Lexicon M300L Owner's Manual
300L
Digital Effects/
LARC Interface
Owner's
Manual
Unpacking and Inspection
After unpacking the 300L, save all packing materials in case you ever need to ship the unit. Thoroughly inspect
the unit and packing materials for signs of damage. Report any shipment damage to the carrier at once; report
equipment malfunction to your dealer.
Precautions
The Lexicon 300L is a rugged device with extensive electronic protection. However, you should observe the same
reasonable precautions that apply to any piece of audio equipment.
• Always use the correct line voltage. Refer to Chapter 1 of this manual for power requirements.
• Don't install the unit in an unventilated rack, or directly above heat-producing equipment such as power
amplifiers. Maximum ambient operating temperature is 35°C (95°F).
• Never attach audio power amplifier outputs directly to any of the units connectors.
• Before turning the unit on or off, mute your monitor speakers to avoid possible damage from transients.
• To prevent fire or shock hazard, do not expose the unit to rain or moisture.
Notice
This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the
manufacturer's instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the
limits for a Class A computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designated to provide
reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the
equipment OFF and ON, the user is encouraged to try to correct the interference by one or more of the following measures:
Reorient the receiving antenna
Relocate the computer with respect to the receiver
Move the computer away from the receiver
Plug the computer into a different outlet so that the computer and receiver are on different branch circuits.
If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find
the following booklet prepared by the Federal Communications Commission helpful:
"How to identify and Resolve Radio/TV Interference Problems."
This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.
Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la class
A prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.
This triangle, which appears on
your component, alerts you to
the presence of uninsulated,
dangerous voltage inside the
enclosure... voltage that may be
sufficient to constitute a risk of
shock.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
This triangle, which appears on
your component, alerts you to
important operating and maintenance instructions in this accompanying literature.
Lexicon Inc.
Copyright 1997
All Rights Reserved.
3 Oak Park
Bedford MA 01730-1441
Telephone 617-280-0300
Lexicon Part #070-10673 Rev 1
Fax 617-280-0490
Introduction
1. Installing the 300L
Mounting............................................................................................. 1-2
Power Requirements .......................................................................... 1-2
The Rear Panel .................................................................................. 1-3
Connectors, Cables and Configurations............................................. 1-4
About the LARC.................................................................................. 1-6
How to Interface the LARC................................................................. 1-7
Setting Analog Audio Levels............................................................... 1-8
Configurations .................................................................................. 1-10
2. System Overview
Terms used in this manual ................................................................. 2-2
Operating Modes ................................................................................ 2-4
Checking your System's Status .......................................................... 2-5
System Overview................................................................................ 2-6
3. System Operation
Getting Started ................................................................................... 3-2
SoftSlider...................................................................................... 3-3
Selecting Analog and/or Digital Input ........................................... 3-4
Single Setups ..................................................................................... 3-5
Dual Mono Setups .............................................................................. 3-6
Cascade Setups ................................................................................. 3-8
Setup Select Mode ........................................................................... 3-10
The Setup Presets ..................................................................... 3-10
Setup Select ..................................................................................... 3-13
Storing a Setup................................................................................. 3-16
Working with the Effect Programs .................................................... 3-17
Storing Individual Effect Registers ............................................. 3-19
Automatic Storing of Modified Effects ........................................ 3-20
Using Banks and Programs.............................................................. 3-21
MIDI/Modulation Patching ................................................................ 3-27
Control Mode .................................................................................... 3-28
Analog and Digital Audio Selection ............................................ 3-28
Emphasis and SCMS ................................................................. 3-29
Copy (Enable/Disable, Bypass/Mute, Program Load,
Memory Purge ..................................................................... 3-30
Offline Copy Tools...................................................................... 3-30
MIDI: Automation, Dumps and Channel Selection..................... 3-31
MIDI: Maps................................................................................. 3-31
Time Code: Snap and View ....................................................... 3-32
Time Code: Event List and Time Code Edit/Add/Delete ............ 3-32
Input/Output Gains ..................................................................... 3-33
Contents
Contents, cont'd.
4. The Algorithms and their Parameters
Single Setup Algorithms ..................................................................... 4-2
Random Hall ................................................................................ 4-2
Random Ambience....................................................................... 4-9
Rich Plate................................................................................... 4-12
Stereo Adjust.............................................................................. 4-16
Stereo Pitch Shift ....................................................................... 4-22
"Split" Setup Algorithms.................................................................... 4-25
Dual Delays................................................................................ 4-25
Chamber .................................................................................... 4-28
Mono Pitch Shift ......................................................................... 4-31
Small Stereo Adjust.................................................................... 4-33
Compressor................................................................................ 4-35
PONS (Psychoacoustically Optimized Noise Shaping).............. 4-36
5. The Presets
Single Setup Presets (and Programs) ................................................ 5-2
Split Setup Presets and Programs ................................................... 5-10
Dual Mono Setup Presets .......................................................... 5-10
Cascade Setup Presets ............................................................. 5-18
Effect Presets by Bank ..................................................................... 5-26
6. Time Code Operation
Using Time Code................................................................................ 6-2
The Event List..................................................................................... 6-3
Using time code to initiate program changes ............................... 6-3
Snapping events .......................................................................... 6-4
Editing the List.............................................................................. 6-4
Trimming Time Codes in the Event List ....................................... 6-5
Programming Parameter Glides................................................... 6-6
Things to Consider about Glides.................................................. 6-8
Adding an event ........................................................................... 6-9
Deleting an event ......................................................................... 6-9
Dumping the List to MIDI storage devices.......................................... 6-9
Event List Log Sheet ........................................................................ 6-10
7. MIDI Operation
MIDI Connections ............................................................................... 7-2
Setting MIDI Channels........................................................................ 7-3
Using Fixed Program Change ............................................................ 7-4
Using MIDI Maps ................................................................................ 7-5
Making Patches .................................................................................. 7-5
Real-time MIDI Effects Automation .................................................... 7-9
Using Real-time SysEx and Non-registered Parameters ............. 7-9
Using Dynamic MIDI
®
to transmit and receive MIDI
Controller Information .......................................................... 7-10
Using SysEx and Dynamic MIDI® Patches................................. 7-10
Controlling Multiple 300Ls ................................................................ 7-10
8. Troubleshooting
Low Voltage........................................................................................ 8-2
Overheating ........................................................................................ 8-2
Common MIDI Problems .................................................................... 8-2
Common Time Code Problems .......................................................... 8-3
Common Digital Interfacing Problems ................................................ 8-3
Error Status Messages ....................................................................... 8-4
9. MIDI Implementation Chart
10. Specifications
Congratulations on your purchase of the 300L Digital Effects System with LARC
Remote Interface! The 300L not only contains the finest sounds, as you've come
to expect from Lexicon, it incorporates new functions that satisfy the needs of
today's audio production.
Analog and Digital Audio Interfacing
For both analog and digital use the 300L takes full advantage of recent advances
in converter technology and combines them with flexible digital interfacing.
The A/D and D/A converters use oversampling techniques to minimize low-level
distortion and provide linear phase characteristics. 64x oversampling Delta/
Sigma conversion is used in the A/Ds; 8x oversampling is used in the D/As. The
result is sonic transparency without the artifacts normally encountered in
conversion.
The digital I/O simplifies interfacing with both the AES/EBU professional and the
EIAJ consumer format. XLR, RCA and Optical connectors are provided for both
input and output. The digital inputs of the 300L will automatically accept and lock
to any AES/EBU/SPDIF format; the 300L's digital output format is user-selectable for feeding either professional or consumer equipment. This allows for
format conversion as well as using the high quality A/D converters to feed digital
recorders. Control of additional Channel Status information is provided as well.
Dual DSP Architechture
The 300L utilizes two proprietary high performance DSP engines. The configuration of these engines can be determined by the end-user to suit a particular
audio application. The Single Setup configuration unites both DSP engines.
Two “split” configurations: Dual Mono and Cascade, allow each DSP engine to
run a special program especially designed for “Split “ applications. The Single
algorithms include: Random Hall, Random Ambience, Rich Plate, Stereo Pitch
Shift, and Stereo Adjust. The “split" algorithms include: Dual Delays, Chamber,
Mono Pitch Shift, Compressor, a special mastering dither program called PONS
(Psychoacoustically Optimized Noise Shaping), and a less extensive version of
Stereo Adjust.
Introduction
Comprehensive Effects Automation
The 300L makes effects automation available in three different ways. If you use
time code, the 300's Event List and Time Code Reader add a new twist to effects
processing. Each entry in the 50-item list contains a time code value and a 300L
effect preset/register number, allowing incoming time code to trigger setup and
effect changes, as well as setup and effect parameter glides. For changing
effects in music or changing rooms and environments for film and video, the
300L's time code capability opens new avenues to all time code users.
Dynamic MIDI® is included for real-time performance control and effects automation. All parameters in the 300L can be patched to most MIDI controllers,
allowing full control from remote devices. For full MIDI automation all parameter
changes can be recorded on any sequencer. For additional control, complete
System Exclusive information is available.
Lexicon Sound
Even with the best functions and features, the heart of any signal processor is
its sound. The 300L contains the very best of the Lexicon Sound — with new
refinements such as dynamic size parameters in the Reverb and Ambience
algorithms. We have also included stereo and mono pitch shifting, both straight
delay and modulated delay effects, a mastering algorithm with precision level/
balance controls and equalization. These sounds, combined with analog and
digital audio I/O, time code based effect change, an internal LFO, and full MIDI
automation result in a system that provides new creative options each time you
use it.
We’re confident you’ll find that the 300L’s combination of state-of-the-art sound
and extraordinary versatility, combined with the convenience of remote control
is exactly what you’re looking for — to make sure you don’t miss out on anything,
we’d like you to read this manual. It provides a thorough explanation of both front
panel and MIDI operation, digital and analog interfacing, descriptions of the
effects and presets, and complete MIDI Implementation data — all the information you need to access the full power of the 300L.
Installing the 300L
Installing the
300L
1
1-1
300L Owner's Manual
Lexicon
Mounting
Power Requirements
Before rack-mounting the 300L, you may want to remove the four rubber feet
attached to the bottom of the chassis. Gently pry off the black plastic buttons in
the center of each foot, then remove the foot itself.
The 300L measures 19"W x 3.50"H x 13.9"D (483 x 90 x 353 mm). It uses two
EIA-standard rack spaces and can be mounted on any level surface or in a
standard 19 inch (483 mm) rack. Whatever mounting method you use, make
sure that the 300L is securely screwed into the rack adapter If the 300L is
mounted in a rack or road case, support the rear of the chassis to prevent
possible damage from mechanical shock and vibration.
The 300L is equipped with a 3-pin IEC power connector and detachable cord,
providing chassis grounding to the AC mains line. Plug the female end of the
power cord into the 300, and the male end into a wall outlet.
The 300L is internally wired to operate at 100, 120, or 230 VAC. The operating
voltage set at the factory is marked on a label attached to the rear panel. Check
the label
before
applying power to the unit.
If the voltage must be changed, refer a qualified technician to the Voltage
Changeover procedure in the 300L Service Manual.
1-2
Time Code In
3-pin female XLR connector for input of
SMPTE (Drop or Nondrop), EBU, or FILM
time code formats.
(Electronically balanced, 100mV p-p
minimum)
Digital Inputs and Outputs
Inputs
Three connectors are provided for digital input:
AES/EBU professional format (1):
3-pin female XLR
S/PDIF EIAJ CP-340 consumer format (2):
unbalanced coaxial RCA
optical (fiber-optic)
One of these connectors may be selected for
digital input.
Outputs
Output format can be AES/EBU or S/PDIF.
Output always goes to all three digital outputs.
Digital interfaces conform to AES 3-1992 (ANSI
S4.40-1992). Input/output impedance levels of
the AES/EBU connectors comply with the
CCITT V.11 EIA RS-422A.
Installing the 300L
The Rear Panel
Analog Inputs and Outputs
3-pin XLR connectors, electronically balanced.
Either pin 2 or pin 3 can be used as high but, to
maintain polarity when transferring data to the
digital domain, pin 2 high convention is used by
Lexicon.
Pin 1 and either pin 2 or pin 3 of each output
be grounded for unbalanced operation.
Input impedance is 50kΩ unbalanced, and
100kΩ balanced. Inputs accept input levels from
-14dBu to +20dBu.
Output impedance is 75Ω, and levels up to
+18dBu are possible.
must
AC Power
Standard 3-pin IEC
power connector.
AES/EBU
PUSH
COMM PORT
DOTIME CODE IN
Communications
Port
DE9 LARC connector.
OUT
EIAJ CP340
DO DI
MIDI
THRU IN
R OUT R IN
DI
DO
DI
PUSH
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.
L OUT L IN
PUSH
PUSH
INPUT
GAIN
Input Gain
2-position (In/Out)
switch for matching input gain to the source
being used.
In = +16dB; Out = 0dB.
1-3
300L Owner's Manual
Connectors, Cables
and Configurations
Lexicon
Connectors
Signal Mating Connector Description
L and R Analog XLR A3M Active balanced, pin 2 high
Audio Input +2dBu min; +20dBu max
at 0dB setting
L and R Analog XLR A3F Active balanced; pin 2 high
Audio Output -2dBu to +18dBu
at full scale output
AES/EBU XLR A3M Balanced RS-422
Digital Input pin 2 high
AES/EBU XLR A3F Balanced RS-422
Digital Output pin 2 high
S/PDIF RCA Unbalanced 75Ω
EIAJ CP340
Consumer Digital
Input and Output
S/PDIF EIAJ Consumer Digital
EIAJ CP340 Audio format
Consumer Digital
Audio Optical
Input and Output
Time Code XLR A3M Active balanced RS-422;
pin 2 high, 100mV p-p
Input minimum
MIDI In 5-pin DIN Standard MIDI Interface
MIDI Out
MIDI Thru
Male
Female
Pin 2 high by convention.
2 = high
3 = low
1 = ground
1 = ground
3 = low
2 = high
1-4
Cables
Installing the 300L
For best performance, maintain balanced connections, and use high-quality,
low-capacitance, twisted-shielded pair cable.
When connecting to single-ended, unbalanced devices, connect the low side to
signal ground at the unbalanced piece of equipment.
For mono connection, connect the left and right input channels in parallel.
Be careful to keep input and output to all channels wired consistently. Out-of-
phase wiring can produce audible effects.
This interface requires balanced connections using high-quality, low-capacitance, controlled-impedance, data communication, twisted-shielded pair cable.
It will not work reliably if microphone cable is used.
This interface is unbalanced but, because it carries digital signals, it requires the
use of 75Ω RG-59 coaxial cable.
Use commercially-available, consumer audio optical cable assemblies.
Analog Audio I/O
and Time Code
AES/EBU
Digital Audio I/O
SPDIF (EIAJ CP340)
Consumer Digital Audio I/O
SPDIF (EIAJ CP340)
Consumer Digital Audio
Optical I/O
Use standard 5-pin DIN MIDI cable asemblies, available from your local dealer.
Below are recommended manufacturer's part numbers for cable and cable
assemblies. In some cases, two types are specified: one with an overall braid
shield for heavy use, and one with a foil shield for permanent installation.
Analog Audio and Time Code
Belden 8412 (microphone cable with braided shield)
Belden 9461 (foil shield)
AES/EBU
Belden 9271 (foil shield)
Gotham GAC-2 AES-FRU
Maximum recommended length: 100 ft (30M)
S/PDIF (EIAJ CP340) Consumer Digital Audio
Belden 9259 (22 AWG conductor, .242 O.D.)
Belden 8218 (27 AWG conductor, .150 O.D.)
Maximum recommended length: 32 ft (10M)
S/PDIF (EIAJ CP340) Consumer Digital Audio Optical
Toshiba TOCP174y
Sony POC-15
Maximum recommended length: 16 ft (5M)
MIDI IN, OUT and THRU
1-5
300L Owner's Manual
About the LARC
Program Select
Press to enter Program
mode. Press repeatedly to
scroll through presets in a
bank.
Register Select
Press to enter Register
mode. Press repeatedly to
scroll through registers in a
bank.
Slider Display Line
Shows abbreviated names
of the parameters currently
under the control of the sliders. Full name appears in the
Main Display.
Main Display
Shows names and values for
all selections.
PROG REG
VAR
Headroom Indicator
+12 dBm indicates analog or
digital clipping. Proper input
level is with +12 dB and ovld
unlit
LEDs
-24 18 12 6 0 6 +12 ovld dB
162738495
.
MUTE ENTER PAGECTRL MACHSTOBANK SETUP
Lexicon
Numeric Keypad
Press one of these keys to
load a program selected with
PROG or REG. Also used to
select pages.
L
Function Keys
R
0
Bank scrolls through
groups of programs or registers.
SETUP brings you to the
tope level of the user interface.
STO stores edited setups
and program registers.
CTRL toggles in and out of
the control mode.
MACH toggles between
machines when Split or
Cascade setups are selected.
Control Sliders
Adjust parameter values.
1-6
MUTE toggles the removal
and restoration of processed audio from the outputs.
ENTER loads selected setups.
PAGE steps through pages
of setup and program parameters.
Slider Display Keys
Show parameter name and
value in main display. Press
twice to engage vernier (fine)
adjustment mode when
available.
The 300L rear panel COMM PORT connector interfaces to the Lexicon
Alphanumeric Remote Control (LARC) via a flexible 50-ft cable (supplied). The
pin assignments for the connector are shown to the right.
Installing the 300L
How to Interface
the LARC
PUSH
COMM PORT
DOTIME CODE IN
AES/EBU
OUT
EIAJ CP340
DO DI
MIDI
THRU IN
DI
DO
R OUT R IN
L OUT L IN
PUSH
PUSH
INPUT
GAIN
DI
PUSH
Wiring diagram for the 300L
COMM PORTconnector.
1-7
300L Owner's Manual
-24 18 12 6 0 6 +12 ovld dB
L
R
Lexicon
Setting Analog
Audio Levels
When shipped from the factory, the 300L is set for Analog I/O configuration.
Once you have connected the analog inputs and outputs, you should set up the
analog input (pre A/D converter) and analog output (post D/A converter) levels.
First, you will need to select a Setup which represents a digital “straight wire”
through the box. To do this, press the SETUP key, then use the PRE slider to
select Setup Preset 81.
The upper display should read:
STEREOADJUST
SG: SET P 81
Press ENTER to load the setup. Press CTRL, then press PAGE, followed by the
number 9. This will display Control Mode Page 9. The lower display will show:
IN: LFT RT OUT: LFT RT
The I/O structure of the box is specified such that if a +11dBu signal is input into
the box, full scale conversion will occur. This is indeed true if the LFT (left) input
and RT (right) input sliders are set to 0dB. In fact, with the Output sliders set to
0dB, you should read exactly the same, +11dBu. In practice, analog I/O interface
levels vary widely with various console types. The Input and Output controls on
page 9 allow the 300L to be optimized for use throughout the analog world.
With the Left and Right sliders fully attenuated to -10dB, the 300L can look at
signals as high as +21dBu. For those of you who like to “blast” through an analog
console, this full attenuation may be a requirement.
If your console typically sends a +4dBu signal when the send meters read 0VU,
the 300L’s input will be left with only 7dB before converter saturation. This is not
good. A common rock and roll soution would be a quick trim of the send masters
by -7or -10 dB to give the system a little more “breathing room”. Some analog
engineers often refer to this “breathing room” as headroom. Technically , there
is no such thing as headroom in a digital system. When the converter goes to full
scale, overload will occur. Although the rock ‘and roll solution will usually work,
but we suggest you trim the inputs to the 300L.
To do this, move the LFT and RT input sliders to the required settings. You may
need to “null” these sliders at their mid-travel points in order to “grab” the default
value of +0dB. Attenuate them one at a time and make sure they are matched.
Pressing the buttons under each of the active sliders will interrogate the current
values.
1-8
Input levels between -1.5dBu and -2.9dBu will reference to 0 on the LARC
meters. You will find your own region of optimization.
On the output side, if +11dBu isn’t quite enough oomph! for the return inputs
(which is rarely the case) you may need to crank up the outputs. If you have
attenuated the inputs, as in the above example, the output will not be at unity gain
so you will have to boost the output sliders by the same amount. Grab each slider
individually and match the outputs.
A note on metering reverberation programs
Most Setups have the meters set for EFX-OUT. What we have described above
is getting the input and outputs “environmentally” matched.
As you start running reverb programs, you will see a natural attenuation on the
meters. This is perfectly normal. If the LARC overload LEDs do light up, DSP
overload is occurring. This is usually linked to someone’s “aggressive analog
behavior”, but there may be other times when an effect running in a delay
program has too much feedback and cross-feedback. A common pre-mastering
mistake is to run close to the edge going into an EQ process before going digitally
into a DAT. Boosting high or low frequencies is likely to overload the DSP output.
Be aware!
Installing the 300L
1-9
300L Owner's Manual
Configurations
Connection to a
mixing console's
effects sends
Lexicon
Effects Send (L)
Effects Send (R)
Channel Input or
Effects Return (L)
Channel Input or
Effects Return (R)
OUT
EIAJ CP340
DO DI
MIDI
THRU IN
DI
DO
R OUT R IN
L OUT L IN
PUSH
PUSH
INPUT
GAIN
PUSH
COMM PORT
DOTIME CODE IN
AES/EBU
DI
PUSH
If you will be using a 300L as your primary effects unit, and your system includes
a console with one or more auxiliary (effects) sends, connect the 300L as shown
above. In most applications, it is preferable to connect the 300L outputs to two
of the console's input channel strips, panned full left and right, rather than the
effects returns. This allows the greatest flexibility in routing and equalization.
In this configuration the console controls are used to set the amount of effect
heard—the 300L's MIX control should be set for 100% wet. If you are using only
one effects send, connect the left and right inputs of the 300L in parallel.
The following diagrams give a few examples of various possible configurations
for interfacing to digital equipment.
1-10
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Installing the 300L
AES/EBU to AES/EBU
AES/EBU Format
Source Machine
AES/EBU Format
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Destination Machine
S/PDIF to S/PDIF
Out In
AES/EBU
DOTIME CODE IN
PUSH
COMM PORT
DI
PUSH
OUT
EIAJ CP340
DO DI
MIDI
THRU IN
DI
DO
Out
Analog outputs for monitoring
Analog outputs for monitoring
Out
R OUT R IN
L OUT L IN
PUSH
PUSH
INPUT
GAIN
CONSOLE
HEADPHONE AMP
or
RDAT MACHINE
or
CD PLAYER
S/PDIF Format
Source Machine
In
EIAJ CP340
DI
PUSH
DO DI
DI
DO
MIDI
OUT
THRU IN
Out
RDAT
MACHINE
AES/EBU
DOTIME CODE IN
PUSH
COMM PORT
S/PDIF Format
Analog outputs for monitoring
Destination Machine
Note: These digital connections can be made with fiber
optic, or XLR cables instead of 75Ω coaxial RCA cables.
Analog outputs for monitoring
Out
Out
R OUT R IN
L OUT L IN
PUSH
PUSH
INPUT
GAIN
CONSOLE
HEADPHONE AMP
or
1-11
300L Owner's Manual
AES/EBU to S/PDIF
Source Machine
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Lexicon
Conversion
AES/EBU Format
Analog outputs for monitoring
RDAT
MACHINE
Destination Machine
Source Machine
RDAT MACHINE
or
CD PLAYER
In
PUSH
COMM PORT
DOTIME CODE IN
AES/EBU
EIAJ CP340
DI
PUSH
DO DI
MIDI
OUT
THRU IN
Out
S/PDIF Format
Analog outputs for monitoring
S/PDIF Format
DI
DO
Out
Out
R OUT R IN
L OUT L IN
PUSH
PUSH
INPUT
GAIN
CONSOLE
or
HEADPHONE AMP
S/PDIF to AES/EBU
Conversion
DIGITAL AUDIO
DIGITAL VIDEO
Destination Machine
1-12
AES/EBU Format
or
MACHINE
OUT
EIAJ CP340
DO DI
In
MIDI
THRU IN
DI
DO
PUSH
COMM PORT
Out
AES/EBU
DOTIME CODE IN
DI
PUSH
Analog outputs for monitoring
Analog outputs for monitoring
Out
Out
R OUT R IN
L OUT L IN
PUSH
PUSH
INPUT
GAIN
CONSOLE
HEADPHONE AMP
or
Installing the 300L
ANALOG I/O and
AES/EBU to AES/EBU
Digital Source
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
AES/EBU Format
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Digital Destination
AES/EBU Format
Out In
AES/EBU
DOTIME CODE IN
PUSH
COMM PORT
DI
PUSH
OUT
Analog outputs for monitoring
EIAJ CP340
DO DI
MIDI
THRU IN
Analog Source
ANALOG
MACHINE
or
CONSOLE
Analog audio
InIn
PUSH
PUSH
INPUT
GAIN
DI
DO
Out
R OUT R IN
L OUT L IN
Out
Analog audio
CONSOLE, HEADPHONE AMP
ANALOG MACHINE
or
Analog Destination
ANALOG I/O and
AES/EBU Digital Output
AES/EBU Format
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Destination Machine
Analog outputs for monitoring
Out
PUSH
COMM PORT
DOTIME CODE IN
AES/EBU
Source Machine
CONSOLE
or
MIKE PREAMP
Analog audio
EIAJ CP340
DI
PUSH
DO DI
DI
DO
MIDI
OUT
THRU IN
Out
In
R OUT R IN
L OUT L IN
Out
In
PUSH
PUSH
INPUT
GAIN
Analog audio
CONSOLE, HEADPHONE AMP
ANALOG MACHINE
or
1-13
300L Owner's Manual
ANALOG In
with Digital Patch Point
to ANALOG Out
Lexicon
DIGITAL PROCESSOR
AES/EBU Format
Out
In
PUSH
COMM PORT
DOTIME CODE IN
AES/EBU
ANALOG
MACHINE
or
CONSOLE
Out
In
InOut
EIAJ CP340
DI
PUSH
DO DI
OUT
MIDI
THRU IN
OutInOut
DI
DO
R OUT R IN
Out
In
L OUT L IN
PUSH
In
PUSH
INPUT
GAIN
1-14
System Overview
2
System Overview
2-1
300L Owner's Manual
Terms used
in this manual
Lexicon
In discussing 300L operation, the following terms are used.
Algorithm
The 300L contains eleven
tells the 300L's audio processors how to process the input signal. One algorithm
produces pitch shift effects, another produces reverberation, etc. Algorithms are
stored inside the 300L on ROM (Read-only memory) chips.
algorithms
. An algorithm is a set of instructions that
Configuration
The 300L can deliver two effects (one from each machine) simultaneously. The
manner in which the two machines relate to each other is called the
The machines can be used with independent inputs and outputs (Dual Mono
configuration), they can share the same stereo input signal (Single configuration), or the outputs of one machine can be fed into the input of another (Cascade
configuration).
configuration
Effect
An
effect
consists of an algorithm, the parameter values which create a specific
sound, four associated patches, and an identifying name.
.
Machine
The 300L contains two processing modules, called
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 key labeled PAGE.
pages
. You move
Parameter
Each algorithm has a set of
The settings of the parameters can be changed to create radically different
sounds from a single algorithm.
parameters
(controls) that uniquely characterize it.
Patch
A
patch
is a routing assignment that allows one of the 300L's parameters to be
driven by a source controller (LFO, footswitch, mod wheel, etc.)
Register/Preset
Registers
effects.
overwritten, but they can be modified and stored as custom setups in the
registers. Registers and presets are differentiated on the 300L display by the
initial R (Register) or P (Preset) before their number.
are simply memory locations where you can store your own setups and
Presets
are factory-installed setups and effects. The presets cannot be
2-2
System Overview
Effect programs:
160 effect programs are installed in the 300L to give
you a wide variety of sounds to use as is, or to use as a starting point
when creating your own sounds. (50 effect registers are provided for
storage.)
Setup presets:
150 setup presets provide a convenient starting point for
selection of effect combinations. (50 setup registers are provided for
storage.)
Setup
A
setup
consists of a internal I/O routing configuration, an identifying name, and
pointers for one or two effect programs.There are three basic types of setups:
Single, Dual Mono and Cascade.
SINGLE SETUP
INPUT LEVEL
ANALOG DIGITAL
METERS
LEFT RIGHT
INPUT BALANCE
ANALOG DIGITAL
MOD EDIT
PATCH PATCH
MACHINE
OUT MIX
EFFECT ID
BANK PROG
LFO
RATE SHAPE
SETUP
NAME
Single Setups contain pointers to a Single type Effect.
SINGLE (MACHINE A) EFFECT
RANDOM HALL STEREO ADJUST
RANDOM AMBIENCE STEREO PITCH SHIFT
RICH PLATE
ALGORITHM
PARAMETER
VALUES
MOD EDIT
PATCH PATCH
PATCH PATCH
EFFECT
NAME
INPUT LEVEL
A LVL B LVL
METERS
LEFT RIGHT
INPUT
LEVEL
BALANCE
METERS
LEFT RIGHT
DUAL MONO SETUP
A BAL B BAL
MOD EDIT
PATCH PATCH
CASCADE SETUP
INPUT
CASCADE
FEEDBACK
MOD EDIT
PATCH PATCH
MIXINPUT BALANCE
BA
EFFECT ID
MACH A MACH B
MIX
OBA
EFFECT ID
MACH A MACH B
LFO
RATE SHAPE
SETUP
NAME
LFO
RATE SHAPE
SETUP
NAME
Dual Mono and Cascade Setups each
contain pointers to 2 "Split" type Effects
SPLIT EFFECT (MACHINE A OR B)
DUAL DELAYS SMALL ST ADJUST
CHAMBER COMPRESSOR
MONO PITCH SHIFT
ALGORITHM
SPLIT EFFECT (MACHINE A OR B)
DUAL DELAYS SMALL ST ADJUST
CHAMBER COMPRESSOR
MONO PITCH SHIFT
ALGORITHM
PARAMETER
VALUES
PARAMETER
VALUES
MOD EDIT
PATCH PATCH
PATCH PATCH
MOD EDIT
PATCH PATCH
PATCH PATCH
EFFECT
NAME
EFFECT
NAME
2-3
300L Owner's Manual
Lexicon
Operating Modes
The 300L is always in one of the following four operating modes:
Setup (preset or register) Select Mode
Program Preview Mode
Register Preview Mode
Control Mode
The 300L always powers up in its last operating state.
Each mode, and the paths for entering and exiting it are described below.
Setup Select Mode
Press SETUP.
This mode allows you to:
• View the machine currently being addressed by the LARC
• Display the program or preset currently running in the machine
• View and/or alter parameters
Program Preview Mode
Press PROG.
Press BANK to view program banks.
Press PROG to view programs in the bank.
This mode allows you to:
• Select factory programs
Register Preview Mode
Press REG.
Press BANK to view register banks
Press REG to view programs in the bank
This mode allows you to:
• Select, store, and recall programs from registers
Control Mode
Press CTRL. To exit, press CTRL again.
This mode allows you to:
• View system status
• Alter input and set digital operation
• Address the register transporter
• Transmit MIDI Program Change messages
• Enable MIDI SysEx Automation
* Transmit MIDI Bulk Dumps
• Enable time code
• Edit time code Event List
2-4
Press CTRL to enter Control Mode. Press PAGE, then press 1. Move slider 1
(SEL) on Page one of the control program for a quick display of the following
information:
INPUT TYPE
SAMPLE RATE
DIG CONNECT
OUTPUT TYPE
PATCH POINTS
OUTPUT FORMAT
I/O EMPHASIS
EMPHASIS IN
SCMS
BYPASS MODE
LOAD MODE
MIDI AUTOMATION
MIDI CHANNEL
SYSTEM: MACH A, B
MIDI MAP MODE
TIME CODE
CURRENT SETUP
CURRENT EFFECT(S)
System Overview
Checking Your
System's Status
300L Power-Up State
Normally if power is lost, or turned off, and then restored, the 300L will return to
its last previous state.
2-5
300L Owner's Manual
L
System Overview The 300L presents you with an incredible number of choices — all of which can
be made from the LARC. Although you could certainly operate the 300L by
setting each I/O configuration and effect parameter by hand each time you use
it, you probably wouldn't enjoy it — so we've tried to organize the 300L so that
its considerable flexibility doesn't become an obstacle. Before digging into the
details of operation presented in this manual, you may find this brief overview
useful.
The block diagram shown below illustrates the basic flow of audio through the
300L. Analog and/or digital audio enters on the left. Each is conditioned and
translated as required and, in the case of digital audio, a sample clock is
extracted. The resultant digital audio streams are sent to effect processing, then
converted to appropriate analog and digital outputs (on the right).
48 kHz
Digital
In
XLR
RCA
OPT
Analog
In
Digital
In
Emph
44.1 kHz
PL
SR
A/D
Sample Rate
Effect
DSP
(SR)
SR
D/A
SR
Digital
Out
Emph
Lexicon
Digital
Out
XLR
RCA
OPT
Analog
Out
0.0 or +16dB
Rear Panel
Gain Switch
-10 to +10dB
Input Level
Control
DSP
Panel, MIDI and Time Code
Program Change
-10 to +10dB
Output Level
Control
As you can see from the figure, the 300L has a rich set of I/O capabilities, with
many choices available to the user, including:
Sample Rate
Analog or Digital Input connector
Digital and Analog Emphasis/De-emphasis
Digital Output format (AES or SPDIF)
Digital Copy (SCMS) and Emphasis bit manipulation
Processor Configuration
The I/O organization is part of the 300L's Control Mode. Other items which form
part of the global operaton of the box are: Time Code event list viewing and
editing, MIDI Mapping Tables, Purge functions for User Registers,Copy Tools,
and Bypass button functions.
2-6
By far the most important aspect of the 300L is the Setup and its association to
the digital effect(s) that you want to use. The 300L has three types of Setups:
Single, Dual Mono, and Cascade. Each is strikingly different and together they
provide incredible audio possibilities.
Each Setup includes pointers to one or more effects along with other items such
as machine input(s) and source balance(s), the relationship between wet (effect)
and dry (input) mixing for each machine, meter functions, LFO rates and
shapes, and a naming function. In addition, there are two(2) modulation patches
which can link source controllers to two Setup parameters.
To simplify the choice among the many possible effect and system routings, the
300L is shipped with 150 Setup Presets. (The organization of the Setup Presets
is shown to the side.) These factory presets cannot be overwritten, but can be
modified and stored as user setups in any of 50 setup registers.
Audio effects, of course, are what the 300L is all about, and a total of 160 Effect
Programs are provided for loading into the three Setup types. Five algorithms
can be loaded into Single setups: Random Hall, Random Ambience, Rich Plate,
Stereo Pitch Shift, and Stereo Adjust. Six different algorithms can be loaded into
the "Split" setups (Dual Mono and Cascade): Dual Delays, Split Chamber, Mono
Pitch Shift, Compressor, PONS, and Small Stereo Adjust. (The organization of
the Effect Banks is also shown to the side.)
System Overview
Setup Presets
The Setup Presets are organized
as follows:
001-100 = Single Setups
101-125 = Dual Mono Setups
126-150 = Cascade Setups
Single Setups use one effect running in a single unified machine
(both DSP engines working as
one).
Dual Mono and Cascade can be
thought of as “split” configurations, and are capable of simultaneously running two different (or
identical) effects.
Each algorithm has its own control parameters. Random Hall, for example, has
28. An effect can also activate as many as 4 patches, each linking a source
controller to a parameter. This CONTROL function is intrinsically mapped as an
extension of the EDIT function. Saving either saves the other. (The Effect
Presets cannot be overwritten, but can be modified and stored as custom effects
in any of 50 effect registers.)
In summary, the 300L is organized into setups and effects. Setups are collections of many decisions, including DSP routing, Input levels, Source, Balances,
LFO Rate and Shape, and pointers to an effect or effects. These selections are
grouped together, named and stored so they can be called up with a single user
action. Each effect contains an algorithm, a complete set of parameters, and 4
patches. As with setups, effects can be loaded, copied, edited, named, and
stored, as well as dumped and recalled via MIDI.
Banks
Effect Programs
Effect Programs are organized
as follows:
Single Effects
(Banks 1-0)
BANK 1 HALLS
BANK 2 ROOMS
BANK 3 CHAMBERS
BANK 4 AMBIENCE
BANK 5 DIALOG
BANK 6 INSTRUMENT
BANK 7 LIVE SOUND
BANK 8 PLATES
BANK 9 STEREO ADJUST
BANK 0 STEREO SHIFT
These can only be loaded into
Single Setups (0-100)
Split Effects
(Banks 11-16)
BANK 11 DELAYS
BANK 12-MOD EFFECTS
BANK 13 SPLIT REV 1
BANK 14 SPLIT REV 2
BANK 15 MONOSHIFT
BANK 16 MASTERING
These can only be loaded into
“Split” Setups (101-150).
.
2-7
300L Owner's Manual
Lexicon
The 300L's Control Mode provides access to general global parameters and
miscellaneous functions. Selecting Control mode does not interrupt the audio
operation of the 300.
There are 9 Control mode pages:
1. Input type select (analog and/or digital), analog sample rate select, digital
lock, digital input connector type, digital input format display and digital
output format selection.
2. SCMS detect and select, digital emphasis detect and select
3. Effect load select (Bypass, Mute) and Bypass function (Input mute, Bypass),
Copy Protect, Purge (Delete) Tools for Time Code Event List,All Registers,
All Effects, MIDI Map Table, and return to Factory Initialization.
4. Copy Tools for setups, effects, and MIDI Mod edits
5. MIDI Mode
6. MIDI Map Table
7. Time Code Mode
8. Event List Management
9. Analog I/O gain controls
Note: The 300L Digital Effects System is shipped from the factory running in an
Analog Input, 48kHz mode with Setup Preset S:P1 SINGLE running Program
Bank 1, Program 1.
If you are already familiar with the operation of the 300L and wish to change the
Input to a Digital Type, simply enter Control mode and make your selections.
If you have no previous experience with the 300L, we suggest you remain in the
analog mode and read on...
2-8
System Operation
3
System Operation
3-1
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