" to clear the
MIDI Program Change
Map Table.

Select "TCODE" to clear
the Time Code Event List.

Page Nine
Purge Tools

Pressing any of the active buttons to select one of these options will cause the
display of a warning prompt. When this prompt appears, press STORE to
execute the function.

Be careful! These functions permanently erase user information.

3-27

The Algorithms and their Parameters

4

The Algorithms
and their
Parameters

4-1

300 V 3.0 Owner's Manual

Single Setup

Algorithms

Random Hall

General Description

Lexicon

The 300 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 300, 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 300. Both SPREAD and RTIM vary
with the setting of SIZE. Thus maximum reverb time and spread require high
settings of SIZE. To find an appropriate reverb sound, start with a preset with a
similar sound to what you want to end up with. Simply varying SIZE is often
sufficient to arrive at the exact sound you are seeking.

Once a size has been selected, SPREAD and SHAPE are used to adjust the
shape and duration of the initial reverb envelope, which together provide the
major sonic impression of room size.

linearly

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 RTIM. 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 RTIM.
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.

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.

4-2

Note that none of these shape effects are audible unless RTIM is set short
enough. Generally, RTIM 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 300 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 300 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. The effect of WANDER is reduced for
small SIZEs.

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 RTIM 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
RTIM values. The setting of the BASS is also critical in matching the sound of
an existing hall. An ideal concert hall would have a BASS 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 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 300 reverberation algorithm offers the option of adding early reflections (pre­echoes) 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 pre­echoes be used with caution, unless you are trying to match the sound of the
reverberation to a particular location where such reflections are strong.

4-3

300 V 3.0 Owner's Manual

Lexicon

Random Hall

Parameters

Random Hall Basic Sounds

RTIM SIZE ROLL PDLY

.02-60.49s 4-39.4M 0.1-26.5kHz, Flat 0-1000ms

RLVL TDCY BASS XOVR

Off-48dB-Up Full 0.5-21.2kHz 0.2x-4.0x 0.1-26.5kHz

Random Hall Tweaks

SPIN WAND SHAP SPRD

0-48 0µs-37.1ms 0-255 0-250

DIFF LINK SHLF SIZE

0-99 Link/Unlink Off-24dB-Up Full 4-39.4M

Random Hall Pre-Echoes

DLY1 DLY2 RTIM -

0-1000ms 0-1000ms .24-65.39s -

LVL1 LVL2 RLVL -

Off-24dB-Up Full Off-24dB-Up Full Off-24dB-Up Full -

Feedback Pre-Echoes

DLY3 FBK3 DLY4 FBK4

0-2800ms -93 to +93% 0-2800ms -93 to +93%

LVL3 LVL4

Off-24dB-Up Full Off-24dB-Up Full

Effect Naming Page

Diffusion Predelay

RTIM (Mid-Frequency

Reverb Time)

Fbk 3

Σ

Delay 1

RTIME SIZE SHAPE SPREAD

XOVR

SPIN

Delay 2

Σ

Delay 3 Level 3

Level 1

Reverberator

BASS

WANDER

TDCY LINK

SHLF

Level 2

Fbk 4

R Level

Level 4Delay 4

Σ

Rolloff

Σ

Random Hall Basic Sounds Page

RTIM sets the reverb time for mid-frequency signals. Because low-frequency
reverb time (BASS) is a multiplier of RTIM, RTIM acts as a master control for the
reverb time.

SIZE

SIZE sets the rate of buildup of diffusion after the initial period (which is
controlled by DIFF). It also acts as a master control for RTIM and SPRD. The
SIZE control changes a reverb sound from very large to very small. Generally,

4-4

you should set the SIZE 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 SIZE 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 SIZE, SHAP, and SPRD 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 SPRD and SHAP controls.

The Algorithms and their Parameters

ROLL 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. The low-pass characteristic can be modified to a
shelving charactistic with the SHLF control. When SHLF is off, ROLL is typically
set betwen 2kHz and 4kHz.

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 SHAP
at a middle value and adjusting SPRD for the desired effective pre-delay.

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 less 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.

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.

ROLL (Hi Freq Rolloff)

PDLY (Pre-Delay)

RLVL (Reverb Level)

TDCY 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. TDCY also helps keep the ambience generated by the program from
muddying the direct sound.

BASS sets the reverb time for low-frequency signals, as a multiplier of the RTIM
parameter. For example, if BASS is set to 2X, and RTIM 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.

XOVR sets the frequency at which the transition from RTIM to BASS takes place.
XOVR 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 XOVR to 400 Hz (This
setting works well for classical music). XOVR works best around 400 for boosting
low frequencies, and around 1.5 kHz for cutting low frequencies.

TDCY (Treble Decay)

BASS (Bass Multiply)

XOVR (Bass Crossover)

4-5

300 V 3.0 Owner's Manual

Lexicon

Random Hall Tweaks Page

SPIN (Randomization)

WAND (Wander)

SHAP (Shape)

SPRD (Spread)

SPIN affects the movement of the reverberation tail. The object of SPIN (and
WAND) is to continuously alter the timbre of the reverberant sound. This makes
the result more natural, without making the position of instruments unstable.
SPIN should typically be 20 or higher. High values may make the pitch of piano
or guitar unstable.

WAND sets the distance in time that the early reflections will move. For best
results WAND should be about 10ms at larger sizes.

SHAP and SPRD work together to control the overall ambience of the reverbera­tion created by the 300. SHAP determines the contour of the reverberation
envelope. With SHAP all the way down, reverberation builds explosively, and
decays quickly.

As SHAP is advanced, reverberation builds up more slowly and sustains for the
time set by SPRD. With SHAP in the middle, the buildup and sustain of the
reverberation envelope emulates a large concert hall (assuming that SPRD is at
least halfway up, and that SIZE is suitably large—30 meters or larger.)

SPRD works together with SHAP to control the duration of the initial ambience
created by the 300. Low SPRD 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.

DIFF (Diffusion)

LINK

SHLF

DIFF controls the degree to which initial echo density increases over time. High
settings of DIFF result in high initial buildup of echo density, and low settings
cause low initial buildup. Echo density is also affected by SIZE; smaller spaces
will sound denser. To enhance percussion, use high settings of diffusion. For
clearer and more natural vocals, mixes, and piano music, use low or moderate
settings of diffusion.

When LINK is set, the reverb time and spread values scale linearly as the SIZE
control is varied. For some special effects, RTIM and SPRD can be unlinked.

SHLF modifies the low-pass characteristic of the rolloff control, turning it into a
shelving filter. SHLF sets the gain of an output path which is mixed with the output
of ROLL 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 ROLL/2 will be boosted by 3.5dB; above approximately
ROLL 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,
ROLL should be set between 700 and 1.5kHz, with SHLF set between 12 and

-6dB.

4-6

The Algorithms and their Parameters

SIZE sets the rate of buildup of diffusion after the initial period (which is controlled
by DIFF). It also acts as a master control for RTIM and SPRD. The SIZE control
changes a reverb sound from very large to very small. Generally, you should set
the SIZE control to approximate the size of the acoustic space you are trying to
create, before adjusting anything else. The size in meters is roughly equal to the
longest dimension of the space. Moving SIZE 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 SIZE, SHAP, and SPRD 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 SPRD and SHAP controls.

Random Hall and Feedback Pre-Echoes Pages

The Random Hall Pre-Echoes page and the Feedback Pre-Echoes page 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 DIFF.

SIZE

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 Lvl (Pre-echo level) parameters, there is a corresponding Dly
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
the reverberation starts.

The Dly pre-echo delay parameters have a resolution of 2 milliseconds.
The Lvl pre-echo level parameters have sixteen steps, calibrated in decibels.
The Fbk 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.

Pre-Echo 3, 2.8 seconds maximum to left channel, with feedback.

Pre-Echo 4, 2.8 seconds maximum to right channel, with feedback.

DLY1, LVL1

DLY2, LVL2

DLY3, LVL3, FBKk3

DLY4, LVL4, FBK4

4-7

300 V 3.0 Owner's Manual

Random Ambience

Lexicon

General Description

The 300'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.

Set the SIZE to the desired room size. RLVL adjusts the amplitude of reverbera­tion defined by RTIM, 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 300,
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.

4-8

The Algorithms and their Parameters

Random Ambience Basic Sounds

RTIM SIZE DIFF ROLL

0.18-47.82s 4.0-39.4M 0-99 0.5kHz-21.2kHz

RLVL DDLY PDLY -

Off, -48to-1dB, Up Full 0-99.9ms 0-99.9ms -

Random Ambience Tweaks

SPIN WAND - -

0-48 0-37.1ms - -

----

----

Effect Naming Page

D Delay

Ambience Generator

L
R

Diffusion Predelay

D Delay

SIZE RTIME RLVL

SPIN WANDER

Random Ambience
Parameters

Σ

Rolloff

Σ

Random Ambience Basic Sounds Page

This control adjusts the reverberation time of the independent reverberator. The
range of action is limited. Be careful — both long and short reverb times may
sound unnatural. If a much longer or shorter reverb time than the preset provides
is desired, SIZE should be changed first.

SIZE allows you to vary the apparent size of the space over a wide range. SIZE
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.
SIZE also affects the reverb time, in a similar way to the standard reverb
programs.

DIFF controls the degree to which initial echo density increases over time. High
settings of DIFF result in high initial buildup of echo density; low settings cause
low initial buildup. Echo density is also affected by SIZE; smaller spaces will
sound denser. To enhance percussion, use high settings of DIFF. For clearer,
more natural vocals, mixes, and music, use low or moderate settings.

ROLL 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.

RTIM (Reverb Time)

SIZE

DIFF

ROLL (Hi Freq Rolloff)

4-9

300 V 3.0 Owner's Manual

Lexicon

RLVL (Reverb Level)

DDLY ( Dry Delay)

PDLY (Pre-Delay)

SPIN (Randomization)

WAND (Wander)

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.

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

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.
Both DDLY and PDLY have 4-sample (approximately 0.1msec) resolution.

Random Ambience Tweaks Page

SPIN affects the movement of many of the delay taps. The object of SPIN (and
WAND) is to continuously alter the timbre of the reverberant sound. This makes
the result more natural, without making the position of instruments unstable.
SPIN should typically be 20 or higher. High values may make the pitch of piano
or guitar unstable.

WAND sets the distance in time that the early reflections will move. For best
results WAND should be about 10ms at larger sizes.

4-10

The Algorithms and their Parameters

Fbk 1

Delay 1

Delay 3

Diffusion Predelay

Delay 2

Delay 4

Fbk 2

Σ

Σ

Fbk 5

Delay 5 Level 5

Level 3

Level 4

Σ

Σ

Fbk 6

Level 6Delay 6

R Level

Reverberator

Rolloff

RTIME SIZE SHAPE SPREAD

XOVR

BASS

TDCY LINK

RAND

Σ
Σ

Rich Plate

The Rich Plate program is denser, smoother, and less colored than other reverb
programs. When used with the SIZE 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 Basic Sounds

RTIM SIZE ROLL PDLY

0.15-40.46s 4.0-39.4M 0.1-26.5kHz, Flat 0-1000ms

RLVL TDCY BASS XOVR

Off, -48dB-Up Full 0.5-21.2kHz 0.2x-4.0x 0.1-26.5kHz

Rich Plate Tweaks

RAND - SHAP SPRD

Off, 1-98%, Up Full - 0-255 0-250

DIFF LINK - SIZE

0-99 Link/Unlink - 4.0-39.4M

Delay and Feedback 1

DLY1 DLY2 DLY3 DLY4

0-2000ms 0-2000ms 0-1000ms 0-1000ms

FBK1 FBK2 LVL3 LVL4

0-93% 0-93% Off-24dB, Up Full Off-24dB, Up Full

Delay and Feedback 2

DLY5 FBK5 DLY6 FBK6

0-2800ms 0-93% 0-2800ms 0-93%

LVL5 - LVL6 -

Off,-48dB-Up Full - Off,-48dB-Up Full -

Effect Naming Page

General Description

Rich Plate Parameters

4-11

300 V 3.0 Owner's Manual

Lexicon

Rich Plate Basic Sounds Page

RTIM (Reverb Time)

SIZE

ROLL (Hi Freq Rolloff)

PDLY (Pre-Delay)

RLVL (Reverb Level)

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, SIZE should be changed first.

SIZE allows you to vary the apparent size of the space over a wide range. SIZE
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.
SIZE also affects the reverb time, in a similar way to the standard reverb
programs.

ROLL sets the frequency above which a 6 dB/octave low-pass filter attenuates
the processed signal. It attenuates both pre-echoes and reverberant sound.
High frequencies are often rolled off with this parameter, resulting in more natural
sounding reverberation.

PDLY adds an additional delay to the reflections and to the reverberation. This
control may be useful in a sound reinforcement situation, or for ambience effects.
Both DDLY and PDLY have 4-sample (approximately 0.1msec) resolution.

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.

TDCY (Treble Decay)

BASS (Bass Multiply)

XOVR (Bass Crossover)

TDCY 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. TDCY also helps keep the ambience generated by the program from
muddying the direct sound.

BASS sets the reverb time for low-frequency signals, as a multiplier of the RTIM
parameter. For example, if BASS is set to 2X, and RTIM 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.

XOVR sets the frequency at which the transition from RTIM to BASS takes place.
XOVR 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 XOVR to 400 Hz (This
setting works well for classical music). XOVR works best around 400 for boosting
low frequencies, and around 1.5 kHz for cutting low frequencies.

4-12

Rich Plate Tweaks Page

The Algorithms and their Parameters

RAND sets the rate of the randomization process. Plates should generally use
low amounts of randomization.

SHAP and SPRD work together to control the overall ambience of the reverbera­tion created by the 300. SHAP determines the contour of the reverberation
envelope. With SHAP all the way down, reverberation builds explosively, and
decays quickly.

As SHAP is advanced, reverberation builds up more slowly and sustains for the
time set by SPRD. With SHAP in the middle, the buildup and sustain of the
reverberation envelope emulates a large concert hall (assuming that SPRD is at
least halfway up, and that SIZE is suitably large—30 meters or larger.)

SPRD works together with SHAP to control the duration of the initial ambience
created by the 300. Low SPRD 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.

DIFF controls the degree to which initial echo density increases over time. High
settings of DIFF result in high initial buildup of echo density; low settings cause
low initial buildup. Echo density is also affected by SIZE; smaller spaces will
sound denser. To enhance percussion, use high settings of DIFF. For clearer,
more natural vocals, mixes, and music, use low or moderate settings.

RAND (Randomization)

SHAP (Shape)

SPRD (Spread)

DIFF (Diffusion)

When LINK is set, the reverb time and spread values scale linearly as the SIZE
control is varied. For some special effects, RTIM and SPRD can be unlinked.

SIZE allows you to vary the apparent size of the space over a wide range. SIZE
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.
SIZE also affects the reverb time, in a similar way to the standard reverb
programs.

Rich Plate Delay and Feedback Pre-Echoes Page

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.

DLY1 and DLY2 (0ms-2000ms) are recirculating delay lines to the left and right
channel inputs. The path of either is picked off after the diffusor with the amount
of recirculation defined by the adjustment of FBK1 (for DLY1) and FBK2 (for
DLY2). DLY1 and DLY2 are the only delays which effectively feed back
(recirculate) into the reverberator.

LINK

SIZE

DLY1 , DLY2

4-13

300 V 3.0 Owner's Manual

Lexicon

FBK1 , FBK2

DLY3 , DLY4

LVL3,LVL4

DLY5 , DLY6

FBK5, FBK6

LVL5,LVL6

FBK1 and FBK2 determine the amount of recirculation passed back through to
the left and right inputs.

DLY3 (0ms-1000ms) and DLY4 (0ms-1000ms) are also picked off after the
diffusor. The level of each is controlled by LVL3 and LVL4, respectively.

LVL3 and LVL4 determine the loudness of DLY3 and DLY4.

DLY5 (0ms-2800ms) and DLY6 (0ms-2800ms) allow you to build non-diffused
recirculating echoes independent of the reverberator. Each has a feedback
control (FBK5 and FBK6).

FBK5 and FBK6 provide feedback control for DLY5 and DLY6.

LVL5 and LVL6 determine the loudness of DLY5 and DLY6. Remember, these
are undiffused pre-echoes.

4-14

The Algorithms and their Parameters

Stereo Pitch Shift

Stereo Pitch Shift is a stereo or two-channel mono pitch shifter with several
useful effects, including predelay, feedback, and glide. These are independently
adjustable for each channel. The pitch shifter in the 300 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 LDLY and RDLY 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 three interacting controls for pitch described below: Glide, Pitch
Interval, and Fine Pitch. Adjusting any pitch control activates a long display that
shows the pitch percentage, the musical interval, and any fine adjustment in
cents. Always use this long display when matching Glide to Pitch Interval and
Fine Pitch.

Stereo Pitch Shift Mode, Pitch and Effects

MODE GLDL - GLDR

Mono/Stereo -2 Oct to +M7+48¢ - -2 Oct to +M7+48¢

PCHL FINL PCHR FINR

-2 Oct to +M7+48¢

LDLY LFBK RDLY RFBK

0-510ms 0-98%, Max 0-510ms 0-98%, Max

BNPS SYNC - -

On/Off On/Off - -

+ 100 cents -2 Oct to +M7+48¢ + 100 cents

Stereo Pitch Shift Delay and Feedback

Effect Naming Page

General Description

Stereo Pitch
Shift Parameters

Bandpass Sync Mode

Mono or

Stereo

Feedback

Shifter

Σ
Σ

PITCH FINE GLIDE

Shifter

PITCH FINE GLIDE

Feedback

L Delay

R Delay

4-15

300 V 3.0 Owner's Manual

Lexicon

Stereo Pitch Shift Mode, Pitch and Effects Page

MODE

GLDL and GLDR

(Glide Stereo Left

and Right)

PCHL (Pitch Interval

Stereo Left) and

PCHR (Pitch Interval R)

MODE selects stereo or mono mode. In stereo the two channels are linked, pitch
shifting by the same amount and splicing at the same time.

GLDL affects both channels in stereo mode, and the left channel in mono mode.
GLDR affects the right channel in mono mode. These controls change the pitch
continuously over a range of -2octaves to +1 octave. This allows a glissando to
be performed, either manually or via MIDI.

PCHL adjusts the pitch interval of both channels in stereo mode, and the left
channel in mono mode. 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.

In the long display, the 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 rightmost character in
the long display is an asterisk (*) if Fine Pitch is centered, and a '+' or '-' otherwise.
When the VALUE key turns on the short value display, Fine Pitch is not shown
in cents, but as a number ranging from -32 to +32 in order to give a clear
indication of how much Pitch Interval has been changed. When '**' is shown, Fine
Pitch is centered and inactive. As a rule, 1 count of Fine Pitch is worth 2 cents
near 200%, 3 cents near 100%, 6 cents near 50%, and 12 cents near 25%.

FINL (Fine Pitch
Stereo Left) and

FINR (Fine Pitch R)

PCHR performs the same functions as the PCHL control, except that it is only
active in Mono mode, in which it adjusts the right channel.

FINL 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 PCHL control. If PCHL is set to the middle of its range the FINL
control can be used to set very small values of pitch shift, producing a chorusing
effect.

FINR performs the same functions as the FINL control, except that it is only
active in Mono mode, in which it adjusts the right channel.

4-16

Stereo Pitch Shift Delay and Feedback Page

The Algorithms and their Parameters

LDLY adjusts the length of a delay line in series with the left input. The range is
zero to 510ms in 2ms steps.Pre-delay also affects the delay of any feedback
which is applied. In stereo mode the two pre-delays must be set to the same
value, or the signals will not be in phase. Optimal pitch shift occurs when LDLY
is about 40ms.

RDLY is the same as the LDLY, except that it acts upon the right channel.

L FBK and R FBK control the amount of positive feedback from the output of the
pitch shift to the input of the pre-delay line. The control is adjustable from 0 to
+99%. Some very useful efects can be obtained by combining pitch shift, delay,
and feedback.

BNPS 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 inprove the performance of
the pitch shifter.

SYNC is only active in STEREO mode. This control forces an exact sync of the
two channels when the control is turned from 0 to 1. When SYNC is 1, there is
an automatic re-syncing any time the two channels differ in phase by about 10
samples. This can occur if PCHL or LDLY is changed. Re-syncing can cause a
small click in the output. If the pitch shifter is being used to manually pitch-correct
classical music using the GLDL control, it may be better to set SYNC to 0, or 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 GLDL or
PCHL controls should be set, SYNC should be set from 0 to 1, 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.

LDLY and RDLY

LFBK and R FBK

BNPS

SYNC

4-17

300 V 3.0 Owner's Manual

Stereo Adjust

Lexicon

General Description

Stereo Adjust

Parameters

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. BASS and SPEQ permit
adjustment of stereo width, enhancing the spaciousness and depth of the
recording.

Stereo Adjustments

MSTR BAL ROT DLAY

Off, -72dB to +12dB L+2.9 to R+2.9dB L+2.9 to R+2.9dB 0-5000ms

D-EM 11µs RFnS

On, Off On, Off +L+R,+L-R,+R+L,-R+L

Stereo Adjust EQ and Spatial

BASS TREB LTRB RTRB

Cut, -18dB - +6dB Cut, -18dB - +6dB Cut, -18dB - +6dB Cut, -18dB - +6dB

BXOV TXOV TXLR SPEQ

0.1-26.5kHz 0.1-26.5kHz 0.1-26.5kHz Cut, -6 to +6dB

Stereo Adjust Delay and Feedback

LDLY LFIN RDLY RFIN

0-5000ms 0-500 samples 0-5000ms 0-500 samples

LFBK Lfbk RFBK Rfbk

-99 to +99% -99 to +99% -99 to +99% -99 to +99%

DC Offsets

DCSW L-DC R-DC SHUF

Reset, Manual, Auto -99 to +99% -99 to +99% 0-10

Effect Naming Page

11 µs

Σ Σ

Level

R F'n'S Balance Rotate

Σ Σ

Stereo Adjustments Page

MSTR (Master Fader)

MSTR is a stereo level control, with both channels equally attenuated or
boosted. From -12 to +12 the fader moves in .25 dB increments. Below -12 it
moves in .50 dB increments. Below -60 dB the calibration comes in larger steps,
finally dropping to zero output at -72 dB.

4-18

Lfb

Rfb

Equalizer

B XVR BASS+ SPATIAL

TR XVR

L/R XVR

TREB+

L TRB+ R TRB+

D-EM

L Delay
L/R Dly

R Delay

LFB

L Fine

R Fine

RFB

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.

DLAY controls a 5-second stereo delay line, with a resolution of 10 milliseconds.
Separate mono and fine controls are on the Delay page below. This is a post­processing full-level delay, and is always in the circuit.

BAL (Balance)

ROT (Rotate)

DLAY

When D-Em 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 the 300 front panel. See Chapter 2:

System Operation: Setup

Edit.

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!

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.

RFnS is used for digitally correcting probelms 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

D-EM
(De-emphasis On/Off)

11

µsec (1/2 sample)

RFnS (Right Channel
Flip 'n' Swap)

4-19

300 V 3.0 Owner's Manual

Lexicon

Stereo Adjust EQ and Spatial Page

BASS (Bass EQ)

TREB (Treble EQ)

LTRB and RTRB

BXOV (Bass Crossover)

TXOV (Stereo Treble

Crossover)

TXLR (Independent

Treble Crossover)

BASS is a 6dB/octave shelving EQ control 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 BXOV. BASS acts on both stereo channels equally.

TREB 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 TXOV. TREB acts on both stereo channels equally.

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.

BXOV sets the crossover point for BASS. When BASS is set to full cut, the level
is -3 dB at the frequency set with BXOV.

TXOV sets the crossover point for TREB. When TREB is set to full cut, the level
is -3 dB at the frequency set with TXOV.

TXLR sets the crossover point for LTRB and RTRB. When either is set to full
cut, the level is -3 dB at the frequency set with TXLR.

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 BXOV.

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.

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 BASS. Since both controls use the same BXOV
setting, this compensation will be quite accurate as long as SPEQ is set to less
than 3 dB boost.

4-20

Stereo Adjust Delay and Feedback Page

These controls give individual channel control over the 5-second post-equaliza­tion delay line.

The Algorithms and their Parameters

5-second, 10 milliseconds per step, mono control for the left channel.
DLAY + LDLY must not total more than 5,000 milliseconds.

5-second, 10 milliseconds per step, mono control for the right channel.
DLAY + RDLY must not total more than 5,000 milliseconds.
Fine Sample Accurate Delays
These can be used for subtle time alignment adjustments. The 300 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
32 kHz = 31.25 microseconds per sample

500-sample, 1 sample per step, mono fine adjust for the left channel.

500-sample, 1 sample per step, mono fine adjust for the right channel.

LDLY
(Left Channel Coarse)

RDLY
(Right Channel Coarse)

LFIN (Left Channel Fine)

RFIN (Right Channel Fine)

Two feedback paths are available per channel: overall and fine. Overall
feedback is the total delay of DLAY + L(R)DLY + L(R)FIN, and is useful for long
echo effects.

Fine Feedback 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 take off and overload.

On the 300 Effects Feedback page, overall and fine are distinguished by upper
and lower case lettering:

LFBK = Overall Left Channel Feedback
Lfbk = Fine Left Channel Feedback
RFBK = Overall Right Channel Feedback
Rfbk = Fine Right Channel Feedback

4-21

300 V 3.0 Owner's Manual

Lexicon

Stereo Adjust DC Offsets Page

DCSW (DC Offset Nulling)

L-DC and R-DC

(Lch and Rch DC Offset)

SHUF (Binaural Shuffler)

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 Softknob
selection of offset values.

Replaces any previously obtained value with the value set here via the soft knob.
The display indicates the percent of the correction.

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.

4-22

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 independet gliding flange predelays 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 flange glides are 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 predelay 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. DLY1 (left) and DLY2 (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 FBK1
and FBK2. All Pass filters, or diffusors, in line with the feedback paths are labeled
APD (All Pass Delay) and APG (All Pass Gain). The actual “tuning” of the All pass
delay is accomplished with the APD control. The amount of diffusion is set by
APG. When APG is turned high and FBK1 is adjusted away from the 0% value,
each feedback loop will be rediffused.

DLY3 and DLY4 are cross feedback delay lines. They are also adjustable
anywhere along the 2.5 second delay line. DLY3 feeds from the left delay
position to the input of the right delay line. The same is true with DLY4 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 (LDLY and RDLY) 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.

4-23

300 V 3.0 Owner's Manual

Lexicon

Dual Delays

Parameters

Dual Delay Adjustments

DM: FDLY LFBD RFBD

0-479smp=0-10ms 0-479smp=0-10ms 0-479smp=0-10ms

MchB - LFLG RFLG

- 0-99% 0-99%

Delay and Feedback Page 1

DM: DLY1 FBK1 -

0-119996smp= 0-99%

0-2498.9ms

MchB DLY2 FBK2 -

0-19996smp= 0-99%

0-2498.9ms@48kHz

Diffusor Controls

DM: APD1 APG1 -

0-19996smp= 0-191

0-2498.9ms

MchB APD2 APG2 -

0-19996smp= 0-191

0-2498.9ms

Delay and Feedback Page 2

DM: DLY3 FBK3 -

0-19996smp= 0-99%

0-2498.9ms

MchB DLY4 FBK4 -

0-19996smp= 0-99%

0-2498.9ms

Diffusor Controls

DM: LDLY LPAN -

0-19996smp= L, 0-98%R/L, R

0-2498.9ms

MchB RDLY RPAN -

0-19996smp= L, 0-98%R/L, R

0-2498.9ms

Effect Naming Page

Flanger

L PDLY L GAIN

FLNGDLY
FLNGDLY

R PDLY R GAIN

4-24

Σ

Σ

APG 1 APD 1 FBK 1

Σ

Delay 1

Delay 2

Σ

APG 2 APD 2 FBK 2

Fbk 3

Delay 3 L Delay L Pan

Fbk 4

Delay 4 R Delay R Pan

Σ

Σ

Dual Delays Adjustments Page

The Algorithms and their Parameters

FDLY is a separate 20 ms ganged stereo delay line which is controllable in single
sample steps.

LFBD and RFBD are base delays which get summed with the stereo ganged
flange delay.These base delays are adjustable in single sample steps through­out a 20 millisecond range.

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

Dual Delays Diffusors, Feedback and Delays

DLY1 and DLY2 set the delay values for the respective left to left and right to right
feedback loops

FBK1 and FBK2 set the gain of feedback for each of the delay lines. Available
values range from -99% to +99% gain.

APD1 and APD2 are diffusors (All Pass Delays) in series with the feedback loops
associated with DLY1 and DLY2. Their controls range from 0 to 10 ms. These
controls essentially “tune” the diffuor delay line.

FDLY (Flange Delay)

LFBD and RFBD
(Left and Right Flange
Base Delays)

LFLG and RFLG
(Left and Right
Flange Gain)

DLY1 and DLY2

FBK1 and FBK2

APD1 and APD 2
(All Pass Left and Right
Delays)

APG1 and APG2 are gains associated with the diffusors. You can think of them
as controlling the amount of diffusion.

DLY3 controls the delay time which cross-feedbacks to the input of DLY2. DLY4
controls the delay time which cross-feedbacks to the input of DLY1.

FBK3 and FBK4 control the gain of the feedbacks going with each of their
respective delay lines.

LDLY sets the left channel delay line's time. RDLY sets the right channel delay
line's time.

LPAN adjusts the left delay channel pan placement. RPAN adjusts the right
delay channel pan placement

APG1 and APG 2
(All Pass Left and Right
Gain)

DLY3 and DLY 4

FBK3 and FBK4

LDLY and RDLY

LPAN and RPAN

4-25

300 V 3.0 Owner's Manual

Split Chamber

Lexicon

General Description

The Split Chamber program provides several presets which can be loaded into
any Dual Mono or Cascade setup. In the Dual Mono setups it passes audio Mono
In-Mono Out. In the Cascade setups, audio is routed Mono In-Stereo Out. The
Split Chamber program can simulate many different types of acoustic spaces or
mechanical devices.

Th Split Chamber algorithm is great on anything. SIZEs of 25 and larger set a
lower acoustic density. SHAP and SPRD help create the illusion of larger spaces
whicle using short reverb times. As in the Random Hall algorithm, the LINK
parameter couples SIZE to the RTIM and SPRD. Unlink provides a method of
setting stable RTIM and SPRD values, then adjusting SIZE to set the right
density and “tuning”. Split Chamber is bright by design, so you may want to use
lower values of TDCY — maybe even as low as 1.0kHz or 500Hz.

The randomization circuit in Split 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 RAND set to 90 or 95.

Typically, SIZEs of 14-24 meters with TDCYs higher than3.4kHz will emulate
bright sounding metal plates. Remember to set SHAP and SPRD to extremely
low values to maintain the explosiveness of the reverb decay. Because plates
are very diffuse, any preset mimicking a plate should have DIFF set relatively
high (70-80), while BASS is kept to some value less than 1.2kHz.

DIFF and PDLY 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.

Split Chamber

Parameters

Σ

4-26

Diffusion

Predelay

Split Chamber Adjustments Page 1

DM: RTIM SIZE PDLY

.09-24.11s 4.0-66.4M 0-1000ms

MchA TDCY SHAP SPRD

0.5-21.2kHz 0-255 0-202

Split Chamber Adjustments Page 2

DM: BASS DIFF RAND

0.2-4.0x 0-99 Off,0-98%,Up Full

MchA XOVR LINK -

0.1-26.5kHz Link/Unlink -

Effect Naming Page

Split Chamber

RTIME SIZE SHAPE SPREAD

XOVR
RAND

BASS

TDCY LINK

Split Chamber Adjustments Page 1

The Algorithms and their Parameters

RTIM sets the reverb time for mid-frequency signals. Because low-frequency
reverb time (BASS) is a multiplier of RTIM, RTIM acts as a master control for the
reverb time.

SIZE sets the rate of buildup of diffusion after the initial period (which is controlled
by DIFF). It also acts as a master control for RTIM and SPRD. The SIZE control
changes a reverb sound from very large to very small. Generally, you should set
the SIZE control to approximate the size of the acoustic space you are trying to
create, before adjusting anything else. The size in meters is roughly equal to the
longest dimension of the space. Moving SIZE 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 SIZE, SHAP, and SPRD 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 SPRD and SHAP controls.

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 SHAP
at a middle value and adjusting SPRD for the desired effective pre-delay.

RTIM (Mid-Frequency
Reverb Time)

SIZE

PDLY (Pre-Delay)

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 less 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.

TDCY 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. TDCY also helps keep the ambience generated by the program from
muddying the direct sound.

SHAP and SPRD work together to control the overall ambience of the reverbera­tion created by the 300. SHAP determines the contour of the reverberation
envelope. With SHAP all the way down, reverberation builds explosively, and
decays quickly.

As SHAP is advanced, reverberation builds up more slowly and sustains for the
time set by SPRD. With SHAP in the middle, the buildup and sustain of the
reverberation envelope emulates a large concert hall (assuming that SPRD is at
least halfway up, and that SIZE is suitably large—30 meters or larger.)

TDCY (Treble Decay)

SHAP (Shape)

4-27

300 V 3.0 Owner's Manual

Lexicon

SPRD (Spread)

BASS (Bass Multiply)

DIFF (Diffusion)

RAND (Randomization)

SPRD works together with SHAP to control the duration of the initial ambience
created by the 300. Low SPRD 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.

Split Chamber Adjustments Page 2

BASS sets the reverb time for low-frequency signals, as a multiplier of the RTIM
parameter. For example, if BASS is set to 2X, and RTIM 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.

DIFF controls the degree to which initial echo density increases over time. High
settings of DIFF result in high initial buildup of echo density; low settings cause
low initial buildup. Echo density is also affected by SIZE; smaller spaces will
sound denser. To enhance percussion, use high settings of DIFF. For clearer,
more natural vocals, mixes, and music, use low or moderate settings.

RAND sets the distance in time that the early reflections will move.

XOVR (Bass Crossover)

LINK

XOVR sets the frequency at which the transition from RTIM to BASS takes place.
XOVR 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 XOVR to 400 Hz (This
setting works well for classical music). XOVR works best around 400 for boosting
low frequencies, and around 1.5 kHz for cutting low frequencies.

When LINK is set, the reverb time and spread values scale linearly as the SIZE
control is varied. For some special effects, RTIM and SPRD can be unlinked.

4-28

The Algorithms and their Parameters

Mono Pitch Shift

The Mono Pitch Shift Algorithm has several useful effects, including predelay,
feedback, and glide. The pitch shifter in the 300 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. the Mono Pitch Shift program, each
channel splices independently. 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.

There are three interacting controls for pitch described below: Glide, Pitch
Interval, and Fine Pitch. Adjusting any pitch control activates a long display that
shows the pitch percentage, the musical interval, and any fine adjustment in
cents. Always use this long display when matching Glide to Pitch Interval and
Fine Pitch.

Mono Pitch Shift Adjustments

DM: PCH DLY FBK

-2Oct to M7+48¢ 0-510ms 0-98%, Max

MchB GLD FIN BNPS

-2Oct to M7+48¢

Effect Naming Page

+96 cents On/Off

General Description

Mono Pitch Shift
Parameters

Feedback

Shifter

Bandpass

Σ

PITCH FINE GLIDE

Mono Pitch Shift Adjustments Page

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.

In the long display, fine pitch is shown by the number of cents added to, or
subtracted from, the semitone intervals. Remember that PITCH will produce
exact intervals only if FIN is centered. The rightmost character in the long display
is an asterisk (*) if FIN is centered, and a '+' or '-' otherwise. When the VALUE
key turns on the short value display, FIN is not shown in cents, but as a number
ranging from -32 to +32 in order to give a clear indication of how much the pitch
shift has been changed. When '**' is shown, FIN is centered and inactive. As a
rule, 1 count of FIN is worth 2 cents near 200%, 3 cents near 100%, 6 cents near
50%, and 12 cents near 25%.

Delay

PCH

4-29

300 V 3.0 Owner's Manual

Lexicon

DLY

FBK

GLD

FIN

BNPS

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 pitch shift
to the input of the pre-delay line. The control is adjustable from 0 to

+99%. Some

very useful efects can be obtained by combining pitch shift, delay, and feedback.

GLD changes the pitch continuously over a range of -2 octaves (25%) to +1
octave (199%). This allows a glissando to be performed, either manually or via
MIDI.

FIN adjusts pitch continuously over a range of -2 octaves to +1 octave. This
allows a glissando to be performed, either manually or via MIDI.

BNPS 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.

4-30

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 diagram below, 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

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.

Example

1. Press SETUP SELECT and turn the Softknob to select Cascade Setup: 313
STEREO COMP. This preset loads the stereo compressor into both ma­chines but mixes Machine B to full dry. (no point in compressing twice!)

2. Press ENTER to load the preset.

3. Press EFFECT EDIT. Note the front panel level meters and try to establish
the average input level. A simple approach might be to look at the peaks and
valleys in signal amplitude and estimate the middle ground. If this all seams
too complicated, just select THRS and set it to -17dB.

4. Select GAIN and set it to Max (9 dB). At this point there should be no effect
on the dynamics because you’ve not yet adjusted the slope parameter.

5. Select SLP and increase it to 2.0 : 1 (a 2 to 1 Compression Slope). Now you
should hear a change. If you still do not hear a net effect, readjust THRS until
something becomes audible. Remember, as you adjust the threshold
clockwise (closer to digital full scale) more and more audio will be gain
increased — overload can occur!!

.

the threshold.

General Description

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.

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.

4-31

300 V 3.0 Owner's Manual

Lexicon

Compressor

Parameters

L

R

Predelay

ATTACK RELEASE

DM: PDLY ATC RTC

MchB THRS GAIN SLP

DM: EXTH EXG EXSL

MchB - - -

Compressor

SLOPE THRS

Compressor Adjustments

0-48ms 0-960ms 0-4000ms

0 to -40dB 0-24dB 1.0-99.99:1

Expander Adjustments

0 to -70dB 0-24dB 1.0-8.93:1

--­Effect Naming Page

CmpGain

Expander

X SLOPE X THRS

ExpGain

PDLY

ATC (Attack)

RTC (Release

Time Constant)

THRS (Threshold)

GAIN

SLP (Slope)

Compressor Adjustments Page

PDLY sets the predelay of the audio before the digital VCA.

ATC adjusts the attack time constant.

RTC allows adjustment of the release time constant.

THRS sets the level at which compression starts.

GAIN adjusts the gain of low level signals (below the compression threshold).

SLP controls the slope of the gain reduction curve or the ratio of input level versus
output level.

4-32

Expander Adjustments Page

The Algorithms and their Parameters

EXTH sets the threshold at which the expander starts to work.

EXG sets the amount of negative gain.

EXSL controls the slope of the expander circuit.

Dither is a low-level pseudo-random signal which is added to digital audio to
reduce quantization noise, in effect, by replacing it with a "nicer sounding" noise.
It is possible to filter the quantization noise in such a way that almost all of the
noise within the frequency range where human hearing is most acute is shifted
to higher frequencies. This is called psychoacoustically optimized noise shaping
(PONS) because it takes advantage of the variations in the ear's sensitivity to

noise within the 20 Hz - 20 kHz range.

EXSL

EXTH

EXG

PONS

General Description

PONS Adjustments

CC: DITH PONS -

0-254 On/Off -

MchA - - -

---

Effect Naming Page

PONS Adjustments Page

DITH allows you to vary the amount of dither gain added to the signal.

This control allows you to turn the dither function on or off.

PONS Parameters

DITH (Dither Gain)

PONS

4-33

300 V 3.0 Owner's Manual

Small Stereo Ad-

Lexicon

General Description

Small Stereo Adjust

Parameters

MSTR R F'n'S Balance Rotate

just

The Small Stereo Adjust algorithm is a version of Stereo Adjust with some of the
specialized features omitted. It is designed to be put in a Cascade Setup ahead
of PONS.

Stereo Adjustments

CC: MSTR BAL ROT

Off, -72dB to +12dB L+2.9 to R+2.9dB L+2.9 to R+2.9dB

MchA - SPEQ RFnS

- Cut, -6 to +6dB +L+R,+L-R,+R+L,-R+L

Equalization

CC: BASL LTRB BXOV

Cut, -18dB - +6dB Cut, -18dB - +6dB 0.1-26.5kHz

MchA BASR RTRB TXLR

Cut, -18dB - +6dB Cut, -18dB - +6dB 0.1-26.5kHz

Effect Naming Page

Equalizer

BASL BASR BXOV
LTRB RTRB TXLR

SPEQ

MSTR (Master Fader)

Stereo Adjustments Page

MSTR is a stereo level control, with both channels equally attenuated or
boosted. From -12 to +12 the fader moves in .25 dB increments. Below -12 it
moves in .50 dB increments. Below -60 dB the calibration comes in larger steps,
finally dropping to zero output at -72 dB.

BAL (Balance)

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

ROT (Rotate)

ROT is similar to BAL, but it treats stereo information somewhat differently. Any
signal panned to the center (mono) will be treated by ROT exactly as it would be
treated by BAL. However, if a signal is panned full right and the control is moved
toward the 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,

4-34

and both channels appear to retain equal loudness.
If stereo material is recorded with a coincident pair of figure-of-eight micro-

phones, moving the ROT slider is exactly equivalent to rotating the microphone
pair. Other microphone arrays and multimicrophone setups do not rotate
perfectly, but using this control is frequently preferable to simply adjusting
balance. The display shows the actual channel gains for a continually panned
source.

RFnS is used for digitally correcting probelms 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

The Algorithms and their Parameters

RFnS (Right Channel
Flip 'n' Swap)

Equalization Page

BASL and BASR 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 BXOV.

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.

BXOV sets the crossover point for BASL and BASR. When BASL and BASR are
set to full cut, the level is -3 dB at the frequency set with BXOV.

TXLR sets the crossover point for LTRB and RTRB. When either is set to full
cut, the level is -3 dB at the frequency set with TXLR.

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 BXOV. 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.

BASL and BASR

LTRB and RTRB

BXOV (Bass Crossover)

TXLR (Independent
Treble Crossover)

SPEQ (Spatial EQ)

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

4-35

300 V 3.0 Owner's Manual

Lexicon

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.

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 BASL and BASR. Since both controls use the same
BXOV setting, this compensation will be quite accurate as long as SPEQ is set
to less than 3 dB boost.

4-36

The Presets

The Presets

5

5-1

300 V 3.0 Owner's Manual

Lexicon

The Setup Presets

The 300 is shipped with 100 setup presets (50 Single Setups, and 25 each of the
two split setup types), as well as 50 setup registers for storing your modified
setups.

Single Setup

(and Effect) Presets

Single Effects are only available in Single-type Setups. Therefore, the descrip­tions (and the names) of the setup and effect presets are identical. An asterisk
(*) indicates there is a Soft knob patch which controls various parameters with
one controller.

# Name Algorithm Description

P101 Large Hall Random Hall Used as a great standard reference point. The hall size is big, with a

gentle bloom in the reverberation envelope. The first set of pre-echoes
is set to 14 and 20 ms, but the levels are set to OFF. Set levels to taste
if you want to add some initial reflections.

P102 Medium Hall Random Hall Similar to Large Hall, but the size is not as big (29.3) and the reverb time

is proportionately shorter. The same arrangement exists for the
pre-echoes.

P103 Small Hall Random Hall An even smaller version, a bit denser — good for general reverb fill.
P104 * Church Random Hall This preset is big and spread out. There are 2 close in pre-echoes and

2 longer and softer delays which have low recirculation added. The Soft
knob controls the Size parameter(Spread and Shape are intrinsically
linked), and Treble Decay. As the Soft knob value is increased, Room
Size is decreased and Treble Decay is brightened.

P105 * Rooms Random Hall This preset links Room Size to the Soft knob. As you turn the Soft knob,

Room Size will go from its initial value of 19.1Meters down to 9.6Meters.
These Rooms are diffuse and very articulate sounding. Lower values of
Room Size tend to be more resonant sounding. Good for dialog reads.

P106 RehursalRoom Random Hall This is a dense, brashy-sounding space with the listener in the back

of the room. Rolling off the high-cut filter will put the carpeting on the
walls. Room size is set to 15.2M, so the sound is very tight. Good on
vocals and fill.

P107 * Chamber Random Hall Like the Room Preset, the Soft knob is patched to the Size parameter.

Advancing the softknob reduces the Size value from a maximum of 25.3
Meters to 14.1 Meters. Imagine a chamber with a reflective plaster
finish.

P108 LiveDrumRoom Random Hall Bright and tight. The Soft knob is patched to the Size and Rolloff

parameters so that advancing the knob value makes the room a
little bigger and brighter.

P109 * Studio A Random Hall This preset sounds like the “big” rooms ($125/hour). The Softknob is

patched to Delay Levels 3 and 4, as well as to the Rolloff and Treble
Decay parameters. Advancing the Soft knob increases all of these
parameters, making the studio brighter and more reflective.

P110 * Studio B Random Hall A smaller Studio area than Studio A. The Soft knob is patched to

Pre-echo Levels 3 and 4. Advancing the Soft knob makes the Studio
more reflective.

5-2

The Presets

# Name Algorithm Description

P111 * Brick Wall Random Hall This preset is wide and abrupt sounding. The Soft knob makes the

Wall smaller.

P112 * Deep End Random Hall This preset actually goes from the Deep End to the Shallow End. We just

didn’t have the space in the display to fit the title.

P113 Oil Tanker Random Hall Round and booooomy. All of the pre-echoes are utilized to present

strong reflections from the original source.

P114 *Synth Hall Random Hall A very diffuse, medium-sized with a long RT value. The Soft knob

advances Shape, Spread, Predelay, and Rolloff.

P115 Dance Hall Random Hall Medium bright hall. 1.4 seconds of reverb time. Super on "backing"

vox. Great for the whole band.

# Name Algorithm Description

P116 * Ambience Random Ambience This preset creates a great sounding starting point. Wonderful for

soloists. The Soft knob makes the space smaller and more randomized.

P117 In A Room Random Ambience Definitely short and abrupt. Very realistic for ADR work.
P118 Stairwell Random Ambience About 14 stories up and very "fluttery" sounding. Increasing the Size

parameter will move you higher into the concrete building.

P119 Hangar Random Ambience Big, wide, open, enclosed space (38.8M). Very diffuse. Akin to a hangar

with two 747's in it.

P120 MarbleFoyer Random Ambience A very realistic hotel or apartment foyer area. The Mix control in

Setup Edit is set to 70% while the dry delay in Effect Edit is set to

19.1ms to create a single hard reflection before the onset of the
main reverb effect.

P121 Early Reflect RandomAmbience Very, very diffuse ... almost gated sound. A nice short ambience

never gets in the way of the effect.

P122 Lecture Hall Random Ambience University-sized (24.8 Meters) without the 150 students in it.

P123 *Car Interior Random Ambience Not much explanation nessessary here, except that the Soft knob is

attached to Spin, which “waffles” the audio around.

P124 Score Stage Random Ambience Makes use of a large size (33.2) with a moderate amount of diffusion.

Great on string parts.

P125 Gate It!! Random Ambience Loud and dense. Use the size parameter to match duration of the

gate to the tempo of the music. Boom-boom on drums.

5-3

300 V 3.0 Owner's Manual

Single Setup

Presets cont'd.

# Name Algorithm Description

P126 * Rich Plate Rich Plate The old standard comes back to the future. Advancing the Soft knob

controls the reverb time negatively.

P127 Glossy Plate Rich Plate This preset shines a little differently. Some close in pre-echoes gives

a strong impact to the original source.

P128 Warm Plate Rich Plate Not your average bright plate — rather a slightly dull version which will

work very well on horn tracks, adding point and definition.

P129 Perc Plate Rich Plate For drums and the like. Not bad on piano either.
P130 Contem-Plate Rich Plate Bright and splashy-sounding. Should work well to brighten a track

without getting too washy-sounding.

P131 *EKO Plate Rich Plate Combines a sweet combination of recirculating pre-echoes and bright

sounding reverb. The Soft knob is negatively patched to RTIM and
Delays 1 and 2.

P132 Bright Plate Rich Plate Slightly smaller version of Contem-Plate. Great of vocals. Some

strong pre-echoes to help the direct sound stand out.

Lexicon

P133 * Round Plate Rich Plate Soft, but articulate. The Soft knob is patched to feedback paths

surrounding pre-echoes 1 and 2, which feedback into the
reverberator.

# Name Algorithm Description

P134 StereoAdjust Stereo Adjust Sets you up to fix audio sources. Null preset with pages for EQ,

delays, phase and channel swaps, and DC offset removal.

P135 Phase Invert Stereo Adjust The right channel is phase reversed to the left. If you put a mono

signal into this program and pan the output returns left and right,
you’ll definitely twist your head off.
*NOTE This phase-reversed mono signal will also decode to the
surround channel if run through a surround decoder.

P136 2 Frame Delay Stereo Adjust 66.3 ms of delay running at 44.1kHz and 65.9 ms at 48kHz.
P137 3 Frame Delay Stereo Adjust 100 ms of delay at both operating frequencies.
P138 4 Frame Delay Stereo Adjust 133 ms of delay at both operating frequencies.
P139 MS Decode Stereo Adjust Take a 2-channel Mid (left input) Side (right input) recording and this

program will properly decode to stereo output.

P140 *MultiEchoes Stereo Adjust This preset combines echoes under the control of the Soft knob. As

you advance the Soft knob, the delays will get longer.

P141 LFO Panner Stereo Adjust This preset attaches the LFO to the Stereo Adjust balance control.

P142 Telephone Stereo Adjust No bottom end....AT ALL.

5-4

Once again, the LFO Rate determines the speed of the pan. This
preset should be used from a pre-fade send source.

The Presets

# Name Algorithm Description

P143 *Stereo Shift Stereo Pitch Shift Straight ahead stereo pitch shifting with the Soft knob attached to the

Glide parameter. The stored value of the Soft knob is 55 which, when
turned negatively to zero, will yield an output 2 octaves down; when
turned all the way up, will give an output 1 octave above unison.

P144 Octave Down Stereo Pitch Shift Just like the name sez..
P145 Vox Chorus Stereo Pitch Shift This preset is configured with different preset values of pitch shift for left

and right: down 23 cents on the left and down 43 cents on the right.
There are also different delays for the left and right with small amounts
of feedback for each. Whip this one on either the lead vocal or BG Vox.

P146 Pole Flange Stereo Pitch Shift Similar to a “Barber Pole” type flange. Mix 50/50 between source and

returns.

P147 Bulkie Roll Stereo Pitch Shift Fluffy-sounding chorus effect. Mode is set to Mono so you can

independently pitch left or right. When sent to the 300 pre-fader, the
return audio has a slow motion movement around the stereo field.

P148 Heavy Roll Stereo Pitch Shift Another independent left/right preset except much stronger amounts of

shift between the two channels. Don’t use this on anything pretty, make
the nasty... nastier.

P149 Going, Going Stereo Pitch Shift Up, Up, Up....in whole steps. The Soft knob is patched to the delay,

which you adjust to suit your taste.

P150 Zorch! Stereo Pitch Shift Up and down with delays and feedback. Nightmare audio.

5-5

300 V 3.0 Owner's Manual

Lexicon

Split Setup Presets

and their Effects

Split Setups are divided into two types: Dual Mono (numbered 201-225 in Setup
Select mode), and Cascade (numbered 301-325 in Setup Select mode). Most
Dual Mono Setups have the left input feeding Machine A, and the right input
feeding Machine B.

Each Setup description below is followed by a description of the two effects
incorporated in the Setup.

Dual Mono Setups and Effects

P201 DM: Rev/Rev
EA:701:Chamber EB:702:Key Chamber

This setup utilizes two independent reverbs. The left input feeds Machine A; the right input feeds Machine B. Each can be
used independently and, in fact, should be used that way. Pan the output of each Machine (at the console) to suit the mix.

MchA EA:701 Chamber A great general purpose reverb tail. The size is set to 28.1M (the largest value is 64M) so the
density is rather close in. As you adjust SIZE, the Rt value will also change. If you want to unlink this natural phoenomena,
set LINK to Unlink (on Page Two).

MchB EB:702 Key Chamber A nice “bloommy” sounding reverb. Diffusion is set midway, so there is some good
articulation at the begining of the reverb envelope. Use this on most keyboards, but those with a strong point may require
a bit more Diffusion.

P202 DM: Rev/Dly
EA:703:Drum Chamber EB:607:LFO:Faze Delays

REV/DLY utilizes a great sounding mono reverb for kick and snare. Machine B runs Faze Delays, getting its signal from the
right input. The LFO in Setup Edit runs at .24Hz with a triangle waveform. The FDLY parameter in Machine B is patched
to this LFO.

MchA EA:703 Drum Chamber Good starting point for acoustic drums. This preset is slightly larger than the standard
chamber, but has less Diffusion. Rt is set to 1.0 second at mid frequencies.

MchB EB:607 LFO:FazeDlys Faze Dlys makes use of the LFO patched to the Flange Glide Delay(FDLY). The base
delays are set in different time domains: one side at 1.9ms with a feedforward gain; the other at 5.6 with a negative feed
gain. As the Glide passes over each base delay, the phase of each gain is changed. In between, the output is a mixture of
each. A great effect on a ripping guitar solo.

P203 DM: Rev/Pch
EA:705:Guitar Room EB:802: Guit Shift

This Dual Mono preset will get you set for your guitar tracks. The LFO is set to 0.24 . Increase the rate (in Setup Edit) to
increase the pitch glide in the Guitar Shift Effect preset.

MchA EA:705 Guitar Room This is a big, wide-sounding room for your guitars. For heavy rock stuff, you might consider
panning “in” the returns. The room is a little bottom heavy for additional warmth. Could also work well on vocals.

MchB EB:802 Guitar Shift This preset offers a medium amount of micropitch shift(-14c), along with a small amount of
recirculating predelay. Actually, the glide pitch parameter (GLD) is patched to the LFO running in the Setup. The LFO causes
the GLD to glide between -14c and -7 cents. If you move the GLD parameter (in Effect Edit) to -21c, the preset becomes
raunchy sounding on “beefy” guitars.

5-6

The Presets

P204 DM: Rev/Comp
EA:707:”U”Chamber EB:901:EZ Comp2:1

This preset utilizes a chamber preset on the left input and a compressor preset on the right input. Typically, EZ Comp2:1
should be used at a patch point on the console. If used on an effect send, make sure the fader sends are pre-fade, or a phase
error will occur between the fader signal and the return to the console.

MchA EA:707 “U” Chamber This preset is shaped liked an upside down “U” with the speaker on top of the wall, and a
microphone on either side of the wall.

MchB EB:901 EZ Comp 2:1 An “easy” preset to add to an overall stereo mix or mono or stereo submix. You might need
to adjust Threshold to make it work for the particular signal you feed it. Release is set to gently (2:1) fall away after 363ms.

P205 DM: Dly/Dly
EA:609: Chorus EB:612: Chorus+EKOz

Think of this preset as

the

chorus preset for mono sources. Left input feeds Machine A; right feeds Machine B. Both effects

have their flange glides attached to the Setup LFO. The LFO is set to 1.38Hz with a sine waveform.
MchA EA:609 Chorus The Chorus preset makes use of a small variation in the glide delay to modulate the sound. The

glide moves between 9.7ms and 11.8ms. Advancing the LFO to values near 1.50Hz to 2.0 Hz, yields a nice chorusing effect.
There are no other delay lines, but the output lines are channel-swapped such that the left input passes to the right output
and vice-versa. In a Dual Mono Setup, this is ,of course, inaudible.

MchB EB:612 Chorus+EKOz Chorus+EKOz makes use of the flange gliding delay (via the Setup LFO) and several
longer recurring echoes.

P206 DM: *Dly/Pch
EA:601: *Dual Delays EB:804: Sky Down

This preset incorporates a Setup Soft knob patch to the effect in Machine A (*Dual Delays). Paging up one page will activate
the Soft knob as a multi-parameter controller. In this Setup, going to this location in Setup Select mode will change the stereo
delay parameter in preset 601 which is loaded into Machine A (left input). Machine B (right input) loads a pitch shift program.

MchA EA:601 *Dual Delays Baseline effect with the Soft knob patched to the last two delay lines in the signal path.
Advancing the Soft knob will cause the two post-delays to move in sync out to almost 3000ms.

MchB EB:804 Sky Down This preset tunnels downward due to the liberal amount of delay feedback. If the effect is too
heavy, lower the Feedback value. This preset has no Mod Edit patches.

P207 DM: Dly/Comp
EA:602 Space Delays EB:902 DrumComp3:1

This preset presents a delay preset to the left effect input/output, and a Drum compressor preset to the right effect input/
output.

MchA EA:602 Space Delays This preset incorporates a bit of left-right diffused delay, along with some small delay offset
between left and right delay outputs. If the effect is too strong, try lowering feedback levels for delays 3 and 4.

MchB EB:902 DrumComp 3:1 This is a bit more aggressive, with 7dB of boost below the selected threshold. A quick
release of 58ms snaps up the volume. As with all compressor presets, Threshold is the critical parameter.

5-7

300 V 3.0 Owner's Manual

Lexicon

P208 DM: *Pch/Pch
EA:803 *Up Shift EB:806 Echo Down

A true Dual-Mono pitch preset. Going to the Soft knob parameter location (in Setup Select mode) will enable you to advance
the delay parameter in the Machine A effect.

MchA EA:803 *Up Shift Up Shift is a sweet sounding microshift up +7cents. There is a slight “chorus edge” due to a
modest amount feedback around a 0ms delay line. The Soft knob controls the delay line length.

MchB EP:806 Echo Down 14 cents down with a 258ms recirculating delay line. This effect works great either before or
after a Reverb preset (in a Cascade Setup).

P209 DM: Pch/Comp
EA:810 Vocal Shift EB:902 DrumComp3:1

Send a vocal track into the left input and send a mono prefade drum premix into the right input.

MchA EA:810 Vocal Shift This preset combines a short delay line recirculating around a -7 cent pitch shifter.
MchB EB:902 DrumComp 3:1 This is a bit more agressive, with 7dB of boost below the selected threshold. A quick

release of 58ms snaps up the volume. As with all compressor presets, Threshold is the critical parameter.

P210 DM: Comp/Comp
EA:901 EZ Comp EB:902 DrumComp 3:1

This is a true “Dual Mono” Setup. Any audio (analog or digital) should be sent pre-fade or inserted in a patch point.
MchA EA:901 EZ Comp 2:1 A nice preset to add to an overall mix. You may need to adjust Threshold to make it work

for the particular signal you’re feeding it. The release parameter is set to gently fall away after 363ms.
MchB EB:902 DrumComp 3:1 This is a bit more agressive, with 7dB of boost below the selected threshold. A quick

release of 58ms snaps up the volume. As with all compressor presets, Threshold is the critical parameter.

P211 DM:Slow Spin
EA:607 LFO:FazeDlys EB:609 Chorus

The LFO is set to 0.90Hz with a Triangle waveform, and is attached to both Machine Flange Glide Delays. Turning the LFO
faster will speed things up, but may cause Machine A to pitch too heavily. This preset can be used with either mono or stereo
sources, but discrete echoes will appear at the left output.

MchA EP:607 LFO:FazeDlys Faze Dlys makes use of the LFO to the Flange Glide Delay (FDLY). The base delays are
set in different time domains: one side at 1.9ms with a feedforward gain; the other at 5.6 with a negative feed gain. As the
Glide passes over each base delay, the phase of each gain is changed. In between, the output is a mixture of each. A great
effect on a ripping guitar solo.

MchB EP609 Chorus This preset makes use of a small variation in the glide delay to modulate the sound. The glide moves
between 9.7ms and 11.8ms. Advancing the LFO to values near 1.50Hz to 2.0 Hz yields a nice chorusing effect. There are
no other delay lines, but the output lines are channel-swapped such that the left input passes to the right output and vice­versa. In a Dual Mono Setup, this is ,of course, inaudible.

5-8