Lexicon 300 V3.0 REV 0 User 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 numériquesde la class A prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

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

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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

Copyright 1993	Lexicon Inc.
	3 Oak Park
All Rights Reserved.	Bedford, MA 01730 USA
	Tel [phone]
Lexicon Part #070-09678	Fax [phone]

Contents

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, 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 Introduction 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.

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

1

Installing the 300

1-1

300 V 3.0 Owner's Manual	Lexicon

Mounting 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.

Power Requirements 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

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 must 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.

TIME CODE IN	DO AES/EBU DI	EIAJ CP340		R OUT	L OUT	R IN	L IN
PUSH	PUSH					PUSH	PUSH
		DO	DI	DI
				DO
			MIDI				INPUT
							GAIN
COMM PORT
	OUT		THRU	IN

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	Lexicon

Connectors, Cables

and Configurations

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

2 = high

Male

3 = low

1 = ground

Female

1 = ground

3 = low

Pin 2 high by convention.	2 = high

1-4

Installing the 300

Cables

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-capaci- tance, controlled-impedance, data communication, twisted-shielded pair cable.

It will not work reliably if microphone cable is used.

This interface is unbalanced but, because it carries digital signals, it requires the use of 75Ω RG-59 coaxial cable.

Use commercially-available, consumer audio optical cable assemblies.

Use standard 5-pin DIN MIDI cable asemblies, available from your local dealer.

Below are recommended manufacturer's part numbers for cable and cable assemblies. In some cases, two types are specified: one with an overall braid shield for heavy use, and one with a foil shield for permanent installation.

Analog Audio and Time Code

Belden 8412 (microphone cable with braided shield)

Belden 9461 (foil shield)

AES/EBU

Belden 9271 (foil shield)

Gotham GAC-2 AES-FRU

Maximum recommended length: 100 ft (30M)

S/PDIF (EIAJ CP340) Consumer Digital Audio

Belden 9259 (22 AWG conductor, .242 O.D.)

Belden 8218 (27 AWG conductor, .150 O.D.)

Maximum recommended length: 32 ft (10M)

S/PDIF (EIAJ CP340) Consumer Digital Audio Optical

Toshiba TOCP174y

Sony POC-15

Maximum recommended length: 16 ft (5M)

Analog Audio I/O

and Time Code

AES/EBU

Digital Audio I/O

SPDIF (EIAJ CP340)

Consumer Digital Audio I/O

SPDIF (EIAJ CP340)

Consumer Digital Audio

Optical I/O

MIDI IN, OUT and THRU

1-5

300 V 3.0 Owner's Manual	Lexicon

Setting Analog

Audio Levels

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:

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

This line is selected, and will change as you turn the Soft knob to give a visual indication of the level settings

Level Indicators

Red	DSP Overload
Amber	-3
	-6
Green	-12
	-18
	-24

-30 -36 -42

values are dB approximate

INL

(-10.0dB

to +10.0dB)

INR

(-10.0dB

to +10.0dB)

LEVEL

Actual level settings (in dB) Press this button to toggle are shown here.

selection of INR on and off.

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

Installing the 300

Configurations

Connection to a mixing console's effects sends

		Effects Send (L)
		Effects Send (R)
		Channel Input or
		Effects Return (L)
		Channel Input or
		Effects Return (R)
TIME CODE IN	DO AES/EBU	DI	EIAJ CP340		R OUT	L OUT	R IN	L IN
PUSH		PUSH					PUSH	PUSH
			DO	DI	DI
					DO
				MIDI				INPUT
COMM PORT								GAIN
		OUT		THRU	IN

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.

1-7

300 V 3.0 Owner's Manual	Lexicon

AES/EBU to AES/EBU

DIGITAL AUDIO
or
DIGITAL VIDEO	AES/EBU Format
MACHINE
Source Machine					Analog outputs for monitoring
AES/EBU Format		Out	In		Out	Out
		TIME CODE IN DO AES/EBU	DI	EIAJ CP340	R OUT	L OUT R IN	L IN
		PUSH	PUSH			PUSH	PUSH
				DO DI	DI
					DO
				MIDI			INPUT
		COMM PORT					GAIN
			OUT	THRU	IN
DIGITAL AUDIO
or							CONSOLE
DIGITAL VIDEO		Analog outputs for monitoring
							or
MACHINE
							HEADPHONE AMP
Destination Machine

S/PDIF to S/PDIF
RDAT MACHINE
or	S/PDIF Format
CD PLAYER
Source Machine					Analog outputs for monitoring
				In	Out Out
	TIME CODE IN	DO AES/EBU DI	EIAJ CP340		R OUT	L OUT	R IN	L IN
	PUSH	PUSH					PUSH	PUSH
			DO	DI	DI
					DO
				MIDI				INPUT
	COMM PORT							GAIN
		OUT		THRU	IN
	S/PDIF Format		Out
RDAT
MACHINE		Analog outputs for monitoring						CONSOLE
Destination Machine								or
								HEADPHONE AMP

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

1-8

Installing the 300

AES/EBU to S/PDIF

Conversion

Source Machine
DIGITAL AUDIO
or	AES/EBU Format
DIGITAL VIDEO
MACHINE						Analog outputs for monitoring
			In			Out		Out
	TIME CODE IN	DO AES/EBU	DI	EIAJ CP340		R OUT	L OUT	R IN	L IN
	PUSH		PUSH					PUSH	PUSH
				DO	DI	DI
						DO
					MIDI				INPUT
	COMM PORT								GAIN
			OUT		THRU	IN
	S/PDIF Format				Out
RDAT
MACHINE									CONSOLE
		Analog outputs for monitoring
									or
Destination Machine									HEADPHONE AMP

S/PDIF to AES/EBU

Conversion

Source Machine

RDAT MACHINE
or	S/PDIF Format
CD PLAYER
				Analog outputs for monitoring
AES/EBU Format		Out	In	Out	Out
	TIME CODE IN	DO AES/EBU DI	EIAJ CP340	R OUT L OUT	R IN	L IN
	PUSH	PUSH			PUSH	PUSH
			DO DI	DI
				DO
			MIDI			INPUT
	COMM PORT					GAIN
		OUT	THRU	IN
DIGITAL AUDIO
or						CONSOLE
DIGITAL VIDEO	Analog outputs for monitoring
MACHINE						or
						HEADPHONE AMP
Destination Machine

1-9

300 V 3.0 Owner's Manual	Lexicon

ANALOG I/O and

AES/EBU to AES/EBU

Digital Source							Analog Source
DIGITAL AUDIO								ANALOG
							MACHINE
or
	AES/EBU Format							or
DIGITAL VIDEO
							CONSOLE
MACHINE
								Analog audio
AES/EBU Format							In
	Out	In						In
	TIME CODE IN	DO AES/EBU DI	EIAJ CP340		R OUT	L OUT	R IN	L IN
	PUSH	PUSH					PUSH	PUSH
			DO	DI	DI
					DO
				MIDI				INPUT
	COMM PORT							GAIN
		OUT		THRU	IN
					Out		Out
							Analog audio
DIGITAL AUDIO					CONSOLE, HEADPHONE AMP
or
DIGITAL VIDEO	Analog outputs for monitoring						or
MACHINE						ANALOG MACHINE
Digital Destination					Analog Destination

ANALOG I/O and

AES/EBU Digital Output

								Source Machine
									CONSOLE
									or
								MIKE PREAMP
									Analog audio
AES/EBU Format		Out						In
									In
		TIME CODE IN	DO AES/EBU DI	EIAJ CP340		R OUT	L OUT	R IN	L IN
		PUSH	PUSH					PUSH	PUSH
				DO	DI	DI
						DO
					MIDI				INPUT
		COMM PORT							GAIN
			OUT		THRU	IN
						Out		Out
								Analog audio
DIGITAL AUDIO
or						CONSOLE, HEADPHONE AMP
DIGITAL VIDEO	Analog outputs for monitoring
MACHINE									or
							ANALOG MACHINE
Destination Machine
1-10

Installing the 300

ANALOG In

with Digital Patch Point to ANALOG Out

AES/EBU Format

ANALOG

MACHINE

DIGITAL PROCESSOR Out or

CONSOLE

In

			In	In	Out Out
Out	In		Out Out		In	In
TIME CODE IN	DO AES/EBU DI	EIAJ CP340	R OUT	L OUT	R IN	L IN
PUSH	PUSH				PUSH	PUSH
		DO DI	DI
			DO
		MIDI				INPUT
COMM PORT						GAIN
	OUT	THRU	IN

1-11

System Overview

2

System Overview

2-1

300 V 3.0 Owner's Manual	Lexicon

Terms used in this manual

In discussing 300 operation, the following terms are used.

Algorithm

The 300 contains eleven algorithms. An algorithm is a set of instructions that tells 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.

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 configuration. 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).

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 Machine A and Machine B. Although both machines can run simultaneously, only one can be accessed from the front panel at any given time. A dedicated function key labeled MACH allows front panel selection of either Machine A or 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 pages. You move between pages by pressing the dedicated function keys labeled PAGE UP and PAGE DOWN.

Parameter

Each algorithm has a set of parameters (controls) that uniquely characterize it. The settings of the parameters can be changed to create radically different sounds from a single algorithm.

Patch

A patch is a routing assignment that allows one of the 300's parameters to be driven by a source controller (LFO, footswitch, mod wheel, etc.)

Register/Preset

Registers are simply memory locations where you can store your own setups and effects. Presets are factory-installed setups and effects. The presets cannot be overwritten, but they can be modified and stored as custom setups in the registers. Registers and presets are differentiated on the 300 display by the initial R (Register) or P (Preset) before their number.

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

INPUT BALANCE

MACHINE

LFO

METERS

MOD EDIT

SETUP

ANALOG

DIGITAL

ANALOG

DIGITAL

OUT MIX

RATE

SHAPE

LEFT

RIGHT

PATCH

PATCH

NAME

EFFECT

ALGORITHM

MOD EDIT

RANDOM HALL

STEREO ADJUST

PARAMETER

PATCH

PATCH

EFFECT

RANDOM AMBIENCE

STEREO PITCH SHIFT

VALUES

PATCH

PATCH

NAME

RICH PLATE

DUAL MONO SETUP

INPUT LEVEL

INPUT BALANCE

MIX

LFO

METERS

MOD EDIT

SETUP

A LVL

B LVL

A BAL

B BAL

A

B

RATE

SHAPE

LEFT

RIGHT

PATCH

PATCH

NAME

EFFECT A

		ALGORITHM					MOD EDIT
		SPLIT CHAMBER	MONO PITCH SHIFT		PARAMETER		PATCH		PATCH		EFFECT
		DUAL DELAY	COMPRESSOR		VALUES		PATCH		PATCH		NAME
		PONS	SMALL STEREO ADJ

EFFECT B

		ALGORITHM					MOD EDIT
		SPLIT CHAMBER	MONO PITCH SHIFT		PARAMETER		PATCH		PATCH		EFFECT
		DUAL DELAY	COMPRESSOR		VALUES		PATCH		PATCH		NAME
		PONS	SMALL STEREO ADJ

CASCADE SETUP

INPUT

INPUT

CASCADE

MIX

LFO

METERS

MOD EDIT

SETUP

BALANCE

BALANCE

FEEDBACK

A

B

O

RATE

SHAPE

LEFT

RIGHT

PATCH

PATCH

NAME

EFFECT A

ALGORITHM

MOD EDIT

SPLIT CHAMBER

MONO PITCH SHIFT

PARAMETER

PATCH

PATCH

EFFECT

DUAL DELAY

COMPRESSOR

VALUES

PATCH

PATCH

NAME

PONS

SMALL STEREO ADJ

EFFECT B

ALGORITHM

MOD EDIT

SPLIT CHAMBER

MONO PITCH SHIFT

PARAMETER

PATCH

PATCH

EFFECT

DUAL DELAY

COMPRESSOR

VALUES

PATCH

PATCH

NAME

PONS

SMALL STEREO ADJ

2-3

300 V 3.0 Owner's Manual	Lexicon

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.

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.

	Bypass
Page Up/Down	Enable digital bypass
	of Machine A or B to
Allow access to dis-	provide an unproc-
play pages of adjust-	essed signal, or to
able parameters.	mute the effect input.

Power

Power on/off.

7

8

9

SETUP

CONTROL

BYPASS

SELECT

A

MIDI

PAGE

4

5

6

MACH

SETUP

BYPASS

48 kHz

UP

EDIT

B

44.1 kHz

PAGE

1

2

3

STORE

EFFECT

32 kHz

DOWN

EDIT

LEVEL

—

0

ENTER

VALUE

MOD

300

EDIT

DIGITAL EFFECTS SYSTEM

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 memorize effects and setups.

Control: Used to access system parameters.

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

Effect Edit: Used to adjust the parameters of effects.

Mod Edit: Used to create patches.

Value: Used to display parameter values for Soft button or Soft knob adjustment.

2-4

System Overview

The 300 front panel has been designed for ease-of-use and intuitive access to	Overview of
all of the 300's functions.	Front Panel Controls
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		SETUP	CONTROL
mode key has an LED which lights when the key is activated. The functions of		SELECT
the VALUE and STORE keys are discussed later in this section.		MACH	SETUP
SETUP SELECT			EDIT
		STORE	EFFECT
It is from Setup Select mode that setups are selected and loaded. Setups can			EDIT
be selected with the Soft knob, or by entering a setup number on the numeric
		VALUE	MOD
keypad and then pressing ENTER.
			EDIT
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.

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

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.

SETUP CONTROL

SELECT

MACH SETUP

EDIT

STORE EFFECT

EDIT

VALUE MOD

EDIT

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	2 X	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

UP

PAGE

DOWN

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 Soft knob.

2-6

System Overview

The 300 presents you with an incredible number of choices — all of which can System Overview 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
		44.1 kHz	Sample Rate
		PLL
			(SR)
						Digital
Digital				SR		Out
In						XLR
XLR			Effect
	Digital			Digital		RCA
RCA
	In			Out
OPT						OPT
		SR		SR
			DSP
Analog	Emph	A/D		D/A	Emph	Analog
In						Out
0.0 or +16dB	-10 to +10dB		DSP		-10 to +10dB
Rear Panel	Input Level				Output Level
Gain Switch	Control					Control
			Panel, MIDI and Time Code
			Program Change

As you can see from the figure, the 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.

2-7

300 V 3.0 Owner's Manual	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:
	SETUP	CONTROL
			Single, Dual Mono, and Cascade. Each is strikingly different and together they
	SELECT		provide incredible audio possibilities.
	MACH	SETUP
		EDIT	Each Setup includes one or more effects along with other items such as
	STORE	EFFECT	machine input(s) and source balance(s), the relationship between wet (effect)
		EDIT	and dry (input) mixing for each machine, meter functions, LFO rates and
	VALUE	MOD	shapes, and a naming function. In addition, there are two(2) modulation patches
		EDIT	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).

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).

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.

2-8

System Overview

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.

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