Lexicon M480L Owner's Manual

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Page 1

Owner's Manual

480L

Digital Effects System

Page 2

Important Safety Instructions

Save these instructions for later use. Follow all instructions and warnings marked on the unit. Always use with the correct line voltage. Refer to the manufacturer's operating instructions for power requirements. Be advised that different

operating voltages may require the use of a different line cord and/or attachment plug. Do not install the unit in an unventilated rack, or directly above heat producing equipment such as power amplifiers. Observe the maximum

ambient operating temperature listed in the product specification. Slots and opening on the case are provided for ventilation; to ensure reliable operation and prevent it from overheating, these openings must

not be blocked or covered. Never push objects of any kind through any of the ventilation slots. Never spill a liquid of any kind on the unit. Never attach audio power amplifier outputs directly to any of the unit's connectors. To prevent shock or fire hazard, do not expose the unit to rain or moisture, or operate it where it will be exposed to water. Do not attempt to operate the unit if it has been dropped, damaged, exposed to liquids, or if it exhibits a distinct change in performance indicating

the need for service. This unit should only be opened by qualified service personnel. Removing covers will expose you to hazardous voltages.

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.

Adhere to all warnings on the unit and in the operating instructions. Take precautions not to defeat the grounding or polarization of the unit's power cord. Do not overload wall outlet, extension cords or integral convenience receptacles, as this can result in a risk of fire or electrical shock. Route power supply cords so that they are not likely to be walked on or pinched by items placed on or against them, paying particular attention

to cords at plugs, conveneince receptacles, and the point at which they exit from the unit. The unit should be cleaned only as recommended by the manufacturer.

Communications 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.

Warranty Notice

The Nonvolatile Memory Cartridge supplied with this unit carries a 30-day limited warranty.

Lexicon, Inc.• 3 Oak Park• Bedford MA • 01730-1441 USA•Tel: 617-280-0300 • Fax: 617- 280-0490

Lexicon Part #070-11774

Printed in the United States of America

Page 3

Dansk

Vigtig information om sikkerhed

Gem denne vejledning til senere brug. Følg alle anvisninger og advarsler på apparatet. Apparatet skal altid tilsluttes den korrekte spænding. Der henvises til

brugsanvisningen, der indeholder specifikationer for strømforsyning. Der gøres opmærksom på, at ved varierende driftsspændinger kan det blive nødvendigt at bruge andre lednings- og/eller stiktyper.

Apparatet må ikke monteres i et kabinet uden ventilation eller lige over andet udstyr, der udvikler varme, f.eks. forstærkere. Den maksimale omgivelsestemperatur ved drift, der står opført i specifikationerne, skal overholdes.

Der er ventilationsåbninger i kabinettet. For at sikre apparatets drift og hindre overophedning må disse åbninger ikke blokeres eller tildækkes. Stik aldrig noget ind igennem ventilationsåbningerne, og pas på aldrig at spilde nogen form for væske på apparatet.

Udgangsstik fra audioforstærkere må aldrig sættes direkte i apparatet. Apparatet må ikke udsættes for regn eller fugt og må ikke bruges i

nærheden af vand for at undgå risiko for elektrisk stød og brand. Apparatet må aldrig bruges, hvis det er blevet stødt, beskadiget eller vådt,

eller hvis ændringer i ydelsen tyder på, at det trænger til eftersyn. Dette apparat må kun åbnes af fagfolk. Hvis dækslet tages af, udsættes

man for livsfarlig højspænding.

Denne mærkat på komponenten advarer om uisoleret, farlig spænding i apparatet ... høj nok til at give elektrisk stød.

Denne mærkat på komponenten advarer om vigtig drifts- og vedligeholdsinformation i den tilhørende litteratur.

Suomi

Tärkeitä turvallisuusohjeita

Säilytä nämä ohjeet tulevaa käyttöä varten. Seuraa kaikkia yksikköön merkittyjä ohjeita ja varoituksia. Käytä aina oikeaa verkkojännitettä. Tehovaatimukset selviävät valmistajan

käyttöohjeista. Huomaa, että eri käyttöjännitteet saattavat vaatia toisenlaisen verkkojohdon ja/tai -pistokkeen käytön.

Älä asenna yksikköä telineeseen jossa ei ole tuuletusta, tai välittömästi lämpöä tuottavien laitteiden, esim. tehovahvistimien, yläpuolelle. Ympäristön lämpötila käytössä ei saa ylittää tuotespesifikaation maksimilämpötilaa.

Kotelo on varustettu tuuletusreiillä ja -aukoilla. Luotettavan toiminnan varmistamiseksi ja ylilämpenemisen välttämiseksi näitä aukkoja ei saa sulkea tai peittää. Mitään esineitä ei saa työntää tuuletusaukkoihin. Mitään nesteitä ei saa kaataa yksikköön.

Älä kytke audiotehovahvistimen lähtöjä suoraan mihinkään yksikön liittimeen.

Sähköiskun ja palovaaran välttämiseksi yksikkö ei saa olla sateessa tai kosteassa, eikä sitä saa käyttää märässä ympäristössä.

Älä käytä yksikköä jos se on pudonnut, vaurioitunut, kostunut, tai jos sen suorituskyky on huomattavasti muuttunut, mikä vaatii huoltoa.

Yksikön saa avata vain laitteeseen perehtynyt huoltohenkilö. Kansien poisto altistaa sinut vaarallisille jännitteille.

Tämä kolmio, joka esiintyy komponentissasi, varoittaa sinua eristämättömän vaarallisen jännitteen esiintymisestä yksikön sisällä. Tämä jännite saattaa olla riittävän korkea aiheuttamaan sähköiskuvaaran.

Tämä kolmio, joka esiintyy komponentissasi, kertoo sinulle, että tässä tuotedokumentoinnissa esiintyy tärkeitä käyttö- ja ylläpitoohjeita.

Norsk

Viktig informasjon om sikkerhet

Ta vare på denne veiledningen for senere bruk. Følg alle anvisningene og advarslene som er angitt på apparatet. Apparatet skal alltid anvendes med korrekt spenning. Produktbeskrivelsen

inneholder spesifikasjoner for strømkrav. Vær oppmerksom på at det ved ulike driftsspenninger kan være nødvendig å bruke en annen ledning- og/ eller støpseltype.

Apparatet skal ikke monteres i skap uten ventilasjon, eller direkte over varmeproduserende utstyr, som for eksempel kraftforsterkere. Den maksimale romtemperaturen som står oppgitt i produktbeskrivelsen, skal overholdes.

Apparatet er utstyrt med ventilasjonsåpninger. For at apparatet skal være pålitelig i bruk og ikke overopphetes, må disse åpningene ikke blokkeres eller tildekkes. Stikk aldri noe inn i ventilasjonsåpningene, og pass på at det aldri søles noen form for væske på apparatet.

Utgangsplugger fra audioforsterkere skal aldri koples direkte til apparatet. Unngå brannfare og elektrisk støt ved å sørge for at apparatet ikke utsettes

for regn eller fuktighet og ikke anvendes i nærheten av vann. Apparatet skal ikke brukes hvis det har blitt utsatt for støt, er skadet eller blitt

vått, eller hvis endringer i ytelsen tyder på at det trenger service. Dette apparatet skal kun åpnes av fagfolk. Hvis dekselet fjernes, utsettes

man for livsfarlig høyspenning.

Komponenten er merket med denne trekanten, som er en advarsel om at det finnes uisolert, farlig spenning inne i kabinettet ... høy nok til å utgjøre en fare for elektrisk støt.

Svenska

Viktiga säkerhetsföreskrifter

Spara dessa föreskrifter för framtida bruk. Följ alla anvisningar och varningar som anges på enheten. Använd alltid rätt nätspänning. Se tillverkarens bruksanvisningar för infor-

mation om effektkrav. Märkväl, att andra matningsspänningar eventuellt kräver att en annan typs nätsladd och/eller kontakt används.

Installera inte enheten i ett oventilerat stativ, eller direkt ovanför utrustningar som avger värme, t ex effektförstärkare. Se till att omgivningens temperatur vid drift inte överskrider det angivna värdet i produktspecifikationen.

Behållaren är försedd med hål och öppningar för ventilering. För att garantera tillförlitlig funktion och förhindra överhettning får dessa öppningar inte blockeras eller täckas. Inga föremål får skuffas in genom ventilationshålen. Inga vätskor får spillas på enheten.

Anslut aldrig audioeffektförstärkarutgångar direkt till någon av enhetens kontakter.

För att undvika elstöt eller brandfara får enheten inte utsättas för regn eller fukt, eller användas på ställen där den blir våt.

Använd inte enheten om den har fallit i golvet, skadats, blivit våt, eller om dess prestanda förändrats märkbart, vilket kräver service.

Enheten får öppnas endast av behörig servicepersonal. Farliga spänningar blir tillgängliga när locken tas bort.

Denna triangel, som visas på din komponent, varnar dig om en oisolerad farlig spänning inne i enheten. Denna spänning är eventuellt så hög att fara för elstöt föreligger.

Komponenten er merket med denne trekanten, som betyr at den tilhørende litteraturen inneholder viktige opplysninger om drift og vedlikehold.

Denna triangel, som visas på din komponent, anger att viktiga bruksanvisningar och serviceanvisningar ingår i dokumentationen i fråga.

Page 4

Wichtige Sicherheitsanweisungen

Deutsch

Heben Sie sich diese Sicherheitsanweisungen auch für später auf. Befolgen Sie alle auf der Vorrichtung stehenden Anweisungen und Warnungen. Immer nur mit der richtigen Spannung verwenden! Die Gebrauchsanweisungen

des Herstellers informieren Sie über die elektrischen Anforderungen. Vergessen Sie nicht daß bei verschiedenen Betriebsspannungen ggf. auch verschiedene Leitungskabel und/oder Verbindungsstecker zu verwenden sind.

Stellen Sie die Vorrichtung nicht in ein unbelüftetes Gestell oder unmittelbar über wärmeerzeugende Geräte wie z.B. Tonverstärker. Halten Sie die in den Produktspezifikationen angegebene maximale Umgebungstemperatur bei Betrieb ein.

Schlitze und Öffnungen im Gehäuse dienen der Belüfung; um verläßlichen Betrieb sicherzustellen und Überheizen zu vermeiden dürfen diese Öffnungen nich verstopft oder abgedeckt werden. Stecken Sie nie irgend einen Gegenstand durch die Belüftungsschlitze. Vergießen Sie keine Flüssigkeiten auf den Apparat.

Schließen Sie nie Tonverstärker unmittelbar an einen Anschluß des Apparates an.

Um elektrischen Schlag oder Feuer zu vermeiden, setzen Sie den Apparat weder Regen noch Feuchtigkeit aus und betreiben Sie ihn nicht dort wo Wasser eindringen könnte.

Versuchen Sie nicht den Apparat zu betreiben falls er fallen gelassen, beschädigt, oder Flüssigkeiten ausgesetzt wurde, oder falls sich seine Arbeitsweise derart ändert daß daraus ein Bedarf nach Raparatur zu schließen ist.

Dieser Apparat sollte nur von qualifizierten Fachleuten geöffnet werden. Das Abnehmen von Abdeckungen setzt Sie gefährlichen Spannungen aus.

Español

Instrucciones importantes de seguridad

Guarde esta instrucciones para uso posterior. Utilice siempre el voltaje correcto. Diríjase a las instrucciones de operación

del fabricante para obtener las especificaciones de potencia. Esté al tanto de que voltajes de operación distintos requieren el uso de cables y/o enchufes distintos.

No instale esta unidad en un estante sin ventilación, ni tampoco directamente encima de equipos que generen calor tales como amplificadores de potencia. Fíjese en las temperaturas ambientales máximas de operación que se mencionan en las especificaciones del producto.

Las aperturas y ranuras del chasis sirven para proveer la ventilación necesaria para operar la unidad con seguridad y para prevenir sobrecalentamiento, y por lo tanto no pueden ser obstruidas o cubiertas. No introduzca objetos de ningún tipo a través de las ranuras de ventilación, y nunca deje caer ningún líquido sobre la unidad.

Nunca conecte ningún tipo de salida de amplificadores de sonido directamente a los conectores de la unidad.

Para prevenir descargas eléctricas o incendios, mantenga la unidad alejada de la lluvia, humedad o cualquier lugar en el que pueda entrar en contacto con agua.

No trate de hacer funcionar la unidad si se ha caído, está dañada, ha entrado en contacto con líquidos, o si nota cualquier cambio brusco en su funcionamiento que indique la necesidad de hacerle un servicio de mantenimiento.

Esta unidad deberá ser abierta únicamente por personal calificado. Si usted quita las coberturas se expondrá a voltajes peligrosos.

Dieses Dreieck auf Ihrem Apparat warnt Sie vor nicht-isolierter, gefährlicher Spannung im Gehäuse ... stark genug um eine Berührungsgefahr darzustellen.

Dieses Dreieck auf Ihrem Apparat bedeutet daß wichtige Betriebsund Wartungsanweisungen in der mitgelieferten Dokumentation zu finden sind.

Français

Instructions de Sûreté Importantes

Gardez ces instructions pour réference future. Observez toutes les instructions et tous les avertissements marqués sur

l’appareil. Branchez uniquements sur un réseau de tension indiquée. Consultez le

manuel d’instruction du fabriquant pour les spécifications de courant. N’oubliez pas que différentes tensions peuvent nécessiter l’utilisation de cables et/ou de fiches de connexion différents.

N’installez pas l’appareil en un compartiment non-aéré ou directement audessus d’équipements générateurs de chaleur, tels qu’amplificateurs de courants, etc. Ne dépassez pas la température ambiante maximale de fonctionnement indiquée dans les spécifications du produit.

Des fentes et ouvertures sont prévues dans le boîtier pour l’aération; Pour assurer le bon fonctionnement et pour prévenir l’échauffement, ces ouvertures ne doivent pas être couvertes ou bloquées. N’insérez pas d’objets dans les fentes d’aération. Empêchez tout liquide de se répandre sur l’appareil.

Ne connectez jamais d’amplificateurs audio directement aux connecteurs de l’appareil.

Pour empêcher les chocs électriques et le danger d’incendie, évitez d’exposer l’appareil à la pluie ou à l’humidité, et ne le mettez pas en marche en un endroit où il serait exposé aux éclaboussures d’eau.

N’essayez pas de faire fonctionner l’appareil s’il est tombé à terre, a été endommangé, exposé à un liquide, ou si vous observez des différences nettes dans son fonctionnement, indiquant la nécessité de réparations.

Cet appareil ne doit être ouvert que par un personnel de service qualifié. En enlevant les couvercles vous vous exposez à des tensions électriques dangereuses.

Este triángulo que aparece en su componente le advierte sobre la existencia dentro del chasis de voltajes peligrosos sin aislantes ... voltajes que son lo suficientemente grandes como para causar electrocución.

Este triángulo que aparece en su componente lo alerta sobre las instrucciones de operación y mantenimiento importantes que están en los materiales de lectura que se incluyen.

Italiano

Importanti norme di sicurezza

Conservare le presenti norme per l’utilizzo futuro. Osservare tutte le istruzioni e le avvertenze apposte sull’unità. Utilizzare esclusivamente con la tensione di rete corretta. Consultare le

istruzioni operative fornite dal fabbricante per i dati riguardanti la tensione e l’assorbimento di corrente. Potrebbe essere necessario l’uso di cavi di rete e/o di spine diverse a seconda della tensione utilizzata.

Non installare l’unità in uno scaffale privo di ventilazione oppure direttamente sopra una fonte di calore, come, ad esempio, un amplificatore. Non superare la temperatura ambientale massima di funzionamento riportata nei dati tecnici del prodotto.

Le fessure e le altre aperture nella scatola servono alla ventilazione. Per un funzionamento affidabile, e per evitare un eventuale surriscaldamento, queste aperture non vanno ostruite o coperte in nessun modo. Evitare in tutti i casi di inserire oggetti di qualsiasi genere attraverso le fessure di ventilazione. Non versare mai del liquido di nessun tipo sull’unità.

Evitare sempre di collegare le uscite dell’amplificatore audio direttamente ai connettori dell’unità.

Per prevenire il pericolo di folgorazione e di incendio non esporre l’unità alla pioggia o ad un’umidità eccessiva; evitare di adoperare l’unità dove potrebbe entrare in contatto con acqua.

Evitare di adoperare l’unità se la stessa è stata urtata violentemente, se ha subito un danno, se è stata esposta ad un liquido o in caso di un evidente cambiamento delle prestazioni che indichi la necessità di un intervento di assistenza tecnica.

Ogni intervento sull’unità va eseguito esclusivamente da personale qualificato. La rimozione della copertura comporta l’esposizione al pericolo di folgorazione.

Ce triangle, sur votre appareil vous avertit de la présence de tension dangereuse, non-isolée à l’intérieur du boîtier...une tension suffisante pour représenter un danger d’électrocution.

Ce triangle sur sur votre appareil vous invite de suivre d’importantes instructions d’utilisation et d’entretien dans la documentation livrée avec le produit.

Il presente triangolo impresso sul componente avverte della presenza di tensioni pericolose non isolate all’interno della copertura... tali tensioni rappresentano un pericolo di folgorazione

Il presente triangolo impresso sul componente avverte l’utente della presenza nella documentazione allegata di importanti istruzioni relative al funzionamento ed alla manutenzione.

Page 5

Owner's Manual

480L

Digital Effects System

Page 6

Table of Contents

Introduction

1. Installing the 480L 1-1

About the Rear Panel 1-2 About the Front Panel 1-3 Behind the Front Panel 1-4 About the LARC 1-5 How to Mount the 480L 1-6 Power Requirements 1-6 How to Interface the LARC 1-7 Audio Connections 1-9 How to Float the Analog Ground 1-9

2. Basic Operation 2-1

Glossary 2-2 Operating Modes 2-3 Checking Your System's Status 2-5 Selecting a Configuration 2-5 Using Two LARCs to Control

a Single 480L 2-7

Controlling a 224XL from

a 480L and LARC 2-7 Selecting Input Type 2-7 How to Load Programs 2-8 Level Calibration 2-9

Setting Analog Output Levels 2-10

Setting Analog Input Levels 2-11

Levels in the Digital Domain 2-12 Using Digital Signals 2-13 How to Edit Parameters 2-14 How to Use Registers 2-14

Storing and Naming Programs 2-15

Loading Registers 2-15

Protecting Against Loss of

Moving Registers with the

3. Banks 1-4: the Reverb Programs 3-1

About the Reverberation Algorithm 3-2 About the Reverberation Parameters 3-4 Bank 1 - Halls 3-8 Bank 2 - Rooms 3-10 Bank 3 - Wild Spaces 3-12 Bank 4 - Plates 3-14

4. Bank 5: the Effects Programs 4-1

About the Effects Algorithm 4-2 About the Effects Parameters 4-3 Bank 5 - Effects 4-5

5. Bank 6: the Twin Delays Programs 5-1

About the Twin Delays Parameters 5-2 Bank 6 - Twin Delays 5-4

6. Bank 7: the Sampler Programs 6-1

Introduction 6-2 Bank 7 Samplers 6-3 Bank 7 Samplers — SME Only 6-3 How to Use the Samplers 6-4 About the Sampling Parameters 6-9

7. Bank 8: the Pitch and Doppler Programs 7-1

About the Pitch Shift Parameters 7-2 Bank 8 - Pitch Shift 7-4 About the Doppler Parameters 7-5 Bank 8 - Doppler 7-6

8. Bank 9: the Mastering Programs 8-1

About the Stereo Adjust Parameters 8-2 PONS Adjust 8-5 Digital Parametric EQ 8-7 Panorama (Binaural) 8-10

9. Bank 10: the Compressor Programs 9-1

About the Compressor Parameters 9-2 Bank 10 - Compressor/Expander 9-3

10. Banks 11-12: the Random Halls and Spaces Programs 10-1

About the Random Reverb Parameters 10-2 Bank 11 - Random Hall 10-5 Bank 12 - Random Rooms 10-7

11. Banks 13-14: the Ambience Programs 11-1

About the Ambience Parameters 11-2 Bank 13 - Ambience 11-5 Bank 14 - Post Ambience 11-7

Page 7

12. Bank 15: the Prime Time III Programs 12-1

About the Prime Time III Parameters 12-2 Bank 12 - Prime Time III 12-4

13. Bank 16: the Freq. Stuff Programs 13-1

About the Frequency Dynamics

Parameters 13-2 Bank 16 - Frequency Dynamics 13-3 About the Distression Parameters 13-4 Bank 16 -Distression 13-6

14. Bank 17: the Test and Reference Programs 14-1

About the Test & Reference Parameters 14-2 Bank 17 - Test & Reference 14-3

Appendix

A. MIDI and the 480L B. Solving Problems C. Specifications D. Voltage Changeover

and Optional Transformers

E. Control Mode Reference

Page 8

Program Directory - Software Version 4.0

Bank

Bank 1 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 1.0

480 Halls Large Large Medium Medium Small Small Large Small Jazz Auto

Bank 2 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.0

480 Rooms Music Large Medium Small Very Small Large Small Large Small Small

Bank 3 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.0

Wild Brick Buckram Big 10W-40 20W-50 Metallica Silica Inside Ricochet Varoom Spaces Wall Bottom Beads Out

Bank 4 4.1 4.2 4.3 4.4 4.5

Plates A Snare Small Thin Fat

Bank 5 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 5.0

Effects Illusion Surfin' Vocal Doubler Back Rebound Git It Wet Sudden In the Tremolo

Bank 6 6.1 6.2 6.3 6.4 6.5 6.6 6.7 6.8 6.9 6.0

Twin 4-Voice Double 4-Bounce Pitter X-Pan Delay Circles There Soft On Delays Double Delay Delay Patter Double Cave & Back Roller and On

Bank 7 7.1 7.2 7.3 7.4 7.5 7.6 7.7 7.8 7.9 7.0

Samplers* Stereo Mono Mono Dual Rate Mono Fwd Stereo Dual Rate Mono Fwd Stereo 10S Mono 20S

Bank 8 8.1 8.2 8.3 8.4 8.5 8.6 8.7 8.8 8.9 8.0

Pitch/ Pitch Pitch 1% Up Barber Half Stair XPres Indy Airport Airport Doppler Change Chorus 1% Down Pole Steps Case Subway Corner Land Tkof

Bank 9 9.1 9.2 9.3 9.4 9.5 9.6 9.7 9.8 9.9 9.0

Mastering The Stereo PONS M/S Invert Channel Stereo Stereo Mono Panorama

Bank 10 10.1 10.2 10.3 10.4 10.5 10.6 10.7 10.8 10.9 10.0

Compressor 2:1 6.24:1 18.28:1 Transfer Vox FM Nailed Noise 2-Slp- 2-Slp-

Bank 11 11.1 11.2 11.3 11.4 11.5 11.6 11.7 11.8 11.9 11.0

Random Large Large R Medium R Medium R Small R Small R Large R Small R Jazz R Auto Hall R Hall + Stage Hall + Stage Hall + Stage Church Church Hall Park R

Bank 12 12.1 12.2 12.3 12.4 12.5 12.6 12.7 12.8 12.9 12.0

Random Music Large Medium Small Very Large Small Small Chorus Wet & Spaces Club R Room R Room R Room R Small R CHamber R Chamber R & Bright R Room Tacky

Bank 13 13.1 13.2 13.3 13.4 13.5 13.6 13.7 13.8 13.9 13.0

Ambience Very Large Large Medium Small Strong Heavy Ambient Announcer Closet Gated

Bank 14 14.1 14.2 14.3 14.4 14.5 14.6 14.7 14.8 14.9 14.0

Post Car Living Bathroom Kitchen Kellars Small Warehouse Airhead Dial It Up Reverb Ambience Interior Room Ambience Cell Foley Tail

Bank 15 15.1 15.2 15.3 15.4 15.5 15.6 15.7 15.8 15.9 15.0

Prime Prime Slap Bounce Swirls Heavy Shake Wowza Wowza 2 Vocalz XFlange Time III Chorus Chorus Glide Detune It Up

Bank 16 16.1 16.2 16.3 16.4 16.5 16.6 16.7 16.8 16.9 16.0

Freq. Mix BG Drums AC Bass Carbon Saxophone Horn Softener Some Stuff Finish Vocals Guitars Thump Mic Blast Fuzz

Bank 17 17.1 17.2 17.3 17.4 17.5 17.6 17.7 17.8 17.9 17.0

Test & 100 Hz 500 Hz 500 Hz 1 kHz 1 kHz 10 kHz 30 Hz A-440 Pink Binaural Reference -12dB -17dB -12dB -17dB -12dB -12dB Slate Tuner Noise Simulator

Program Name

Hall + Stage Hall + Stage Hall + Stage Church Church Hall Park

Club Room Room Room Room Wood Rm Wood Rm Chamber Chamber & Bright

Plate Plate Plate Plate Plate

Whispers Slap Stop Past L & R

3 Sec. 6 Sec. 3 Sec. Change & Rev 3S Drum Chg Drum Rev Drum Rate Chg Rate Chg

In-Out Adjust Adjust Decode L-R Swap Param EQ 60Hz Ntch Param EQ

Comp Comp Comp Easy Gate Mach A Mach B

Ambience Ambience Ambience Ambience Ambience Ambience Hall Ambience

Program Directory - 480L Classic Cart**

Bank

Bank 18 18.1 18.2 18.3 18.4 18.5 18.6 18.7 18.8 18.9 18.0

Concert Concert Medium Small Gold Guitar Reggae Reflex Bright Dark Oliver's Hall Hall Hall Hall Hall Hall Hall Hall Hall Hall Hall

Bank 19 19.1 19.2 19.3 19.4 19.5 19.6 19.7 19.8 19.9 19.0

Rich Large Drum Vocal Vox Slap Guitar Short Horn Echo Silver Plate Plate Plate Plate Plate #2 Plate Plate Plate Plate Plate Plate

Bank 20 20.1 20.2 20.3 20.4 20.5 20.6 20.7 20.8 20.9 20.0

6-Voice Woo-Woo 6 Vc Korus 3-Voice 4-Voice Ekoz & Vocal Soft Hard Canyon Tuff Chorus Chorus Chorus Korus Chorus Echoes Echorus Korus Stuff

Bank 21 21.1 21.2 21.3 21.4 21.5 21.6 21.7 21.8 21.9 21.0

Multiband Closet Telephone Phartage Stadium Downstairs Bandsweep BassEchoes BandBounce Whispers On Stage Delays

* Programs 7.9 and 7.0 require the Sampling Memory Expansion option. See your Lexicon dealer for details. * Programs in Banks 18-21 require the Classic Cart option. See your Lexicon dealer for details.

Program Name

Page 9

Introduction

You are about to begin using the most advanced digital effects system available—the Lexicon 480L. The 480L is engineered for the all-digital production environment. Digital audio places strict requirements on every link in the signal chain, and the 480L meets those requirements. With its unique 18 bit A/ D and D/A converters, the 480L produces a dynamic range of 98 dB in the wet signal path. It is probably the only effects system available that doesn't raise the noise floor of a digital master. And the PCM 1610/ 1630 compatible digital I/O interface lets you add true stereo ambience and effects without leaving the digital domain.

The 480L doesn't just sound better—sheer computational power allows it to perform multiple audio tasks at the same time. And what tasks! In the current glut of throwaway digital devices with ever-cheaper versions of the same sounds, the 480L offers remarkable new effects and reverb sounds.

Its innovative reverb algorithms reflect a more accurate and natural model of the acoustic and psychoacoustic phenomena of reverb and ambience. Put the 480L up against any other reverberator— you'll be amazed at the difference.

Reverb is only part of the story. The 480L produces astonishing effects you haven't even begun to dream about yet. And its sampling programs offer a variety of useful and unique features.

The present software is powerful and comprehensive, a dramatic step forward in digital signal processing technology. Yet it hasn't explored the limit of the 480L's architecture, which is itself configured for future hardware expansion.

If you are familiar with the venerable 224XL, you'll feel right at home with the LARC used to control the 480L. However, there are enough differences in the way the two units operate that we strongly suggest that you read this manual as soon as possible. In it, you'll discover that the 480L's two high speed processors can operate in a variety of configurations. Samples can be processed with reverb or effects, all in the digital domain. Two 480Ls can be connected through their digital I/O ports for even wider creative horizons. The 480L can even be connected to a 224XL and both units operated from a single LARC. And that's just the beginning of what you'll discover--when you read this manual!

An optional, third-party 480L AES/EBU Digital I/O board from Lemcke of Germany, allows easy retrofit of the 480L to digital studio surroundings. Contact Lexicon Customer Service for technical details and upgrade pricing.

Page 10

Installation and Audio Connections

About the Rear Panel

Main Inputs (L & R)

The left and right Inputs accept 3-pin male XLR connectors. They are electronically balanced and (optionally) transformer isolated. Either pin 2 or pin 3 can be used as high, but to maintain polarity when transferring data to the digital domain, pin 2 should be high. Pin 1 and either pin 2 or pin 3 of each input must be grounded for unbalanced operation. Input impedance is 30 kilohms in parallel with 100 pF. Inputs accept input levels from +6 to +24 dBm.

Main Outputs (L & R)

The left and right Main Outputs accept 3-pin female XLR connectors. They are electronically balanced and (optionally) transformer isolated. Either pin 2 or pin 3 can be used as high, but to maintain polarity when transferring data to the digital domain, pin 2 should be high. Pin 1 and either pin 2 or pin 3 of each output must be grounded for unbalanced operation. Output impedance is 33 ohms, and levels up to +24 dBm are possible.

Aux Ouputs (L & R)

The left and right aux outputs are identical to the Main Outputs, except that they are used as secondary outputs when split or cascade modes are selected.

Important. Reversing polarity on either input or output connectors can produce audible phase inversion effects. Improper phasing in the stereo path can create a weak or thin mix. Ensure that inputs and outputs are wired consistently.

Lexicon

MIDI Connectors

MIDI IN receives MIDI information from other MIDIequipped devices.

MIDI THRU retransmits MIDI information received at the MIDI In connector, without any change.

MIDI OUT is used to transmit Automation data.

Lexicon Digital Audio I/O Connector

This DE9 connector provides PCM 1610-compatible digital I/O. It has 18-bit word length capability and can be slaved to a 48 kHz, 44.1 kHz or

44.056 kHz external word

clock.

AES/EBU I/O Connector

This DE9 connector provides AES/EBU or S/PDIF digital audio I/O. It has 18-bit words and can slave to a 25-55kHz sample rate.

1-2

LARC 1 Connector

This DE9 connector connects the mainframe to the Lexicon Alphanumeric Remote Control (LARC) via a flexible 50-ft cable (supplied)

LARC 2 (Thru) Connector

This DE9 connector allows connection of a second LARC. It also allows the 480L to be connected to a 224XL, with both units under control of a single LARC. A 10 ft cable is available from Lexicon for this application.

Automation Connector

The Automation Connector is provided for future computer control and automation features.

Important: Never connect a LARC to this connector.

Power Connector and Fuse Holder Cartridge

The Power Connector is a standard 3-pin IEC power connector. The Fuse Holder Cartridge contains the AC mains fuse(s). The voltage changeover card is also contained in this compartment. Read Appendix D for voltage changeover information.

Page 11

Basic Operation

This chapter describes the operations

necessary to properly calibrate the

480L in your facility.

These include:

Learning the operating modes

Selecting machine configuration

Switching machines from the LARC

Selecting analog or digital inputs

Loading programs

Calibrating levels

Page 12

Basic Operation

Glossary

Lexicon

• Mainframe Mainframe refers to a functional 480L

operating with one or more machines.

• Machine Each 480L HSP board is addressed in the

mainframe as an independent machine, or signal pro- cessing engine. In addition, the 480L can recognize the Lexicon 224XL and address it as another machine.

• Algorithm The 480L contains several algorithms.

An algorithm is a set of instructions that tells the 480L's microprocessors how to process the input signal. One algorithm produces effects, another reverberation, another sampling, etc. Each Machine in the 480L can process an algorithm independently from the other machine.

• 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.

• Program A group of specific parameter settings

permanently stored as separate programs in the 480L.

• Preset A group of specific parameter settings you

create by editing presets and storing the new set of values.

• Register Nonvolatile RAM memory locations in the

mainframe, or in a removable nonvolatile memory cartridge, for storing presets.

• Bank A bank is a collection of as many as ten programs or registers. Program banks contain a collection of similar programs derived from one or more algorithm. For example, the Halls bank contains reverberation programs that simulate large spaces, while the Mastering bank contains programs for level adjust- ment and digital equalization.

• Pages The LARC can display and provide slider control for six parameters at a time. Because most algorithms have more than six parameters, they are grouped in blocks of six called pages. The PAGE button provides access to each group of parameters.

• Control Mode The control mode contains several pages of utility parameters and functions which are not directly related to a single algorithm, such as sampling rate, register transporter, program name function, etc. The control mode is entered and exited by pressing the CTRL button on the LARC.

• Configuration The 480L machines can be config- ured to operate independently, or they can be combined to function as a single machine. The configuration is changed from the control mode. The 480L is

shipped in the single configuration.

• dBFS A digital signal at full amplitude, or registering to the most significant bit.

2-2

Page 13

480L Owner's Manual

Operating Modes

Basic Operation

The 480L is always in one of the following four operating modes:

Machine Operation Mode Program Preview Mode Register Preview Mode Control Mode

The 480L always powers up in Machine Operation Mode.

Each mode, and the paths for entering and exiting it are described below.

Machine Operation Mode

Press the PROG or the REG button, then press VAR. 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 the PROG button. Press the BANK button to view program banks. Press the PROG button to view programs in the bank.

This mode allows you to:

• Select presets.

Press the REG button. Press the BANK button to view register banks. Press the REG button to view programs in the bank.

This mode allows you to:

• Select, store, and recall programs from registers.

• Address a cartridge in the mainframe cartridge slot.

Control Mode

Press the CTRL button. To exit, press CTRL, then press PROG, then press REG.

This mode allows you to:

• View system status.

• Set machine and input configuration.

• Alter input and set digital operation.

• Address the register transporter.

• Name programs.

• Create Dynamic MIDI™ patches.

• Transmit MIDI Program Change messages.

• Enable MIDI SysEx Automation * Transmit MIDI Bulk Dumps

2-3

Page 14

Basic Operation

Lexicon

Machine Operation Mode

Machine Under LARC Control

VAR

MACHINE A

LARGE HALL

Program Currently Running

On power up, the 480L restores the configuration, routing, and programs loaded before power was shut off. The LARC will display the last machine selected.

Program Currently Running

VAR

LARGE HALL

PAGE 1

Page of Parameters Under Control

Program Preview Mode Register Preview Mode

PROG

BANK

MA B1 P1

Preview Program

Banks

1 2 3 4

5 6 7 8 9

Halls Rooms Wild Spaces Plates Effects Twin Delays Sampling Pitch/Doppler Mastering Compression

MA B1 P1 LARC Display

Preview Programs

Program 1

Large Hall

Press Numeric buttons 1-0 to load Program. Press button equal to flashing display to load Program currently displayed. Press the VAR button, or move a slider, or press a button under a slider to return to MACHINE RUN MODE

Program 2

Large + Stage

REG

BANK

MA B1 R1

Preview Register

Banks

1 2 3 4

5 6 7 8 9

REG Bank 1 REG Bank 2 REG Bank 3 REG Bank 4 REG Bank 5 CART Bank 1 CART Bank 2 CART Bank 3 CART Bank 4 CART Bank 5

MA B1 R1 LARC Display

Preview Registers

REG 1

Press Numeric buttons 1-0 to load Register. Press button equal to flashing display to load Register currently displayed. Press the VAR button, or move a slider, or press a button under a slider to return to MACHINE RUN MODE

REG 2

To Bank 21

Control Mode

Press

Page # Page Desc.

Configuration

Copy Tools

Name Preset

MIDI Patching

Configuration

2-4

to enter or exit CONTROL MODE

CTRL

MIDI SysEx

Functions

Indicates You are in Control Mode

CONTROL MODE

VAR

PAGE 1

Page of Control Mode Parameters

Slider 1 Slider 2 Slider 3 Slider 4 Slider 5 Slider 6

Status

Copy

Configuration

From Source

To Destination

Sampling Rate

Clock

Power On

Default

Select Char.

Select Patch

SysEx Auto

SysEx Function

Srce. Controller SysEc Channel

Source to

Transmit

Parameter Dest.

Pgm Change #

SysEx

Destination

Reg Table

Scale

Pgm Change

Mode

MIDI Channel

Input

REG Protect

Change Char.

Param. Value

Page 15

480L Owner's Manual

Basic Operation

Checking Your System's Status

Press CTRL to enter Control Mode. Press PAGE, then press 1. Move slider one on page one of the control program for a quick display of the following information:

• Configuration

• Sampling rate selected

• Clock source (internal or external)

• Input source (analog or digital)

• External Word Clock present/not present

• Register protection status

• Cartridge Status (formatted or unformatted,

present or not present)

480L Power-Up State

Normally if power is lost, or turned off, and then restored, the 480L will return to its last previous state. You can also configure the 480L to automatically load pre-selected programs upon power up. To do this, go to Control Mode, Page two, slider 5. This slider, labeled DEF for default, is set at the factory to “off”. Advancing the slider will scroll through all of the 480L programs and select one as the new default state. The upper display will indicate the machine you are addressing, followed by the Bank number, Program number and Program name. In order to select a default load for the second machine, press the MACH button and advance the slider to the desired program.

Control configuration is always remembered regardless of power-up default setting.

The Cascade Configuration

The Cascade configuration feeds the output of one program (Machine A) directly into the input of the second program (Machine B). This allows you to process a stereo signal with two entirely different effects-

-without ever leaving the digital domain. The Main outputs are connected to Machine B, and contain the processed signal from both Machine A and Machine B. The Aux outputs contain only the signal from Machine A.

In the Cascade configuration, the MIX control found in most programs becomes very important, because it is the only method you have of controlling the mix between the two programs.

Inputs

L R

Machine

L R

Main Outputs

L R

Aux Outputs

Selecting a Configuration

System configuration, input type and system clocking are selected in Control Mode. To enter or exit Control Mode, press CTRL.

Note: Pressing VAR will display the operating mode of the mainframe.

Configurations are selected with Slider 2 on page 1 of the control mode. There are four internal configurations available:

• Cascade

• Stereo Split

• Mono Split

• Single Because the Configuration slider redefines the internal

architecture of the 480L, the display takes a bit longer to update after you move the slider than other parameters. Let's take a closer look at the four configurations.

The Stereo Split Configuration

The Stereo Split configuration also uses the 480L as two independent signal processors. It differs from the Mono Split in that both inputs are sent to both programs; in other words, Machine A and Machine B receive the same stereo input signal. The Main outputs are used for Machine A, and the Aux outputs are used for Machine B.

Inputs

L R

Machine

L R

Main Outputs Aux Outputs

Machine

L R

2-5

Page 16

Basic Operation

Lexicon

The Mono Split Configuration

The Mono Split configuration uses the 480L as two independent signal processors. Each program has an independent mono input and an independent stereo output. The Left input always goes to the first program (Machine A), and the Right input always goes to the second program (Machine B). The Main Outputs produce stereo output from Machine A, and the Aux Outputs produce stereo output from Machine B.

Inputs

L R

Machine

L R

Machine

L R

Main Outputs Aux Outputs

Selecting a Machine

Once a configuration has been selected, press CTRL to exit Control Mode. Now, pressing MACH switches LARC control from one machine to the other.

The Single Configuration

A few programs (like Stereo Sampler) require all of the 480L's processing power, and cannot be run at the same time as other programs. The Single configuration is provided for these programs. In the Single configuration, the outputs of the program are available at both the Main and Aux Outputs.

Inputs

L R

Machine

L R

Main Outputs Aux Outputs

MACHINE A

HSP-1

Press

MACH

HSP-2

MACHINE B

MACH

HSP-2

MACHINE B

2-6

Page 17

480L Owner's Manual

Basic Operation

Using Two LARCs to Control a Single 480L

If you frequently use your 480L in the Split or Cascade modes, you may wish to consider purchasing a second LARC. Having two LARCs allows you to control two programs simultaneously, without switching back and forth with MACH. Two LARCs are also useful if the 480L is to be shared between two different rooms.

In addition to controlling two programs at once, the second LARC can be used to display two pages of parameters for a single program.

The second LARC should be connected to the LARC 2 (Thru) connector on the rear panel of the 480L. Refer to Chapter 1 for details.

Controlling a 224XL from a 480L and LARC

In facilities equipped with both a 480L and a 224XL, it may be useful to control both systems from a single LARC. To do this, connect the LARC 2 (Thru) connector to the 224XL LARC connector, as shown in Chapter 1. Use the MACH key on the LARC to switch the LARC between the 224XL and the 480L. If you are running two programs on the 480L at the same time, there will be three choices to step through each time you press MACH.

Selecting Input Type

Slider 6 on Page 1 of Control Mode allows selection of either analog or digital input. Both analog and digital outputs are always active.

Before selecting digital input, be sure that proper connections have been made to the 480L Digital I/O. (See Chapter 1.)

Use the Clock slider on Page 1 of Control Mode to select EXTERNAL CLOCK. Set digital clock and sampling rate to match your application according to the table below.

Analog Digital

Clock Internal Clock External Sampling Rate 44.1 or Sampling Rate to match Digital

48kHz Input Rate

Input Analog Input Digital

To determine whether the 480L is correctly receiving external word clock, move the Status slider (Slider 1, Page 1 of Control Mode) to display external word clock status.

IMPORTANT DO NOT POWER UP THE 480L WITH EXTERNAL WORD CLOCK PRESENT AT THE 480L'S DIGITAL I/O PORT. DOING SO MAY PREVENT THE UNIT FROM COMPLETING ITS NORMAL POWER UP ROUTINE.

Connecting a 480L and a 224XL together simply allows you to control the 224XL as you always have--none of the 480L's new capabilities are added to it. For example, the 224XL cannot access the register mover or other 480L control mode functions. Also, the 224XL cannot be accessed by the LARC while the 480L is in the control mode. If you press MACH while in the control mode, the 224XL will not appear in the display. As soon as you exit the control mode, the 224XL can be selected.

1 2 3 4 5 6 7 8 9

SHIELD

NC NC

224XL Mainframe Interconnect Cable Wiring

1 2 3 4 5 6 7 8 9

2-7

Page 18

Basic Operation

Lexicon

How to Load Programs

In order to complete system setup, you will have to load programs into the 480L machines.

Remember that programs are variations of algorithms with parameters that have been set at the factory. Prorams are stored in Banks, with a collection of as many as 10 similar programs stored in each bank.

Select a Bank

In order to select a program, you must first select the bank in which the program is stored. There are two ways to select banks:

1. Press PROG, then press BANK. This puts you in Program Preview Mode. The bank number flashes to indicate banks are being previewed, and the display shows the current bank name and number.

Press BANK repeatedly. The LARC will scroll through the banks and display their names.

2. Press PROG, then press BANK, then press one of the numeric keys (two for double digit bank numbers) to navigate directly to a specific bank.

Load a Program

480L programs are loaded by pressing the numeric button that matches the flashing LARC display.

Press PROG, and then press a numeric button (1-0). The LARC will flash the message "SETUP LOADED."

You will find that you can navigate between programs very quickly with this method. For example, enter the following keystrokes:

PROG BANK 1 PROG 1 = Large Hall PROG BANK 9 PROG 7 = Stereo Parametric EQ PROG BANK 7 PROG 4 = Dual Rate Chg Sampler PROG BANK 8 PROG 8 = Indy Corner PROG BANK 3 PROG 1 = Brick Wall

Once a program is loaded, the 480L will switch from Program Preview Mode to Machine Operation Mode. The new program name will be displayed, and the first page of variable parameters will appear on the LARC.

Detailed information on program parameters is found in later chapters of this manual.

Select a Program

Once a bank has been selected, you can view the programs in that bank without loading them. To do this, press PROG. The bank display on the LARC will stop flashing and the program display will begin flashing. The current program name and number will be displayed.

Press PROG repeatedly. The LARC will scroll through the programs in the selected bank.

2-8

Page 19

480L Owner's Manual

Level Calibration

Analog Input and Output levels should be set with care to obtain the best possible performance from the 480L. The diagram below illustrates the signal flow through the mainframe. In addition, several programs are available in Bank 17 Test & Reference to help you optimize the performance of your system.

Set Test Configuration

Use the Single Machine configuration:

1. Press CTRL, press PAGE, then press 1.

2. Move Slider 2 to select SINGLE.

3. Press CTRL or PROG to exit Control Mode and enter Machine Operation Mode.

IMPORTANT

MUTE CONTROL ROOM MONITORS

BEFORE PROCEEDING.

Basic Operation

LEFT

Analog Input

Gain Stage

RIGHT

SDIF DIGITAL AUDIO

WORD CLOCK

LEFT CH. DATA

RIGHT CH. DATA

Left Channel

A/D Converter

44.1 kHz

48 kHz

Internal Sampling Frequncy

Right Channel A/D Converter

INT.

EXT.

Word Clock Switch

LEFT CH. ANALOG

LEFT CH. DIGITAL

RIGHT CH. ANALOG

RIGHT CH. DIGITAL

Input Selector Switch

SIGNAL

PROCESSING

Wet Bus

Data

WORD CLOCK

LEFT CH. DATA

RIGHT CH. DATA

Left MAIN

D/A Converter

Right MAIN

D/A Converter

Left AUX

D/A Converter

Right AUX

D/A Converter

SDIF DIGITAL

AUDIO INTERFACE

LEFT MAIN

RIGHT MAIN

LEFT AUX

RIGHT AUX

Analog Output Gain Stage

Signal Flow through the 480L Mainframe

2-9

Page 20

Basic Operation

Setting Analog Output Levels

Lexicon

The 480L has digital oscillator programs to aid in setting system output levels.

Set nominal output level to design center of receiving equipment as follows:

1. Load program 17.5 1kHz -12dB as follows: Press PROG

Press BANK Press 1, then press 7 Press PROG Press 5

If additional headroom is desired, load program 17-4 (1kHz -17dB).

# Bits Dynamic Range

in dB

1 2 3 4 5 6 7 8 9

11 12 13 14 15 16 17 18

dBFS

-6 dB

-12 dB

-18 dB

-24 dB

-30 dB

-36 dB

-42 dB

-48 dB

-54 dB

-60 dB

-66 dB

-72 dB

-84 dB

-90 dB

-96 dB

-102 dB

-108 dB

LARC Meters 0VU or Design Center

+12 dB

+6 dB

HEADROOM

0 dB

-6 dB

-12 dB

-18 dB

-24 dB

-18 dB headroom for live recordings - Classical, Jazz

2. A digitally-generated 1kHz should appear at all outputs (both analog and digital).

Set the analog output level controls for both Main and Aux Out to register nominal operating level on the device receiving this signal.

(Nominal Operating Level)

+8 dBv (1.95 volts) +4 dBv (1.95 volts)

-10 dBv (0.245 volts)

-12 dB headroom for Pop recordings

Dynamic Range and Headroom Calibration

2-10

Page 21

480L Owner's Manual

Setting Analog Input Levels

Once output levels have been calibrated as directed in the previous section, you can proceed to the input levels.

Before proceeding, make sure that the Oscillator program is loaded. Severe feedback can occur if any other program is running.

1. Connect Main outputs L&R to the main inputs L&R as shown below.

2. Press the button below the ILVL slider. The LARC will display input level over a 90dB range from dBFS.

3. Adjust analog input gain controls until the LARC LED display level reads 0dB.

4. Move the WAVE slider until 2 is displayed.

5. Press the button below ILEV to display input level.

6. Fine trim analog input gain controls until 78.0dB is displayed for both left and right channels.

Basic Operation

Analog signals are calibrated for Unity Gain.

Signal

Audio

Signal

Processor

Input

Input Level Display

Signal

Processor

Outputs

Main Outputs

Aux Outputs

Digital Outputs

Signal Flow of Oscillator Program — Single Configuration

2-11

Page 22

Basic Operation

Levels in the Digital Domain

Analog signals, by nature, have an infinite range of level. During conversion to digital, levels are quantized to absolute values, and expressed as a number of bits.

The 480L provides 18-bit resolution in both the analog and digital paths. In the digital domain, it is important to provide adequate headroom so that peak amplitude does not exceed dBFS. The difference between the headroom provided and the dither noise, or least significant bit, is the usable dynamic range of the system.

As you can see in the figure below, the 480L provides signal-to-noise and dynamic range that exceed many popular digital recording media.

Lexicon

# Bits Dynamic Range

in dB

1 2 3 4 5 6 7 8 9

11 12 13 14 15 16 17 18

dBFS

-6 dB

-12 dB

-18 dB

-24 dB

-30 dB

-36 dB

-42 dB

-48 dB

-54 dB

-60 dB

-66 dB

-72 dB

-84 dB

-90 dB

-96 dB

-102 dB

-108 dB

LARC Meters Use of Dynamic Range

in an 18 bit system

+12 dB

+6 dB

0 dB

HEADROOM

-6 dB

-12 dB

-18 dB

-24 dB

84 dB Dynamic Range 18 dB Headroom

102 dB Theoretical Dynamic Range

18 Bit Dither Noise

Use of Dynamic Range

in a 16 bit system

HEADROOM

78 dB Dynamic Range 12 dB Headroom

90 dB Theoretical Dynamic Range

16 Bit Dither Noise

Dynamic Range of Digital Signal Path

2-12

Page 23

480L Owner's Manual

Using Digital Signals

Basic Operation

Several programs in the 480L allow you to increase the level of the digital signal beyond dBFS. For example, if the Parametric EQ program is loaded, and a low shelf filter is boosted +6dB at 250Hz, the potential headroom to dBFS is reduced accordingly. (See the figure below.)

If the audio material fed through this program contains a large amount of energy in the region of the shelf boost, an overload in the digital domain may occur. When this happens, the last segments of the LARC display will illuminate.

Many programs, such as Parametric EQ, have a master level control which can offset the overall gain to prevent this situation. If you consistently encounter such situations, contact Lexicon Customer Service.

dBFS

+ =

20 Hz 200 Hz 2 kHz 20 kHz 20 Hz 200 Hz 2 kHz 20 kHz

480L Parametric EQ

Low Shelf +6dB at 250 Hz

2-13

Page 24

Basic Operation

Lexicon

How to Edit Parameters

The sounds of the programs supplied with the 480L cover an astounding range of possibilities, but sooner or later you will want to alter the sounds of the programs to more perfectly fit your requirements. Each program in the 480L contains a set of parameters that can be edited to create a sound uniquely your own.

After loading a program, you can edit its parameters by moving the LARC's sliders. Most parameters can be edited in real time to alter an effect. However, a few parameters (like SIZE) have such a radical effect on the 480L's algorithms that the effects signal is muted briefly when they are edited.

To indicate the parameter that a slider controls, an abbreviated code appears in the display window above each active slider. You can display a more descriptive title and the current value for each parameter by pressing the keys directly below each slider. Moving a slider also displays this information.

In many cases, pressing a display key twice will engage a vernier (fine) adjustment mode that allows very precise adjustment. The display blinks to indicate that the vernier mode is active.

How to Use Registers

The ability to edit parameters would be of little value if there were no way for the 480L to store the edits. Not to worry--the 480L has 100 registers available to store edited versions of the programs. Registers are organized into banks, selected, and loaded exactly like the programs. You can also edit parameters in a register, and store the results in the same register or another register.

There are five banks of ten registers in internal memory. Another five banks of ten registers can be stored in a nonvolatile memory cartridge. One cartridge is supplied with the unit, and additional cartridges may be purchased.

IMPORTANT Cartridges are equipped with a write protect switch. When the switch is ON, it prevents the 480L from writing to the cartridge, regardless of the register protection selected in the 480L. Cartridges may be shipped with the write protect switch in the ON position.

Change Pages to Access More Parameters

Because the programs in the 480L have more than the six parameters which the LARC can display at one time, parameters are grouped in several pages. Each page contains up to six parameters. You can use either of two methods to move between pages:

1. Press PAGE repeatedly to step through the pages sequentially.

2. Press PAGE and then a numeric-select key to go directly to the page you want.

IMPORTANT When a new program is loaded or another page is selected, each slider is deactivated (i.e., the display does not change) until the slider is moved through its preset value.

When changes have been made on a page, and you move to a new page, the previous edits remain intact. However, when a new program is loaded, the edits you made disappear forever (unless you stored the edits in a register).

exicon

Write Protect

On Off

Write Protect Switch

2-14

Page 25

480L Owner's Manual

Basic Operation

Storing and Naming Programs

After you have made the changes you want to a program's parameters, you can store the changed version in a register:

When you store a register, the edited program still has the same name as the original program. To avoid confusion, you can assign names to registers. To rename a register:

1. Press CTRL to enter the control mode.

2. Press PAGE, then press 3 to go to page three.

3. Press the key under the slider marked SEL to activate the select function. The current name of the program appears in the lower display.

4. Move the SEL slider. Note that different characters within the name are selected by a pair of brackets < > as you move the slider. Select the first character in the program name.

5. Use the CHG slider to change the character. Note that a blank space is available at the bottom of the slider's range, as are several symbols.

6. Repeat steps 4 and 5 until all the characters in the new name have been entered successfully.

Loading Registers

Registers are organized into banks, selected and loaded in exactly the same manner as programs. However, you press REG to switch from program to register mode, and press REG instead of PROG when selecting, storing, and loading registers.

Protecting Against Loss of Register Contents

Setting up a large number of registers to meet your personal requirements can represent a considerable investment of time and effort. To reduce the possibility of accidental loss of the contents of these registers, the 480L has a memory protection feature. When memory protection is on, the 480L does not allow anyone to erase the contents of a register by overwriting it. However, unused registers can be written to. The 480L has four protection levels:

• PROTECT INT AND CART

• PROTECT CART

• PROTECT INT

• PROTECT OFF

To store your newly-named program in a register:

1. Press REG once to exit Control mode, and enter the register mode.

2. Press BANK repeatedly to locate the bank you wish to store the register in. Banks 1 through 5 are internal registers, and banks 6 through 10 are stored in the nonvolatile memory cartridge.

Note: If you have difficulty using a cartridge, it may not have been formatted. Also, cartridges formatted with earlier versions of software may not work with later versions until they are reformatted. See Appendix B for instructions on how to format the cartridge.

3. Press REG repeatedly to locate an "Unused" register, or a register you don't mind erasing.

4. With the register number that you want to use flashing on the display, hold down STO and press REG. The LARC display flashes

SETUP STORED

This lets you know that the program was stored correctly.

PROTECT INT protects just the internal registers, but allows registers stored in the cartridge to be overwritten. PROTECT CART protects the cartridge, but allows internal registers to be overwritten. PROTECT INT AND CART protects both internal and cartridge registers. To activate memory protection:

1. Press CTRL to enter the control mode.

2. Press PAGE, 2 to go to page 2.

3. Move slider six to select one of the four protection modes.

4. Press CTRL to exit the control mode. Once activated, memory protection remains in effect

until it is turned off again.

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Basic Operation

Lexicon

Protecting Your Registers Against Another Kind of Loss

After creating a collection of registers, some users may not wish to let others access their "trademark" sounds. If this concerns you, copy any internal registers that you create to a nonvolatile memory cartridge at the end of each session (using the register transporter in the control mode). Then use the register clear function (also found in the control mode) to remove the registers from internal memory. Take the cartridge with you when you leave the facility.

Use of the register transporter and register clear functions are described below.

Moving Registers Around with the Register Transporter

The register transporter has four functions:

• Copy single registers from one location to another

• Move single registers from one location to another

• Copy all internal registers to a cartridge

• Copy all cartridge registers to internal memory

When registers are copied, the original register source remains intact. When registers are moved, the original register source is cleared.

To move or copy single registers:

1. Press CTRL to enter the control mode.

2. Press PAGE, 2 to go to page 2.

3. Use slider one to select MOVE or COPY.

4. Use slider two to select the source.

5. Use slider three to select the destination.

6. Hold down STO and press REG to complete the copy or move.

Clearing Register Contents

Page two of the control mode has a CLEAR control that allows complete removal of register contents. CLEAR has three functions:

• Clear a single register

• Clear all internal registers

• Clear all cartridge registers To clear a single register:

1. Press CTRL to enter the control mode.

2. Press PAGE, 2 to go to page two.

3. Use slider one to select CLR SETUP.

4. Use slider two to select the register that you wish to clear.

5. Hold down STO and press REG to clear the selected register.

IMPORTANT The register protect function found on page two of the control mode must be set to OFF if any moves or copies are to overwrite existing registers.

To copy entire register contents between internal and cartridge memory:

1. Press CTRL to enter the control mode.

2. Press PAGE, 2 to go to page 2.

3. Use slider one to select CPY CART TO INTERNAL or CPY INTERNAL TO CART.

4. Hold down STO and press REG to complete the copy.

Note: When either of these two modes are

selected, the SRC and DST sliders are inactive.

To clear all cartridge or internal registers:

1. Press CTRL to enter the control mode.

2. Press PAGE, 2 to go to page two.

3. Use slider two to select CLR ALL INT or CLR ALL CART.

4. Hold down STO and press REG to clear the selected registers.

Note: When either CLR ALL INT or CLR ALL CART are selected, the BANK and REG sliders are inactive.

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480L Owner's Manual

MIDI SysEx Program Dumps

Basic Operation

Programs and presets can also be transmitted and received as MIDI SysEx data. Parameters that enable MIDI SysEx dumps are found on Page 6 in Control mode.

SysEx Bulk Dump

Slider 1 (SFN) selects a SysEx Bulk Dump function. Slider 2 (SRC) is dependent on the SFN setting, but, in general, it selects the source of the dump function when required. The following SFN settings are available:

SETUP BANK ACTIVE ALL INT ALL CART MIDI MAP CONTROLS

Individual Program or Preset Dumps

The SETUP function will bulk dump a single program or preset. When in this mode the SRCslider selects the particular setup to dump. Moving the slider scrolls through all of the available programs and registers containing presets. After selecting a particular program or preset, push and hold the STO button. While holding STO, press REG. This will enable a dump of the selected program or preset from either SFN or SRC mode. The format of the setup bulk dump message is described in Appendix A MIDI and the 480L.

Dumping Banks

The BANK function will bulk dump a whole bank of programs or presets. The SRC slider selects from among the program banks and all ten register banks (five internal and five external cartridge banks).The bank selected is then dumped by pushing STO and REG as in individual setup dumps. A bank is dumped as a contiguous group of ten programs or registers. Each program or register within the bank, is dumped as a separate SysEx message, using the same format as that for individual dumps. When the dump is activated, the LARC displays "DUMPING BANK." When the dump is complete, the LARC displays "BANK DUMPED."

Dump Active Algorithm(s)

The ACTIVE function dumps one or both of the active algorithms and their current parameter values instead of a register or preset. When the machine is in SINGLE configuration, only Machine A can be dumped, otherwise Machine A, Machine B, or both A and B can be selected with the SRC slider. As with all dumps described earlier, the dump is activated by the combination STO/REG button push. The format of the dump message is described in Appendix A MIDI and the 480L. If the SRC slider is set to “MACHINE A+B” each machine will be sent as an individual SysEx message, just as though you selected “MACHINE A” and did a dump, then repeated the process for “MACHINE B”. When the dump operation is activated, the LARC displays "DUMPING ACT A" for Machine A only. The LARC displays "DUMPING ACT B" for Machine B only, or "DUMPING A+B" when both machines are selected. When each Machine is dumped, the LARC displays "ACT A(or B) DUMPED"

Dump All Internal Registers

To dump all internal registers to MIDI set SFN to “ALL INT”. In this mode the SRC slider is not required.The “ALL INT” dumps register banks from 1-5 to MIDI. Each register is dumped as a single SysEx message described in Appendix A MIDI and the 480L..The presets are dumped in order of appearance in the register banks. As other functions, the dump action is initiated by holding STO and pressing REG. Once the dump of all internal registers is started, the LARC displays "DUMPING INT." When the dump is completed, the LARC displays "INT DUMPED."

Dump All Cartridge Registers

The dump all cartridge function is very similar to the Dump All Internal Registers function with Banks 6-0 dumped rather than Banks 1-5. The LARC displays "DUMPING CART." When the dump is completed the LARC displays "CART DUMPED."

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Basic Operation

Lexicon

Dump MIDI Program Table Map

The 480L has a program map that translates MIDI program change numbers to 480L program or register numbers. There is a map for each Machine, A and B. As in the ACTIVE function, the SRC slider selects from three possibilities: Machine A, Machine B or Machine A +B.The MIDI MAP bulk dump function dumps the selected map(s) to the MIDI port. Dump action is started holding STO and pressing REG. The format for the MIDI map is documented in Appendix A MIDI and the 480L. The LARC displays "DUMPING MAP A," "DUMPING MAP B," or "DUMPING MAPS," depending on selection. When the dump is complete, the LARC displays "MAP (A, B or A+B) DUMPED."

Dump Controls

The SRC slider is not needed for this function. After moving the slider to CONTROLS and pushing STO/ REG, a copy of the current parameters available in Control Mode are dumped. The following is a list of the controls dumped:

• Configuration

• Sample Rate

• Clock Source

• Input Source

• Audio Mute

• Reg Protect

• Sysex Channel Device ID

• Sysex Automation Mode

• Sysex Receive Mode

When dumping is activated, the LARC displays "DUMPING CTRLS." When complete, the LARC displays "CTRLS DUMPED."

Slider 3, on Page 6, labeled RCV, selects the destination of MIDI bulk dumps loaded back into the 480L. The simplest destination is the default, “ORIGINAL SRC”. This function restores presets to wherever they originated. An internal register is written back over the current register at that location. See the message format documentation to discover the source for each register. Programs or presets can also be restored to the active Machines. If the configuration is SINGLE, then only Machine A can be restored. Otherwise, any program or register loaded to the 480L can be sent to either Machine A or Machine B with “ACTIVE A” or “ACTIVE B” selected under RCV.

The bank modes are more complicated. If any of the “INT BNK” or “CART BNK” selections are made, any preset will be sent to the first register in the selected bank. The 480L will attempt to place subsequent presets sequentially into the next registers in the bank selected. This should only be used to restore dumped banks.

Restore Individual Presets

Loading a previously dumped preset will replace the preset at the location with the MIDI SysEx version when the RCV slider is set to “ORIGINAL SRC”. Other settings in the RCV slider cause other actions to occur: “ACTIVE A” or “ACTIVE B” sends the preset to the appropriate machine as a running program

Selecting one of the banks, loads the preset into the first register of the bank, or into a subsequent register if it was dumped in sequence with a previously restored preset.

SysEx Restore Bulk Dump

2-18

Any attempt to restore a program to its original source will be ignored. The error message "PROG

RCVD" will be displayed. When presets are successfully restored, the LARC will

display an approrpiate message for each type: "ACT A LOADED" or "ACT B LOADED" indicates that

an active algorithm was restored. If a preset was received as an Internal Register, "1

REG LOADED" is displayed. If a preset is received as a Cartridge register, "C REG

LOADED" is displayed.

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480L Owner's Manual

Basic Operation

Restore Banks

A dumped register bank will be restored to its original location if “ORIGINAL SRC” is selected. If the bank was a program bank, restoring to original source will not change anything in the 480L.

If the RCV slider is set to an active Machine, all of the programs or presets in the bank will load one at a time into the selected Machine until the last one, which will be left running when the process is complete.

When completed, the LARC will display "ACT A LOADED," or ACT B LOADED," depending on the Machine selected.

If a new bank is selected, it will be written to the new location. The LARC will display either "1 REG LOADED," or "C REG LOADED," depending on its destination.

Restore Active Machines

Any dump of an active Machine will restore as that active machine if the RCV slider is set to “ORIGINAL SRC.” If the RCV slider is set to “MACHINE A” or “MACHINE B,” the load will be to that machine, despite any destination stored in the message itself.

When RCV is set to restore to a particular bank, then the bulk dump data will replace the first register in the bank unless the data for machine A and B are sent sequentially, in which case the data will replace register 1 and 2 in the selected bank.

The LARC displays either "1 REG LOADED," or "C REG LOADED," depending on its destination.

Restore All Internal Registers

If all of the dumped internal registers are restored with the RCV slider set to “ORIGINAL SRC,” each register will be overwritten. Any other setting of RCV is not recommended.

Restore MIDI Program Table Map

Selection of destination is not an option when restoring MIDI program table map. The data is restored to the active Machine where it originated.

Restore Controls

Selection of destination is not an option when restoring MIDI Controls. The data is restored to the control parameters of the active Machine. See Dump Controls for a list of the controls dumped and restored.

MIDI Request Data

The request data function is a MIDI SysEx message that triggers an output of the requested bulk dump on the MIDI port. The format for the request function is defined in Appendix A MIDI and the 480L.. The possible requests are as follows:

• Request All Stored Presets(Internal and Cartridge Registers)

• Request Individual Program

• Request Individual Preset

• Request Controls

• Request Active Machine A

• Request Active Machine B

• Request MIDI Program Map for Machine A

• Request MIDI Program Map for Machine B

The data will be sent after the 480L receives and decodes the message. If automation transmit mode is on, the data sent will also contain automation messages. Internally, the 480L decodes the request message and uses the normal event passing mechanism to transmit the response. This activates the automation mode if enabled. To get just the data requested, turn off the automation transmit mode on the control page, or by transmitting a SysEx message before sending the request.

The LARC will display "1 REG LOADED."

Restore All Cartridge Registers

Restoring all cart registers works identically to the restore all internal registers except that in “ORIGINAL SRC” mode the data is sent to banks 6-0 instead of to 1-5. The LARC displays "C REG LOADED." All other operations are the same.

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Banks 1-4: the Reverb Programs

In this chapter we'll discuss the original

Reverberation and Plate programs

created for the 480L.

Two different algorithms are used to create these programs. The primary difference between the two is the density of the reverberation. The algorithm with greater density is used primarily for Room and Plate programs. To discover which algorithm is used by a particular program, go to page three to see how many pre-echo voices are available — the dense algorithm has only two voices.

Both algorithms have fixed, or "static" reverberation characteristics. A new algorithm, with random motion characteristics is described in Banks11 -12: Random Halls and Rooms. The Random Hall algorithm provides a smoother reverberant characteristic, and is better suited for material which requires large space emulation, or longer reverb time.

Page 31

Banks 1-4: the Reverb Programs

Before we jump into detailed descriptions of the programs and parameters, let's take a look at the philosophy behind the reverberation algorithm's radical new structure.

About the Reverberation Algorithm

The 480L incorporates the results of a great deal of research into acoustics and reverberation. It produces four general classes of sounds: ambience, room simulations, plates, and gated sounds.

In Search of Ambience

Ambience is the use of reverberation or reflected sound energy to give recorded music a sense of being performed in a real acoustic location. Ideally, ambience gives warmth, spaciousness and depth to a performance without coloring the direct sound at all.

Recent research into ambience has shown that this phenomenon depends most critically on the shape of the initial reverberation build-up and decay. Ambience is perceived and has benefit while the music is running (which is most of the time). But once the reverberation has decayed 15 dB it is no longer audible in the presence of the direct sound. So the time it takes for the sound to build up and decay 15 dB determines the perceived reverb time, regardless of what the decay time to -60 dB is. Some very good halls for recording have a rather uneven initial build-up and decay, giving a much longer effective reverb time than their -60 dB reverb time might suggest.

It has become common practice to use predelay in an attempt to emulate the sound of these halls. Adding delay to the reverb sends definitely increases the effective audible reverb time and the apparent size of the hall, but the result sounds unnatural.

If we make echograms of real halls, we find that there is usually a gradual buildup of energy between the arrival of the direct sound and the time at which the reverberation reaches maximum loudness. The sharp attack of added predelay in most reverberation devices sounds entirely different.

In the 480L, 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.

Lexicon

In the hall and room programs, SIZE acts as a master control for the apparent size of the space being created by the 480L. Both SPREAD and RT MID varylinearly with the setting of SIZE. Thus maximum reverb time and spread require high settings of SIZE. To find an appropriate reverb sound, start with a preset with a similar sound to what you want to end up with. Simply varying SIZE is often sufficient to arrive at the exact sound you are seeking.

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

When SHAPE is at minimum, the reverberation envelope builds up very quickly to a maximum amplitude, and then dies away quickly at a smooth rate. This envelope is characteristic of small reverberation chambers and reverberation plates. There are few (if any) size cues in this envelope, so it is ineffective in creating ambience. With this SHAPE setting, SPREAD has no effect. The density is set by the size control, and the rate of decay is set by RTMID. This reverberation envelope is typical of many of the popular digital reverberators of the last few years.

As SHAPE is raised to 32 (about 1/8th of the way up) 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 RTMID. SPREAD has little or no effect on this shape.

When SHAPE is at 64 (1/4 of the way up) 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 at a SHAPE value of about 128 (1/2 way up).

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 a inverse sound.

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480L Owner's Manual

Banks 1-4: the Reverb Programs

Note that none of these shape effects are audible unless RTMID is set short enough. Generally, RTMID 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 480L to produce superior ambience—a sound which is spacious and has great depth—without the long RT60 of a church.

Creating a Realistic Ambient Sound

When you set out to create an ambient 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 RTMID 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 RT MID values. The setting of the BASS MULTIPLY is also critical in matching the sound of an existing hall. An ideal concert hall would have a BASS MULTIPLY setting of 1.2. It is rare when actual physical spaces exceed 1.5. Many (if not most) good recording environments have values of BASS MULTIPLY of 1.0 or less, and a value of 0.8 should be tried when attempting to match an existing hall.

There are two additional controls to deal with. SHAPE and SPREAD adjust the effective reverb time when the music is running. Higher values of SHAPE and SPREAD produce a longer effective reverb time. Longer effective reverb times give greater spaciousness to the sound.

The Early Reflection Myth

The importance of early reflections in reverberation has become accepted as indisputable fact. We call it a myth. Much of the myth of early reflections is a result of attempts to emulate the sound of discrete reflections from the floor, stage area, and ceiling of a real hall. This sounds reasonable in theory, but it has been our experience that the resulting preechoes are much different from the early reflections present in real halls, and recorded music is often better off without them.

The reason for the difference is not difficult to discover. Early reflections in artificial reverberation are usually discrete--simply a delayed version of the original sound. Transients such as clicks or drums are clearly heard as discrete reflections, resulting in a coarse, grainy sound. But the reflective surfaces of real halls are complicated in shape, and the reflections they produce are smoothed or diffused. Their time and frequency responses are altered, making them much more interesting. In a very good hall, discrete reflections are hard to identify as such.

Another major disadvantage of discrete early reflections is that the same reflection pattern is applied to every instrument which is fed into the reverberation unit, and each instrument has its timbre altered in exactly the same way. In a real hall, every instrument has a different set of early reflections, and each instrument will have its timbre altered in a different way.

Some engineers find any type of early reflection undesireable. In classical music, many recordings are now made with the orchestra in the middle of the hall, with the specific intention of avoiding early reflections. Too much early reflected energy makes the sound muddy, and does not add to richness or spaciousness. This is in part because reflections and reverberation also exist in the playback room.

The 480L reverberation algorithm still offers the option of adding early reflections (preechoes) but we have made them diffused clusters of preechoes. 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.

When creating new reverberation sounds of your own, don't forget that an Effects program can be put in series with the reverberation (using the Cascade configuration described in Chapter 2). The result can be extremely interesting. Also, try using the Effects program to give high frequencies a different envelope from low frequencies.

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Banks 1-4: the Reverb Programs

RTM

Mid Reverb Time

SHP

Shape

SPR

Spread

DIF

Diffusion

BAS

Bass Multiply

DCO

Decay Optimization

HFC

High Freq Cutoff

PDL

Predelay

RTC

RT Hi Freq. Cutoff

MIX

Wet/Dry Mix

[

Echo Level 1 L>L

PRE-

Echo Level 2 R>R

ECHO

Echo Level 3 R>L

-LEV

Echo Level 4 L>R

ELS-

Echo Level 5 L>L

]

Echo Level 6 R>R

[

Echo Delay 1

PRE-

Echo Delay 2

ECHO

Echo Delay 3

-DEL

Echo Delay 4

AY5

Echo Delay 5

]

Echo Delay 6

SIZ

Size

XOV

Crossover

Page One

Page Two

Page Three

Page Four

About the Reverberation Parameters

Page One

Lexicon

RTM (Mid-Frequency Reverb Time)

RTM sets the reverb time for mid-frequency signals when the signal stops. Because low-frequency reverb time (BASS MULT) is a multiplier of RTM, RTM acts as a master control for the stopped reverb time. When DECAY OPT is set to Reverb mode, the actual value set for RTM varies with the setting of SIZE. SIZE should be adjusted before RTM. This interaction is deactivated when DECAY OPT is set to EFFECTS mode.

SHAPE

SHAPE and SPREAD work together to control the overall ambience of the reverberation created by the 480L. SHAPE determines the contour of the reverberation envelope. With SHAPE all the way down, reverberation builds explosively, and decays quickly.

Note: SPREAD only functions when

SHAPE is set higher than eight.

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

SPREAD

SPREAD works together with SHAPE to control the contour of the overall ambience of the sound created by the 480L. SPREAD controls the duration of the initial contour of the reverberation envelope (SHAPE controls the envelope). Low SPREAD 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.

SPREAD and SHAPE control the rate at which reverberation builds up, and how the reverberation sustains as it begins to decay. When DECAY OPT is in Reverb mode, SPREAD is linked to SIZE, and the actual value for SPREAD depends on the selected SIZE.

SIZE

SIZE sets the rate of buildup of diffusion after the initial period (which is controlled by DIFFUSION). It also acts as a master control for RT MID and SPREAD. For this reason, the SIZE control can be used to vary 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. The size in meters is roughly equal to the longest dimension of the space. Moving SIZE while a signal is present momentarily mutes the reverb signal.

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480L Owner's Manual

0 dB

-30 dB Time

0 dB

-30 dB

Time

0 dB

-30 dB

Time

0 dB

-30 dB

Banks 1-4: the Reverb Programs

The apparent size of the space created is actually a combination of the settings of the SIZE, SHAPE, and SPREAD 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 what is controlled by the SPREAD and SHAPE controls.

SHAPE Set All the Way Down.

SHAPE at 64 - 1/4 of the Way Up.

HF CUTOFF

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

PREDELAY

PREDELAY sets the amount of time which elapses between input of signal and the onset of reverberation. Under natural conditions, the amount of predelay depends on the size and construction of the acoustic space and the relative position of the sound source and the listener(s). PREDELAY attempts to duplicate this phenomenon and is used to create a sense of distance and volume within an acoustic space. Relatively long PREDELAY settings place the reverberant field behind rather than on top of the input material. Extremely long PREDELAY settings produce unnatural sounds that often prove interesting.

A sense of continuity between source and reverb is maintained up to around 40 ms of predelay, after which the sound begins to separate into distinct patterns; however, large values of PREDELAY can effectively give the impression of large size if early reflections are used to fill in the spaces between input and the delayed reverberation.

SHAPE at 128 - 1/2 of the Way Up.

SHAPE at 255 - All the Way Up. Short RT MID Setting.

Much of the effect of PREDELAY can be better achieved by using medium values of SHAPE, and setting the desired apparent predelay with SPREAD. Setting these parameters should be done by ear, since the values don't relate directly to ms.

Note: Very high values of PREDELAY limit the amount of SPREAD available. The display does not reflect this, however.

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Banks 1-4: the Reverb Programs

Page Two

Lexicon

BASS MULTIPLY

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

CROSSOVER

CROSSOVER sets the frequency at which the transition from LF RT to RT MID takes place. CROSSOVER 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 the CROSSOVER to 400 Hz (This setting works well for classical music). CROSSOVER works best around 500 for boosting low frequencies, and around 1.5 kHz for cutting low frequencies.

RT HF CUT

RT HF CUT sets the frequency above which sounds decay at a progressively faster rate. It filters all the sound except the preechoes. When set relatively low, it gives a darker tone to the reverberation, simulating the effect of air absorption in a real hall. This also helps keep the ambience generated by the program from muddying the direct sound.

DIFFUSION

DIFFUSION controls the degree to which initial echo density increases over time. High settings of DIFFUSION result in high initial buildup of echo density, and low settings cause low initial buildup. After the initial period (in which echo buildup is controlled by DIFFUSION) density continues to change at a rate determined by SIZE. 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. The plate presets and some of the room presets use an algorithm with higher inherent diffusion. If high diffusion is desired, start with one of these presets. They are easily identifiable because they have only two preechoes.

DECAY OPT (Decay Optimization)

DECAY OPT alters program characteristics in response to changes in input level, to make reverberation decay sound more natural. DECAY OPT should normally be set to REVERB 7.

To make it easy to create "wild spaces" DECAY OPT has a second mode--EFFECTS. In the EFFECTS mode, the numbers 0 - 9 have the same effect as they do in the REVERB mode. However, in the EFFECTS mode the SPREAD control is not linked to the SIZE control, making it possible to use high values of SPREAD with low values of SIZE. These settings can result in some interesting, but unnatural sounds.

Note: On certain types of program material (such as soft low-frequency tones from a synthesizer) side effects may be audible during level changes. If these are heard, set DECAY OPT to REVERB 0 or EFFECTS 0.

WET/DRY MIX

WET/DRY MIX controls the ratio of direct vs. effect signal in the output from a program. When the 480L is patched into a console, this control should almost always be set to 100% wet. When an instrument is plugged directly into a 480L, or when the Cascade configuration is in use, a setting between 45 and 60% is a good starting point for experimentation with this parameter.

WET/DRY MIX is a sine/cosine fade. Practically speaking, this means that MIX can be adjusted over its range with little or no change in output level. When you control mix at the console, adding effect to the dry signal increases overall level.

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480L Owner's Manual

Page Three

PREECHO LEVEL

Preechoes 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 preechoes are actually clusters of echoes, with the density of the cluster set by DIFFUSION.

The preecho reflection parameters change the perceived locations of reflecting surfaces surrounding the source. PREECHO LEVEL adjusts the loudness of the reflection.

Note: Some of the presets use an algorithm with six preechoes, and others only have two. If you need more than two when creating a sound, be sure to start with a preset that has six.

Page Four

Banks 1-4: the Reverb Programs

PREECHO DELAY TIME

For each of the PREECHO LEVEL parameters, there is a corresponding PREECHO DELAY TIME parameter. PREECHO DELAY TIME sets the delay time in ms for one of the preechoes. PREECHO DELAY TIME is not affected by PREDELAY, so preechoes can be placed to occur before the reverberation starts.

3-7

Page 37

Banks 1-4: the Reverb Programs

Programs — Bank 1: Halls

Lexicon

1 Large Hall

RTM SHP SPR SIZ HFC PDL

2.19 s 126 179 37 m 2.862 24 ms BAS XOV RTC DIF DCO MIX

1.2 x 752 Hz 4.186 99 R 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

2 Large+Stage

RTM SHP SPR SIZ HFC PDL

2.19 s 126 179 37 m 2.862 24 ms BAS XOV RTC DIF DCO MIX

1.2 x 752 Hz 4.186 99 R 7 All Fx Preecho Levels

-12 dB -10 dB -8 dB -8 dB -9 dB -9 dB Preecho Delays

16 ms 22 ms 64 ms 56 ms 112 ms 102ms

3 Medium Hall

RTM SHP SPR SIZ HFC PDL

1.74 s 126 128 25 m 4.395 24 ms BAS XOV RTC DIF DCO MIX

1.2 x 752 Hz 3.982 99 R 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

6 Small+Stage

RTM SHP SPR SIZ HFC PDL

1.13 s 96 50 25 m 4.395 24 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.784 99 R 7 All Fx Preecho Levels

-12 dB -12 dB -10 dB -10 dB -14 dB -14 dB Preecho Delays

12 ms 18 ms 44 ms 36 ms 72 ms 52ms

7 Large Church

RTM SHP SPR SIZ HFC PDL

4.04 s 85 247 38 m 2.523 30 ms BAS XOV RTC DIF DCO MIX

1.5 x 1.02 Hz 2.691 80 R 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

8 Small Church

RTM SHP SPR SIZ HFC PDL

2.42 s 65 106 31 m 3.402 0 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.591 70 R 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

4 Medium+Stage

RTM SHP SPR SIZ HFC PDL

1.74 s 126 128 25 m 4.395 24 ms BAS XOV RTC DIF DCO MIX

1.2 x 752 Hz 3.982 99 R 7 All Fx Preecho Levels

-14 dB -12 dB -10 dB -10 dB -12 dB -12 dB Preecho Delays

16 ms 22 ms 44 ms 38 ms 80 ms 76ms

5 Small Hall

RTM SHP SPR SIZ HFC PDL

1.13 s 96 50 25 m 4.395 24 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.784 99 R 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

3-8

9 Jazz Hall

RTM SHP SPR SIZ HFC PDL

1.26 s 34 98 23 m 12.177 0 ms BAS XOV RTC DIF DCO MIX

1.2 x 752 Hz 5.538 80 R 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

0 Auto Park

RTM SHP SPR SIZ HFC PDL

5.29 s 149 247 38 m 7.818 24 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 5.538 99 R 0 All Fx Preecho Levels

-6 dB -6 dB -9 dB -9 dB -12 dB -12 dB Preecho Delays

22 ms 12 ms 44 ms 66 ms 164 ms 136ms

Page 38

480L Owner's Manual

Banks 1-4: the Reverb Programs

Program Descriptions

The programs in the Halls bank are reverberation programs designed to emulate real concert halls.

While the Halls are useful for a wide variety of tasks, they are especially good with traditional and classical music. For popular music, they can be used to give multitrack recordings the sense of belonging to the same performance, by putting the whole mix in the context of a real-sounding acoustic space.

1 Large Hall

Large Hall provides the sense of space and ambience of a large concert hall to music which has already been mixed.

Acoustically, the sound of this program resembles a large, relatively square concert hall. The musicians are not placed in a stage area at one end, but in the middle of the hall, away from nearby walls and other surfaces that produce reflections. The reverberant pickups are located between the sound source and the walls, and are directed away from the musicians, so they pick up little or no direct energy.

2 Large + Stage

Large + Stage is similar to Large Hall, except that the musicians are located at one end of the hall, and several preechoes simulate the effects of a procenium arch.

3 Medium Hall

Medium Hall is very similar to Large Hall, but smaller.

4 Medium + Stage

Medium + Stage is very similar to Large + Stage, but smaller.

5 Small Hall

Small Hall is a smaller version of Medium Hall.

6 Small + Stage

Small +Stage is a smaller version of Medium + Stage.

7 Large Church

Large Church is a big space with the musicians centrally located, and a comparatively long RT MID.

8 Small Church

Small Church is a smaller version of program 7.

The resulting reverberation has the space and ambience of a large hall, but does not color or muddy the direct sound of the recording. Because of the large SPREAD value used, the sound of the Large Hall is most effective when relatively small amounts of it are mixed with the direct signal. If the reverberation sounds obtrusive or tends to reduce clarity, you are using too much of it!

BASS MULT, RT HF CUT, and HF CUTOFF have been set to values typical of good concert halls. SIZE is set at maximum to provide reverberation with medium density and low color. If higher density is required (for material such as closely-miked percussion) try reducing SIZE to about 25.

9 Jazz Hall

Jazz Hall is a relatively small space with hard bright walls and a short RT MID. It emulates a hall full of people, without the noise they make. It has high diffusion, and sounds good with jazz or pop material.

0 Auto Park

Auto Park reproduces the sound of an underground parking garage.

3-9

Page 39

Banks 1-4: the Reverb Programs

Programs — Bank 2: Rooms

Lexicon

1 Music Club

RTM SHP SPR SIZ HFC PDL

1.03 s 40 55 25 m 7.181 0 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.784 78 R 7 All Fx PDE PDE

Off Off

PDL PDL

0 ms 0 ms

2 Large Room

RTM SHP SPR SIZ HFC PDL

0.70 s 52 82 19 m 6.593 0 ms BAS XOV RTC DIF DCO MIX

1.0x 752 Hz 3.784 65 R 7 All Fx PDE PDE

Off Off

PDL PDL

0 ms 0 ms

3 Medium Room

RTM SHP SPR SIZ HFC PDL

0.50 s 22 10 19 m 7.181 0 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.784 65 R 7 All Fx PDE PDE

Off Off

PDL PDL

0 ms 0 ms

6 Lg Wood Rm

RTM SHP SPR SIZ HFC PDL

1.33 s 73 34 23 m 8.513 0 ms BAS XOV RTC DIF DCO MIX

0.8 x 1.158 Hz 5.538 82 R 7 All Fx PDE PDE

Off Off

PDL PDL

0 ms 0 ms

7 Sm Wood Rm

RTM SHP SPR SIZ HFC PDL

0.71 s 45 19 13 m 8.513 0 ms BAS XOV RTC DIF DCO MIX

0.8 x 1.158 Hz 5.538 82 R 7 All Fx PDE PDE

Off Off

PDL PDL

0 ms 0 ms

8 Lg Chamber

RTM SHP SPR SIZ HFC PDL

0.88 s 3 0 20 m 7.181 10 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 6.047 99 R 6 All Fx PDE PDE

Off Off

PDL PDL

0 ms 0 ms

4 Small Room

RTM SHP SPR SIZ HFC PDL

0.31 s 16 0 10 m 7.181 0 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.784 60 R 6 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

5 Very Small

RTM SHP SPR SIZ HFC PDL

0.13 s 8 0 4 m 7.181 0 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.784 55 R 0 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

9 Sm Chamber

RTM SHP SPR SIZ HFC PDL

0.36 s 16 0 10 m 7.181 0 ms BAS XOV RTC DIF DCO MIX

1.0 x 752 Hz 3.784 70 R 6 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

0 Small & Bright

RTM SHP SPR SIZ HFC PDL

0.65 s 40 39 9 m 10.591 6 ms BAS XOV RTC DIF DCO MIX

0.8 x 621 Hz 7.493 81 R 7 All Fx Preecho Levels

-14 dB -14 dB -14 dB -14 dB Off Off Preecho Delays

14 ms 10 ms 28 ms 44 ms 0 ms 0 ms

3-10

Page 40

480L Owner's Manual

Banks 1-4: the Reverb Programs

Program Descriptions

The room programs are similar to the Hall programs, but the spaces they emulate are smaller and somewhat more colored. The rooms are useful for film and video production, as well as classical and popular music recording. If you want to closely match the ambient characteristics of a space, try using the programs found in the Ambience bank. The Ambience algorithm was designed for this application.

1 Music Club

Music Club is similar to Jazz Hall, but is smaller and less reverberant--especially at high frequencies.

2 Large Room

Large Room resembles a good-sized lecture room. It is smaller than Music Club, and more colored, with comb filtering and slap echoes.

3 Medium Room

Medium Room is a smaller version of Large Room.

4 Small Room

Small Room is much smaller and less reverberant than the Large and Medium Rooms. It resembles a typical American living room.

5 Very Small Room

Very Small Room has the intimate, close feel of a bedroom or den.

6 Large Wood Room

Large Wood Room is similar to Large Room, but has a lower BASS MULT, simulating a room with thin wooden paneling, or a cheaply made warehouse or auditorium.

7 Small Wood Room

Small Wood Room is a smaller version of program 6.

8 Large Chamber

Large Chamber has few size cues. It produces a sound similar to a good live chamber with nonparallel walls and hard surfaces. Large Chamber can be used wherever a plate would normally be used, but with a more subtle acoustic sound.

9 Small Chamber

Small Chamber is a smaller version of program 8.

0 Small and Bright

Small and Bright adds presence to a sound without adding a lot of obvious reverberation.

3-11

Page 41

Banks 1-4: the Reverb Programs

Programs — Bank 3: Wild Spaces

Lexicon

1 Brick Wall

RTM SHP SPR SIZ HFC PDL

0.24 s 0 254 26 m 10.591 0 ms BAS XOV RTC DIF DCO MIX

1.5 x 1.886 Hz Full R. 88 E 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

2 Buckram

RTM SHP SPR SIZ HFC PDL

0.24 s 94 61 24 m 6.882 0 ms BAS XOV RTC DIF DCO MIX

1.5 x 1.886 Hz Full R. 98 E 7 All Fx PDE PDE

-6 dB -6 dB PDL PDL

64 ms 40 ms

3 Big Bottom

RTM SHP SPR SIZ HFC PDL

0.89 s 66 210 31 m 11.084 0 ms BAS XOV RTC DIF DCO MIX

4.0 x 243 Hz Full R. 88 E 7 All Fx Preecho Levels

Off Off Off Off Off Off

Preecho Delays

0 ms 0 ms 0 ms 0 ms 0 ms 0 ms

6 Metallica

RTM SHP SPR SIZ HFC PDL

0.97 s 57 187 28 m 14.986 14 ms BAS XOV RTC DIF DCO MIX

1.5 x 1.020 Hz 7.493 90 E 7 All Fx Preecho Levels

-7 dB -7 dB -18 dB -12 dB -18 dB -20 dB Preecho Delays

70 ms 88 ms 136 ms 156 ms 284 ms 276

7 Silica Beads

RTM SHP SPR SIZ HFC PDL

5.46 s 126 252 37m 9.278 24 ms BAS XOV RTC DIF DCO MIX

0.2 x 4.395 Hz Full R. 80 E7 All Fx PDE PDE

Off Off

PDL PDL

64 ms 40 ms

8 Inside Out

RTM SHP SPR SIZ HFC PDL

1.36 s 243 112 20 m 10.591 22 ms BAS XOV RTC DIF DCO MIX

1.2 x 752 Hz 4.611 99 E 7 All Fx PDE PDE

-14 dB -14 dB PDL PDL

20 ms 22 ms

4 10W-40

RTM SHP SPR SIZ HFC PDL

0.78 s 10 88 19 m Full R. 4 ms BAS XOV RTC DIF DCO MIX

4.0 x 885 Hz 1.886 99 E 7 All Fx Preecho Levels

Full Up Full Up -5 dB -3 dB Off Off

Preecho Delays

0 ms 0 ms 26 ms 46 ms 0 ms 0 ms

5 20W-50

RTM SHP SPR SIZ HFC PDL

1.01 s 152 94 23 m 11.084 4 ms BAS XOV RTC DIF DCO MIX

4.0 x 621 Hz 621 99 E 7 All Fx Preecho Levels

Full Up Full Up -5 dB -3 dB Off Off

Preecho Delays

0 ms 0 ms 50 ms 64 ms 0 ms 0 ms

3-12

9 Ricochet

RTM SHP SPR SIZ HFC PDL

1.56 s 0 0 34m 14.986 18 ms BAS XOV RTC DIF DCO MIX

0.6 x 1.735 Hz 10.127 90 E 7 All Fx PDE PDE

-12 dB -10 dB Off Off Off Off PDL PDL

378 ms 322 ms

0 Varoom

RTM SHP SPR SIZ HFC PDL

0.78 s 255 216 28m 12.177 0 ms BAS XOV RTC DIF DCO MIX

2.0 x 621 Hz 12.177 98 E7 All Fx PDE PDE

Off Off Off Off Off Off

PDL PDL

14 ms 18 ms

Page 42

480L Owner's Manual

Banks 1-4: the Reverb Programs

Program Descriptions

The programs in the Wild Spaces bank can best be described as reverberation effects. They produce reverberation, but their sounds bear little resemblance to anything found in nature. These programs are specifically intended for use in popular music production, and have no known applications in traditional or classical music.

1 Brick Wall

Brick Wall, as in running into, rather than sounding similar to. This program can best be described as a subtle gated inverse room, but it's really much more. Unlike most gated reverb effects, this one's usefulness extends well beyond drum sounds. Try it on a wide variety of material.

2 Buckram

Buckram is a variation of Brick Wall. The difference is that Buckram doesn't sound as dense as the Brick Wall, and has a longer reverb tail.

3 Big Bottom

Big Bottom has a relatively short RT MID and a much longer bass reverb time. This produces a big boom from low-frequency material, while leaving the high end more or less untouched. This is useful for adding a big bass and tom drum sound to an existing mix, or to a drum machine with premixed stereo outputs.

5 20W-50

A more aggressive oil drum.

6 Metallica

Metallica produces dense, metallic reverberation with lots of hard echoes. Designed for heavy metal.

7 Silica Beads

Put a small monitor upside down on top of a snare drum, pour a few thousand beads on top of the drum, and hit the monitor with a couple hundred watts. The result? Not nearly as interesting as the Silica Beads program.

8 Inside Out

Inside Out produces a big echo with a big difference— it's turned inside out. Listen closely to percussive material.

9 Ricochet

Ricochet emulates a fairly large space with a dangerous slapback echo.

0Varoom

Varoom is a room with no resemblance to any known acoustic space; the sound accelerates as it goes by.

4 10W-40

10W-40 emulates the sound of an oil drum. If your facility lacks an oil drum wired for sound, you will be pleased to discover that Lexicon has supplied one— before you even knew you needed it.

3-13

Page 43

Banks 1-4: the Reverb Programs

Programs — Bank 4: Plates

Lexicon

1 A Plate

RTM SHP SPR SIZ HFC PDL

2.00 s 0 0 20 m 8.513 0 ms BAS XOV RTC DIF DCO MIX

0.6 x 752 Hz Full R. 97 R 0 All Fx PDE PDE

-8 dB -9 dB PDL PDL

14 ms 18 ms

2 Snare Plate

RTM SHP SPR SIZ HFC PDL

1.84 s 1 0 16 m Full R. 60 ms BAS XOV RTC DIF DCO MIX

0.6 x 120 Hz Full R. 95 R 0 All Fx PDE PDE

-9 dB -12 dB PDL PDL

110 ms 152ms

3 Small Plate

RTM SHP SPR SIZ HFC PDL

1.65 s 0 6 18 m 15.886 2 ms BAS XOV RTC DIF DCO MIX

1.0 x 885 Hz 10.127 99 R 0 All Fx PDE PDE

-2 dB -4 dB PDL PDL

10 ms 6 ms

Program Descriptions

The Plate programs mimic the sounds of metal plates, with high initial diffusion and a relatively bright, colored sound. For this reason, they are good choices for percussion. They are designed to be heard as part of the music, mellowing and thickening the initial sound itself. The Plate sound is what most people associate with the word reverb, and it is useful for all popular music. Programs for additional plates are found in the Classic Cart software option.

1 A Plate

A Plate is a basic plate program with a very clear sound; you'll find it useful for everything from vocals to percussion.

2 Snare Plate

Snare Plate has its HFC and RT HFC parameters set to full range, resulting in a rapid buildup in high-frequency information. As its name implies, it has been tuned for optimal results with snare drum.

3 Small Plate

Another plate variation. As its name implies, this program produces the sound of a smaller plate.

4 Thin Plate

Another variation on the plate theme.

4 Thin Plate

RTM SHP SPR SIZ HFC PDL

1.59 s 0 0 15 m Full R. 0 ms BAS XOV RTC DIF DCO MIX

0.6 x 752 Hz 15.886 85 R 0 All Fx PDE PDE

-6 dB -6 dB PDL PDL

14 ms 18 ms

5 Fat Plate

RTM SHP SPR SIZ HFC PDL

1.98 s 97 130 34 m 9.278 2 ms BAS XOV RTC DIF DCO MIX

1.0 x 1.586 Hz 21.181 75 R 0 All Fx PDE PDE

-6 dB -9 dB PDL PDL

30 ms 30 ms

3-14

5 Fat Plate

Fat Plate produces the sound of a very large, highlycolored plate.

Page 44

Bank 5: the Effects Programs

This chapter describes the Effects pro-

grams and their parameters. The Effects

programs are located in Bank 5.

Page 45

Bank 5: the Effects Programs

SPN Spin

SLP

Slope

WAN

Wander

LNG

Length

DIF

Diffusion

MON

Input Blend

IND

Input Delay

NUM

Number

PDL

Predelay

FBD

Feedback Delay

MIX

Wet/Dry Mix

HPL

High Pass L

HPR

High Pass R

SGN

Signs

MON

Input Blend

FBL

Feedback Level

Page One

Page Two

Page Three

Lexicon

About the Effects Program

The effects in the 480L are based on randomly varying time delays. Within this general class a great variety of sounds are possible. Of greatest interest are the natural acoustical effects, such as the effect of a forest on sound, a drum cage, or reflections from audiences, walls, and rooms. Most of these natural effects are quite complex, and are difficult or impossible to obtain using a delay line with fixed taps. The effects of slightly moving sources, or several musicians, cannot be ach– ieved with fixed time delays and only one input. Simple clusters of delays (which produce an interesting sound when first heard) become annoying when the timbre they create applies in exactly the same way to every sound run through the box.

In the 480L, the delay pattern and the resulting timbre is never constant long enough to become boring. Making the taps randomly vary in time solves many of these problems, and allows the creation of more interesting sounds.

Perhaps the oldest time-varing effect is simple chorusing, where a single input is delayed with a number of taps, and the time delay of each tap randomly varies in time. Such a program makes a chorus out of a single voice. In the 480L, chorusing uses up to 40 voices, 20 on each input channel.

For many effects 40 voices is not enough--we might want much more than that to simulate the irregular surfaces of a drum cage, many trees in a forest, or many cars in a parking lot. To accomodate this, we have added a diffusion control, so that each of the 40 voices may be expanded into a dense cluster of reflections.

Some reflective surfaces, such as people or music stands, reflect high frequencies primarily. To allow emulation of these, we have added a high-pass filter with 12dB/octave slopes.

Natural effects are not the only ones possible. The time-varing taps may be adjusted so they lie on top of each other, creating phasing and flanging which is quite interesting and unique. This phasing can be delayed with the PREDELAY, and then made into echoes with FEEDBACK, creating ghostly sounds which bounce and repeat.

In addition, by using the INPUT DELAY control, the effect can be made to precede the sound which created it; thus a high frequency brilliant edge can be added to a cymbal crash before the crash is struck, and the amount of the edge, and its tone quality, will be different every strike.

All these sounds are made available through a few simple controls.

The unique way in which the 40-voice effects algorithm processes these voices provides a chorus that does not change pitch.This is extremely useful on material such as grand piano, where detuning from standard chorusing yields unacceptable results.

Delay times can be combined in phase, or out-ofphase, to change the timbre of the overall effect.

4-2

Page 46

480L Owner's Manual

Delay

0 dB

-30 dB Delay

0 dB

-30 dB

Delay

0 dB

-30 dB

About the Effects Parameters

Page One

SPIN

SPIN sets the rate of WANDER. SPIN is a log control with a period of 8. In English, this means that if you increase SPIN by eight units, the amount of audible spin increases by a factor of two. There is always some spin--even with SPIN at 0.

Bank 5: the Effects Programs

There is a trade-off between NUMBER and SPIN; lower NUMBERs increase spin speed.

Note: After changing SPIN or LENGTH, the voices take a while to stabilize. Faster SPIN settings stabilize faster.

SLOPE

SLOPE controls the amplitude of the delays over time. Figure 4.2 shows the decay characteristic with SLOPE all the way down. The variation in level is linear on a log scale as shown. Overall level is adjusted to keep the loudness constant. Figure 4.3 shows the decay characteristic with SLOPE midway up. Figure 4.4 shows the decay characteristic with SLOPE all the way up.

LENGTH

The delay of each voice is equal to the LENGTH setting divided by the number of voices set with NUMBER.

WANDER

With WANDER set to 0, the voices are absolutely fixed to their constant ratio apart. An impulse put in without wander will sound like a single delay line with feedback. As you add wander, delays go backwards and forwards randomly in respect to each other.

Figure 4.2. SLOPE All the Way Down.

Figure 4.3. SLOPE Midway Up.

Figure 4.4. SLOPE All the Way Up.

4-3

Page 47

Bank 5: the Effects Programs

Lexicon

WANDER

WANDER sets the amount of wander in each direction that the delay will move.

NUMBER

NUMBER sets the number of voices used.

PREDELAY

PREDELAY sets the delay before the effect begins.

Page Two

INPUT BLEND (labeled "MON")

INPUT BLEND allows manipulation of the input configuration, from normal stereo through mono, to reverse stereo. The Effects algorithm operates in true stereo. When INPUT BLEND is set to stereo, the left output is derived only from the left input, and the right output is derived only from the right input. So if you are trying to create an effect with sound movement from one output to the other, INPUT BLEND should be set to mono.

FEEDBACK LEVEL

FEEDBACK LEVEL controls the level of signals recirculated back to the input. Increasing the amount of feedback can create interesting resonant effects.

FEEDBACK DELAY

FEEDBACK delay sets the delay that occurs between signal input and the onset of feedback. Try setting FEEDBACK DELAY to the same value as LENGTH for interesting effects.

DIFFUSION

DIFFUSION spreads out the input signal over time, turning sharp transients such as clicks into swishing sounds.

INPUT DELAY

INPUT DELAY adds delay only to the dry signal path— it has no effect on the wet signal path. This effectively allows you to "live in the past," since by delaying the input you can add an effect that happens before the dry signal is heard. This only works if you use WET/DRY MIX to mix the effect with the dry signal. Using the console to mix will negate the effectiveness of the INPUT DELAY.

WET/DRY MIX

Use of INPUT DELAY can produce effects that actually happen before the dry signal. When producing these effects, you must use WET/DRY MIX--controlling the mix at the console will negate the effect of the input delay. (See INPUT DELAY for more details).

Page Three

HIGH PASS (Left and Right)

High PASS adjusts a 12 dB/octave filter on each input channel to attenuate low frequencies.

4-4

SIGNS

When the Signs parameter is set to 1, a significant increase in output gain can occur.

Page 48

480L Owner's Manual

Programs — Bank 5: Effects

Bank 5: the Effects Programs

1 Illusion

SPN SLP LNG WAN NUM PDL

30 154 0 ms 42 us 40 20 ms

MON FBL FBD DIF IND MIX

Stereo Off 0 ms 64 52 ms All Fx

HPL HPR SGN 0 Hz 0 Hz 0

2 Surfin

SPN SLP LNG WAN NUM PDL

44 247 0 ms 882 us 40 20 ms

MON FBL FBD DIF IND MIX

Stereo Off 0 ms 64 0 ms All Fx

HPL HPR SGN

120 Hz 120 Hz 0

3 Voc. Whisper

SPN SLP LNG WAN NUM PDL

48 106 38 ms 23 ms 28 8 ms

MON FBL FBD DIF IND MIX

Stereo -16 dB 412 ms 44 244 ms 76%

HPL HPR SGN

0 0 0

4 Doubler

SPN SLP LNG WAN NUM PDL

44 170 16 ms 26 ms 16 48 ms

MON FBL FBD DIF IND MIX

Stereo -18 dB 10 ms 82 0 ms All Fx

HPL HPR SGN

0 0 0

6 Rebound

SPN SLP LNG WAN NUM PDL

48 254 444 ms 35 ms 40 254 ms

MON FBL FBD DIF IND MIX

Stereo -9 dB 0 ms 0 122 ms 64%

HPL HPR SGN

0 0 0

7 Git It Wet

SPN SLP LNG WAN NUM PDL

17 187 80 ms 35 ms 8 80 ms

MON FBL FBD DIF IND MIX

Stereo -12 dB 44 ms 59 0 ms All Fx

HPL HPR SGN 0 Hz 0 Hz 1

8 Sudden Stop

SPN SLP LNG WAN NUM PDL

48 130 216 37 ms 40 52 ms

MON FBL FBD DIF IND MIX

Stereo -18 dB 48 ms 99 0 ms All Fx

HPL HPR SGN

0 0 0

9 In the Past

SPN SLP LNG WAN NUM PDL

45 247 500 ms 13 ms 40 0 ms

MON FBL FBD DIF IND MIX

Stereo Off 0 ms 87 504 ms 52%

HPL HPR SGN

0 0 0

5 Back Slap

SPN SLP LNG WAN NUM PDL

43 219 86 ms 10 ms 40 38 ms

MON FBL FBD DIF IND MIX

Stereo Off 0 ms 52 0 ms All Fx

HPL HPR SGN

0 0 0

0 Tremolo L & R

SPN SLP LNG WAN NUM PDL

30 135 0 ms 0 us 4 0 ms

MON FBL FBD DIF IND MIX

Mono B Off 0 ms 0 0 ms All Fx

HPL HPR SGN

0 0 0

4-5

Page 49

Bank 5: the Effects Programs

Program Descriptions

Lexicon

The effects produced by these programs can be very difficult to describe. They range from subtle to outrageous, depending largely on the type of source material used, and how much of the effect is added to the mix. These effects are powerful and complex, and we encourage you to spend a great deal of time listening to them.

1 Illusion

Illusion (when added to the mix in relatively small amounts) is a subtle effect that can enhance a sound without a listener even knowing it is there. One often doesn't notice that it is in use until it is taken away. Illusion is also useful for stereo synthesis.

Illusion is effective on complete mixes and on single tracks.

When greater amounts of Illusion are added to the mix, the effect becomes more obvious, and some interesting phasing and panning are audible. The phasing is strong enough that spatial panning results, with some of the sound swirling around and even behind the listener.

2 Surfin'

Surfin' produces flanging when fed with percussive material. Try it on everything from guitars to vocals and percussion.

3 Vocal Whispers

Vocal Whispers is a delay-based effect designed to enhance vocals.

4 Doubler

Doubler is a doubler with a difference—the diffusion used on the delay lines thickens percussive sounds considerably. This is a good choice for fattening up uninteresting sounds.

5 Back Slap

A strong fast slapback effect.

6 Rebound

Throw something at this one and it comes rippling right back at you. Try it on vocals with short, explosive syllables.

7 Git It Wet

It's Saturday afternoon in the guitar section of a large music store. — Just add the metal guitar.

8 Sudden Stop

Sudden Stop produces a sound like a grainy inverse gated room. It's rather interesting on snare, high toms and cymbals. However, it is not intended for use on low frequency material. Avoid low toms, kick drums, and bass guitar.

9 In the Past

In the Past is unique in that the dry signal is set to 504 ms so that it appears after the build-up of the effects signal. It should be used with program content being mixed through the 480L; in other words, keep the source fader down and send audio to the 480L prefade. In the Past uses 40 well-diffused voices. The length of the delay is set to 500 ms with a build-up slope of 247.

0 Tremolo L and R

Tremolo L and R uses four undiffused voices with the delay line and WANDER set to 0. SPIN controls the rate at which the mono blended signal tremelos between the left and right outputs. Tremolo depends for its effect on having the delay lines slightly out of sync. If you load the program and the effect seems to lack depth, load it again.

4-6

Page 50

Bank 6: the Twin Delays Programs

This chapter describes the Twin Delays

programs located in Bank 6.

Page 51

Bank 6: the Twin Delays Programs

DRY

L Ch Dry Level

DRY

R Ch Dry Level

ROL

L DLY1 Rolloff

DL2

R DLY2 Value

DL1

L DLY1 Value

LV2

R DLY 2 Level

PAN

L Channel Pan

PAN

R Channel Pan

FB1

L DLY1 Feedback

FB2

R DLY2 Feedback

DL3

L DLY3 Value

LV3

L DLY3 Level

FB3

L DLY3 Feedback

DL4

R DLY4 Value

LV4

R DLY4 Level

FB4

R DLY4 Feedback

FIN

L Fine Delay

FIN

R Fine Delay

MST

Delay Multiplier

ROL

R DLY1 Rolloff

LV1

L DLY1 Level

Page One

Page Two

Page Three

Page Four

The Twin Delays Program

Lexicon

The Twin Delays program located in Bank 6 is a four voice delay line with independently-adjustable level, feedback, and delay time for each voice. Feedback can be positive or negative. Feedback for Delays 3 and 4 is cross-panned.

Independent low pass filters, adjustable between 120Hz and full bandwidth, are provided for the first and second delay voices (Delay 1 Left Channel and Delay 2 Right Channel)and their respective feedback paths. These voices also have independent panning controls.

About the Twin Delays Parameters

Page One

DRY (L and R Channel Dry Level)

L DRY sets the dry signal level from the left input to the left output. It is not affected by L or R PAN. R DRY sets the dry signal level from the right input to the right output. It is not affected by L or R PAN.

ROL (Rolloff)

Rolloff is a low pass filter that can be adjusted independently for LDLY1 and RDLY2 voices. Values for Rolloff are adjustable between 120Hz and full range.

Page Two

DL1 (LDLY1 Val)

Sets the delay time for the first (left channel) delay voice.

LV1 (LDLY1 Lvl)

Adjusts the level (amplitude) of DL1.

FB1 (LDL1 Fbk)

Adjusts the amount of feedback (positive or negative) around DL1.

DL2 (RDLY2 Val)

Sets the delay time for the second (right channel) delay voice.

LV2 (RDLY2 Lvl)

Adjusts the level (amplitude) of level for DL2.

FB2 (RDL2 Fbk)

Adjusts the amount of feedback (positive or negative) around DL2.

L PAN (Left Channel Pan)

L PAN sets the panning of the DL1 and FB1 signal to the left and right outputs.

R PAN (Right Channel Pan)

R PAN sets the panning of the DL2 and FB2 signal to the left and right outputs.

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480L Owner's Manual

Bank 6: the Twin Delays Programs

Page Three

DL3

Sets the delay time for the third (left channel) delay voice.

LV3

Adjusts the level (amplitude) of DL3.

FB3

Adjusts the level of a cross-panned (L-R) feedback line. Feedback can be positive or negative.

DL4

Sets the delay time for the fourth (right channel) delay voice.

LV4

Adjusts the level (amplitude) of DL4.

FB4

Adjusts the level of a cross-panned (R-L) feedback line. Feedback can be positive or negative.

Program Descriptions

1 4-Voice Double

Delay voices are doubled in stereo. When added to dry signal, it's crisp, wide, and uncluttered.

2 Double Delay

Two voices produce a double effect. The other two provide a longer delay synced with the double. Cross panned feedback ices the cake.

3 4-Bounce Delay

Between left and right channels, Very clean.

4 Pitter Patter

Delays are widely spaced with reiterative and cross panned feedback.

5 X-Pan Double

Two voices are cross panned through delays. Great for stereo background vocals.

6 Delay Cave

Need we say more?

Page Four

FIN L

Sets the delay value of the left channel fine delay in samples.

FIN R

Sets the delay value of the right channel fine delay in samples.

MASTER

MASTER is a delay multiplier for all delay voices. It multiplies all delay values (DL1-4).

7 Circles

Long delays with cross panned feedback that creates a "circular" effect.

8 There & Back

Delay starts on one channel, slaps to the other, and returns.

9 Soft Roller

Stereo echo with high frequency cut.

0 On and On

Long echoes that pan across center.

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Bank 6: the Twin Delays Programs

Programs — Bank 6: Twin Delays

Lexicon

1 4-Vce Double

DRY DRY ROL ROL PAN PAN

Off Of Full Full Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

32.03ms 0dB 0% 21.04ms 0dB 0% DLY3 LV3 FB3 DLY4 LV4 FB4

60.01ms -6dB 0% 42.09ms 0dB 0%

FIN FIN MST

0 0 1.00

2 Double Delay

DRY DRY ROL ROL PAN PAN

Off Off Full Full Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

26.04ms 0dB +25% 32.03ms 0dB +25% DLY3 LV3 FB3 DLY4 LV4 FB4

300.0ms -4dB +30% 600ms -4dB +30%

FIN FIN MST

0 0 1.00

3 4-Bounce Dly

DRY DRY ROL ROL PAN PAN

Off Off Full Full Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

100ms 0dB 0% 200ms 0dB 0%

DLY3 LV3 FB3 DLY4 LV4 FB4

300.0ms -2dB -30% 400.0ms -2dB +30%

FIN FIN MST

0 0 1.00

6 Delay Cave

DRY DRY ROL ROL PAN PAN

Off Off 8158Hz 8158Hz 42 58

DLY1 LV1 FB1 DLY2 LV2 FB2

21.04ms 0dB 0% 42.84ms 0dB 0% DLY3 LV3 FB3 DLY4 LV4 FB4

100.0ms 0dB +37% 80.03ms 0dB +37%

FIN FIN MST

0 0 1.00

7 Circles

DRY DRY ROL ROL PAN PAN

Off Off Full Full Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

0ms Off 0% 0ms Off 0%

DLY3 LV3 FB3 DLY4 LV4 FB4

300.10ms 0dB +40% 150ms 0ms +40%

FIN FIN MST

0 0 .50

8 There & Back

DRY DRY ROL ROL PAN PAN

Off Off 9691Hz 9691Hz Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

102.0ms -6dB 0% 198.0ms -6dB 0% DLY3 LV3 FB3 DLY4 LV4 FB4

300.1ms -15dB +73% 1000ms -15dB -75%

FIN FIN MST

0 0 1.00

4 Pitter Patter

DRY DRY ROL ROL PAN PAN

Off Off 1158Hz 7181Hz Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

112.07ms -6dB 0% 198.04ms -6dB 0% DLY3 LV3 FB3 DLY4 LV4 FB4

300.00ms -15dB +73% 954.0ms -15dB -75%

FIN FIN MST

0 0 1.00

5 X-Pan Double

DRY DRY ROL ROL PAN PAN

Off Off Full Full Right Left

DLY1 LV1 FB1 DLY2 LV2 FB2

30.03ms 0dB 0% 60.01ms 0dB 0% DLY3 LV3 FB3 DLY4 LV4 FB4

0ms Off 0% 0ms Off 0%

FIN FIN MST

0 0 1.00

5-4

9 Soft Roller

DRY DRY ROL ROL PAN PAN

Off Off 6882Hz 6882Hz Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

300.1ms 0dB +26% 300.1ms 0dB +26% DLY3 LV3 FB3 DLY4 LV4 FB4

310.8ms -4dB -16% 310.8ms -4dB -16%

FIN FIN MST

0 0 1.00

0 On and On

DRY DRY ROL ROL PAN PAN

Off Off 5.788Hz 5.788Hz Left Right

DLY1 LV1 FB1 DLY2 LV2 FB2

600.8ms 0dB +24% 600.8ms 0dB +24% DLY3 LV3 FB3 DLY4 LV4 FB4

1200ms -6dB +33% 1200ms -6dB -33%

FIN FIN MST

0 0 1.00

Page 54

Bank 7: the Sampler Programs

The Sampler programs located in Bank 7

include a variety of useful features for

recording and production work. The pro-

grams allow slip syncing, copying, and time

shifting of segments. Accurate triggering

(response time is under 300 microseconds)

allows replacement of drum or cymbal

sounds (with full decay times) when track-

ing or overdubbing. Capture mode and

editing features allow precise manipulation

of sampled data. The samplers can also be

triggered and controlled via MIDI.

The variety of samplers available in the

480L can be a bit overwhelming to the

uninitiated. To get started, we recommend

loading each sampler, and experimenting

with the controls. If you are uncertain about

the effect of a parameter, look up its de-

scription at the end of this chapter.

Page 55

Bank 7: the Sampler Programs

Introduction

Lexicon

The 480L has a number of sampling programs, each with different features and capabilities. The optional Sampling Memory Expander (SME) board can be inserted into the fourth card slot in the 480L, providing

10.9 seconds of true phase-locked stereo sampling time, or 21.8 seconds of mono sampling time at a 48kHz sampling rate.

As with all 480L programs, any sampling program can be loaded into either machine. This leaves the other machine free to process signals independently, or in conjunction with the sampling program, as in the following illustrations.

Dual Mono

Cascade

L R

Mach A

Sampler

L R L R

L R

Mach B

Reverb

Programs 1-8 in Bank 7 do not require the SME option. They are:

Program Sampling Time

# Name @ 48kHz

1 Stereo 3S 2.7 Sec. 2 Mono 6S 5.4 Sec. 3 Mono 3S 2.7 Sec. 4 Dual Rate Change 2 x 1.4 Sec. 5 Mono Fwd & Rev 1.4 Sec. 6 Stereo 3Sec Drum 2.7 Sec. 7 Dual Rate Change Drum 2 x 1.4 Sec. 8 Mono Fwd/Rev Drum 1.4 Sec.

Programs 9 and 0 in Bank 7 require the SME card.

9 Stereo Rate Change 10S 10.9 Sec. 0 Mono Rate Change 20S 21.8 Sec.

Note: All samplers record slightly longer times when

the 480L sampling rate is set to 44.1 kHz.

Mach A

Doppler

Mach B

Sampler

After capturing Doppler in Sampler, program can be changed and used independently of Sampler with recorded effect.

Mach A

Dual Rate

Change Drum

L R L R

MIDI Trigger

4-Voice Drum Replace with MIDI playback trigger. Note value changes playback rate and pitch.

Mach B

Dual Rate

Change Drum

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480L Owner's Manual

Bank 7 Samplers

Bank 7: the Sampler Programs

There are three types of non-SME samplers. They all record in multiples of 1.36 seconds at 48 kHz (1.48 seconds at 44.1 kHz). The presets provide leveltriggered capturing from the left input only, referenced to -24 dB on the LARC level indicators. MARK is set to save five ms of pre-trigger audio for a fast fade-up, except for the Drum percussion samplers, where it is set to 0, or “MARK THE HEAD.”

Stereo 3S - Bank 7, Program 1

This progam records and overdubs 2.7 seconds of phase-locked stereo at 48 kHz. It features overdubbing of the entire sample. The first capture may use any record mode. The overdub always uses the IMMEDIATE mode. This program must be run in the 480L's SINGLE configuration.

Mono 6S - Bank 7, Program 2

This program records and overdubs 5.4 seconds at 48 kHz, from the left input only. It features overdubbing of the entire sample. The first capture may use any record mode. The overdub always uses the IMMEDIATE mode. This program must be run in the 480L's SINGLE configuration.

Mono 3S - Bank 7, Program 3

Drum Samplers

Programs 6, 7, and 8 in Bank 7 are identical to the samplers described above, except that MARK and FADE TYPE have been set for percussion instead of FAST FADE UP. This ensures that the initial attack of a percussive sample is not dulled in a fade up.

Bank 7 Samplers – SME Only

Stereo Rate Change/Overdub - Bank 7, Program 9

The Stereo SME sampler records and overdubs 10.9 seconds of phase-locked stereo audio at 48 kHz from the left and right inputs, and plays back through the corresponding output channels. It provides level-triggered capturing from the left input only, referenced to the LARC level indicators. MARK is set to save two ms of pre-trigger audio for a fast fade-up.

Playback can be varied continuously from -100% (X1 reverse) through 0 (stopped) to +199% (just under X2 forward). The rate can be varied continuously during playback. Due to computational limits, some reverse rates introduce audible clicks during playback. -100% and the rates near it are free of noise; all positive rates are free of noise.

This is similar to program 2, except that it is small enough to run in any of the 480L's configurations (not just SINGLE).

Dual Rate Change - Bank 7, Program 4

This program features two independent rate-changing samplers. You may vary the pitch while playing, but avoid trying to cross the pitch up/pitch down boundary. There are two independent editing pages to design the samples, and play pages that permit you to trigger both samples simultaneously. Level retriggering is always active, after a short fixed holdoff.

Mono Forward/Reverse - Bank 7, Program 5

This program can play a sample reversed, either alone, or with forward play. It records and triggers from the left input only, but pans the two playback voices between left and right. The playback timing relationship may be shifted so that either voice precedes the other, or they may play simulaneously. Level retriggering is not available in this program.

In the SME samplers the FORWARD TIME parameter slider is replaced by TAIL TRIM. The user marks the HEAD and TAIL points of the sample; the 480L calculates the play time. These two edit points are interchanged for reverse playback. The 480L will play back the edit accurately regardless of rate variations unless the rate crosses the forward/reverse boundary at 0%.

Mono Rate Change/Overdub - Bank 7, Program 0

The Mono SME sampler records and overdubs 21.8 seconds of audio at 48 kHz from the left input, and plays it back through both left and right outputs. Capturing is set identically to the stereo programs. Playback can be varied continuously from -200% (X2 reverse) through 0 (stopped) to +199% (just under X2 forward). The rate can be varied continuously during playback. All rates are free of any clicks.

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Bank 7: the Sampler Programs

Lexicon

How to Use the Samplers

These general instructions apply to all samplers. (Variations for SME samplers are in parentheses):

Recording

1. Single channel mono samplers record only from the left channel. Dual and Stereo Samplers record from both channels.

2. Adjust audio input levels (as shown on the LARC Headroom display) for +6 dB on peaks.

3. Press REC to begin recording and notice the line of "******" on the LARC under the label "RECORDING". The 480L is now recording audio to memory. All sampling presets will CAPTURE and preserve the sound when the left channel audio exceeds -24dB on the LARC. You may also, at any time, trigger capturing manually with the CAP key. When triggered, the label switches to "CAPTURING" and the "******" indicate the remaining recording time. When the last "*" is gone, press CHK to audition the sample. If you don't like the sample, record again as many times as necessary.

Editing

4. When you have a satisfactory sample, use PAGE to go to the editing page.

5. Use HEAD TRIM to remove excess material from the beginning of the sample. Removing all silence from

the beginning of a sound is absolutely necessary for accurate triggering with the audio play trigger. Always

trim only a little bit at a time, and use CUE (EDIT) frequently to audition the results.

6. Use FORWARD TIME (TAIL TRIM) to remove excess material from the end of the sample.

7. Use FADE TYPE to select a hard cut for percussive material, or the normal 5 ms fast fade up.

Playing

8. When you have trimmed your sample, go to the play page to select multiple play and triggering options. The sampler's PLAY key is preset just like the CUE key; press PLAY to manually trigger one play of the edited sample. Press PLAY before the sample finishes to manually retrigger the sample.

9. Use the RP, repeat, slider for more than one play per trigger. The value is not used until the next time you trigger PLAY, either manually, by MIDI, or with audio level, so you may program it in advance. If you start a large number of repeats and need to stop playback, just press CUE.

10. Use the TLV, trigger, slider to set the trigger mode. The samplers are preset with the slider all the way up to respond to a manual trigger from the PLAY key or a MIDI patch. Pulling the slider down to CONTINUOUSLY enables continuous repeats of the sample. Adjusting TLV in dB selects a LARC level for audio triggering from the left input.

11. You must press PLAY to arm the level trigger or to start CONTINUOUS playing. If you wish to disarm level triggering or stop continuous play, press CUE.

12. When the input signal level to the 480L reaches the level you set with PLAY TRIGGER, the sample is played back. For most of the samplers, playback starts 80 us after audio is detected. The sample is fully fadedin 5 ms later. The Forward/Reverse Sampler starts 115 microseconds after audio is detected. The level trigger rearms automatically when each play is complete.

13. To prevent the sampler from accidentally retriggering off incoming audio before the entire sample has been played, all samplers with a RETRIG HOLD slider have been preset to NO RETRIGGER.

14. To enable retriggering, set the RETRIGGER HOLD somewhere above NO RETRIGGER. Select a time that is short enough to allow retriggering as often as you desire it, yet long enough to prevent retriggering before you want it. Setting too short a RETRIGGER

HOLD can result in multiple retriggers from a single sound.

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Bank 7: the Sampler Programs

Optimizing Level Triggered Playback

These tips will enable you to obtain tight level triggering for percussion replacement and other critical applications.

14. Make sure there is no "dead air" at the head of your sample. The non-percussion samplers are preset to MARK and preserve a few milliseconds of pre-trigger audio for the FAST FADE UP. You may either MARK THE HEAD (0 milliseonds) or trim this later.

15. Marking the HEAD while using the preset -24dB level-triggered recording should provide a tight enough HEAD trim for most users. You may tighten the recording further by setting MODE to a higher dB level.

16. Besure to set FADE TYPE to PERCUSSION for sounds with tight, clean attacks. If the cue is still too loose, then trim HEAD until just before you hear loss of the attack.

17. Adjust TLV, playback trigger level, for the greatest sensitivity that doesn't give false triggers.

Note: If you are using level retriggering to interrupt and restart sample playback, a combination of too sensitive a trigger level and insufficient retrigger holdoff time can lead to a stuttering, which some hear as a great effect. If it's not for you, remember these general guidelines.

Using Rate Change Samplers

1. Both SME samplers and the Bank 7 sampler, Dual Rate Change, permit you to adjust the playback RATE. Starting with Version 3.00 software, the display now shows percent of normal speed and, over a certain range, musical interval from unison. The pitch interval display corresponds to that of the pitch changer, Bank 8, programs 1 through 6, and shows the range over which you may correct the sampler's pitch. You can cascade these programs for simple time compression.

2. The non-SME Dual Rate Change sampler allows you to record, edit and playback two independent samples. Use the VX, RECORD VOICE slider to select a voice for the Page 1 Record controls. Record and check a sample as above.

3. There are two independent editing pages, and independent play controls for each voice. Voice 1 comes out the left side, Voice 2 out the right.

Using the non-SME FORWARD/REVERSE Samplers

1. The sampler is preset to play only the forward voice. To activate the reverse voice, adjust REV TIME (slider 5) to some large number, and adjust TAIL TRIM to tighten the beginning of the backwards play.

• Use a short duration retrigger signal with a sharp attack.

• Raise the level threshold - if this can be done

without delaying the initial trigger.

• Make the HOLDOFF time as long as possible

The Bank 7 Dual Rate Change sampler has a fixed retrigger HOLDOFF of about 100 milliseconds. The forward/reverse sampler cannot perform level retriggering, it can only be retriggered manually or via MIDI.

2. To turn off either voice, move its TIME slider to

0.000 SEC.

3. To adjust the relative start times of two active voices, use the "<>" slider, PLAY ORDER. For a different kind of inverse effect, try sliding the forward voice so that it starts just as the reverse is finishing.

4. Adjust the relative gains and panning of each voice on Page 3.

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Bank 7: the Sampler Programs

Lexicon

Time Variant Recording

The original (and still available) IMMEDIATE record mode allows control over the start time only. Recording starts when the REC button is pressed, and continues until all audio memory is used. We now use the term capturing to describe a sampler that records until a triggering event stops it. Time Variant Recording provides controls that determine exactly what audio is captured (the MARK slider) and how it is captured (the MOD slider, REC key, and CAP key).

The recording side of the sampler has three states: READY, RECORDING, and CAPTURING. In the READY state, all recording is complete, and the 480L is ready for playback or to record again. Tap REC to begin recording.

To determine which of the three states the sampler is currently in, tap CHK or CUE. If the sampler is READY, the LARC displays the name of the key and plays the sample. If the sampler is recording, but not yet triggered, the LARC displays:

RECORDING ************

2. Percussion capturing. Triggers on first audio, trimmed exactly. Everything after the trigger is saved.

MOD = Appropriate dB level MARK = HEAD

3. Stop when finished. Triggered by user when sound is ended. Everything prior to the trigger is saved.

MOD = USE CAP KEY MARK = TAIL

4. Reaction time manual capturing. User taps REC to arm the 480L, waits for sound to start, and then taps CAP. Sound for the period of time set with MARK prior to tapping CAP is saved.

MOD = USE CAP KEY MARK = An appropriate period of time

5. Level triggered capturing. Same as reaction time manual capturing, but level triggered instead. Useful for sounds that build more slowly than percussion.

MOD = An appropriate level MARK = An appropriate time

The asterisks indicate that the sampler is armed and ready to record. If the sampler has been triggered manually (by pressing CAP), by level, or IMMEDIATE, the LARC displays CAPTURING and the asterisks disappear one by one until completion. Pressing CHK or CUE will not disturb recording.

MARK may be adjusted from the HEAD of the sample to the TAIL. If MARK is 0, everything after the trigger is saved. If MARK is TAIL, everything before the trigger is saved.

The most obvious application for the Capture mode is level triggered capture, with MARK time set for zero or just above zero. The response is extremely fast, so the capture will really nail a percussive sound. Set FADE TYPE to PERCUSSION, and set the Trigger Level as low as possible.

Some useful applications are described below:

1. To obtain the original, simple form of recording. MOD = IMMEDIATE

Sampling Percussion

When sampling percussion, set FADE TYPE to PERCUSSION. The sample will start with a hard cut instead of the normal FAST FADE. If the sample plays completely, the end is always faded down. From Version

3.00 on, the SME and the overdubbing non-SME samplers have been modified so that a PERCUSSION mode retrigger will cut rather than fade out the running sample. This improves synchronization in fast percussion replacement applications. (It may also result in a click in non-percussive samples, so be careful in choosing which type of fade you want.)

Scrubbing

A feature of the SME samplers is their ability to continuously vary the speed of playback within the limits described in the earlier program descriptions. There are four speed regions defined by these end points:

-200%, -100%, 0%, +100% and +199%. You can vary the RATE at will within these regions, but crossing the boundaries may cause glitches whose audibility depends on the source material.

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480L Owner's Manual

Bank 7: the Sampler Programs

Edits will always be accurate over the entire range of the sampler unless you change direction (cross the 0 boundary) after triggering. There is, therefore, no limitation on auditioning a tight edit at low speed and playing it back fast – just avoid changing direction while playing. Changing direction will cause minor inaccuracies in the play time.

From Version 3.00 on, the SME samplers have a third FADE TYPE called SCRUB MODE, for those applications where play time is less important than the fun you can have moving the RATE slider around. In SCRUB MODE there is no fade out, ever. The sample starts at the HEAD time, then plays continuously through memory and around again.

To disable SCRUB MODE, adjust FADE TYPE to PERCUSSION or FAST FADE UP and press CUE.

Using MIDI to Control a Sampler

Dynamic MIDI® is very helpful when used with the sampling programs. MIDI controllers can be patched to control sampler parameters such as HEAD TRIM, FWD TIME, and FADE TYPE. MIDI Note On events can be patched to control sampler events, such as RECORD, CHECK, PLAY, etc.

A single note can be patched to trigger an event, or a range of notes can control a single event. The following procedure assumes you have made MIDI connections and set the 480L's MIDI channels (as described in MIDI and the 480L).

Note: Because of different processing times for events and parameters in the 480L, you should be careful patching parameters to note event data (LST NOTE, LAST VEL) when the note event is triggering a 480L sampling event like PLAY. The parameter will usually not be updated until after play starts, so the parameter updates will be missed unless the same event is repeated.

Typically, two patches are needed to control a sampler, assuming that you will handle recording and preliminary editing manually. You will need to patch MIDI source "NOTE EVENT" (over some range of note values) to a 480L sampler "event" (usually a PLAY key) so that playing a synthesizer key will trigger the edited sample.

Having done this, there are several interesting parameters you can vary, including FORWARD TIME (TAIL TRIM in the SME), REPEATS, and RATE. These may be patched to MIDI sources such as PITCH WL, MOD WL and other controllers.

To patch a MIDI controller to a sampler parameter:

1. Press CTRL to enter Control Mode. Go to page 4.

2. Use SEL to select the patch to create (there are 10 possible patches).

3. Use SRC to select the MIDI controller for the patch.

4. Use DST to select the parameter you will control.

5. Use SCL to set the scaling of the MIDI controller to the sampler parameter.

6. Use PRM to set the base setting for the parameter, and audition the effect of the controller.

7. After setting up your patches, be sure to save the new settings in a register.

To patch a MIDI note event to trigger a sampler event:

1. Press CTRL to enter Control Mode. Go to page 4.

2. Use SEL to select the patch to create (only the first four patches can be used for events).

3. Push the SOURCE slider all the way up to NOTE EVENT.

4. Use DST to select the event you wish to control.

5. If you want to use a single key to trigger an event, set LOW NOTE and HIGH NOTE to the same value.

6. If you want a range of keys to trigger an event, use LOW NOTE to set the low end of the range, and HIGH NOTE to set the high end of the range.

7. After setting up your patches, be sure to store the new settings in a register.

In the rate-changing samplers, a special event (MIDI PLAY) has been created that directly updates the rate parameter before play starts. This allows triggering samples from a MIDI keyboard at rates that correspond to the MIDI semitone pitch intervals. On the same LARC page are two parameters that control the MIDI PLAY interaction with RATE, Reference MIDI Note, and Pitch MIrror. They are fully described in the next section.

When using MIDI to control the sampler, be careful not to send the 480L a program change command. This will load a new program or register, resulting in the loss of the sample in memory. To prevent this from happening, the PGM CHANGE parameter in the control mode can be set to IGNORE. This causes the 480L to ignore MIDI program changes.

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Bank 7: the Sampler Programs

REC

Record

MARK

Mark Capture

DUB

Overdub

CAP

Manual Trigger

CHK

Check Sample

FAD

Fade Type

HED

Head Trim

TIM

Forward Time

CUE

Cue Sample

PLAY

Play

Repeat

TLV

Trigger

MODE

Capture Mode

REC

Record

MODE

Capture Mode

CAP

Manual Trigger 2

CHK

Check Sample

FAD

Fade Type

HOLD

Retrigger Hold

CUE

Cue Sample

REC

Record

MARK

Mark Capture

HEAD

Head Trim

CAP

Manual Trigger

CHK

Check Sample

FAD

Sample1 Fade Type

HEAD

Head Trim 2

TRM

Sample2 Fwd Time

PLAY

Play Sample1

Repeat Sample1

TLV

Trigger Sample1

MODE

Capture Mode

TIM

Sample1 Fwd Time

RAT

Sample1 Plybk Rate

CUE

Cue Sample1

Sample Voice Select

FAD

Sample2 Fade Type

RAT

Sample2 Plybk Rate

CUE

Cue Sample2

PLAY

Play Sample2

Repeat Samp2

TLV

Trigger Sample2

MID

MIDI Play Samp1

REF

MIDI Note Sample1

RAT

Samp1 Plybk Rate

MID

MIDI Play Samp2

REF

MIDI Note Samp2

RAT

Samp2 Plybk Rate

REC

Record

MARK

Mark Capture

HEAD

Head Trim

CAP

Manual Trigger

CHK

Check Sample

TAIL

Tail Trim

LVL

Fwd Plybk Level

PAN

Fwd Samp Panning

PLAY

Play Sample

Repeat

TLV

Trigger Level

MODE

Capture Mode

TIM

Sample1 Fwd Time

TIM

Reverse Time

CUE

Cue Sample

FAD

Fade Type

CUE

Cue Sample

< >

Play Order

LVL

Rev Plybk Level

PAN

Rev Samp Panning

CUE

Cue Sample

Stereo 3S/Mono 6S, and Stereo Drum

Page One

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Dual Rate Change

Page One

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Lexicon

Page Three

Page Four

Page Five

Foward and Reverse

Page One

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480L Owner's Manual

REC

Record

MARK

Mark Capture

HED

Head Trim

CAP

Manual Trigger

CHK

Check Sample

FAD

Fade Type

PLAY

Play Sample

Repeat

LVL

Ref MIDI Velocity

REF

Ref MIDI Note

MODE

Capture Mode

TAL

Tail Trim

RAT Rate

CUE

Cue Sample

DUB

Overdub

RAT

Rate

HOLD

Retrigger Hold

CUE

Cue Sample

MIR

Pitch Mirror

RAT

Rate

MID

MIDI Play

EDIT

Edit

TLV

Trigger

CUE

Cue Sample

Stereo Rate Change 10 - Mono Rate Change 20

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About the Sampling Controls and Parameters

Bank 7: the Sampler Programs

All the parameters available in the sampling programs are listed below, in alphabetical order. No single program has all parameters. Refer to the program descriptions for parameter availability.

CAP Key

CAP interacts with the MARK and CAPTURE MODE parameters. When CAP MODE is set all the way up, CAP triggers the capture event described by MARK. In the SME samplers, CAP may also be used to switch monitoring from playback to source.

Capture MODE

Capture MODE selects the capture mode and trigger level. When the slider is at the bottom of its range, MODE is set to IMMEDIATE, which means that capturing is triggered as soon as recording starts. Moving the slider up selects the audio level for level triggering. When incoming audio exceeds this preset level, capturing begins.

With Capture MODE all the way up at USE CAP KEY. Only the CAP key triggers capturing.

CHK Key

CHK is used to audition the entire sample immediately after it is recorded. The effects of the editing controls (HEAD TRIM, TAIL TRIM, etc.) are not heard when CHK is pressed.

CUE Key

CUE is used to audition edits as they are made.

DUB Key

DUB is essentially a CHK play key that also switches on recording when it starts, permitting overdub (soundon-sound) recording.

EDIT Key

Making minute adjustments of HEAD TRIM and FORWARD TIME to get a sample sounding just right can be tedious. This is especially true with the longer samples possible with the SME. EDIT speeds up the process by allowing you to listen to just the relevant portions of a sample when editing.

EDIT functions as a CUE key, with one important difference—it only plays two seconds of audio. If HEAD TRIM was the last control used, EDIT plays the first two seconds of the sample. If TAIL TRIM was last, EDIT plays the last two seconds of the sample.

FADE TYPE

FADE TYPE selects between Fast Fade Up and Percussion. Use Fast Fade Up for most sampled material except percussion. Use Percussion for drum sounds and percussion.

The SME samplers have a third mode, SCRUB, to eliminate the fade down that occurs at the end of every play. In SCRUB mode audio begins at the selected point, then plays the entire sample memory continuously, This allows rocking the audio back and forth with the RATE slider without any fade down.

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Bank 7: the Sampler Programs

Lexicon

FORWARD TIME

FORWARD TIME selects how much of the recorded sample to play back (in forward play).

HEAD TRIM

Once a sample has been recorded, head trim is used to remove unwanted information at the beginning of the sample, selecting a new start point for playback.

A fine mode is provided for precise trim. Press the button under the Head Trim slider until the display flashes. To exit, press the button again and hold it until the display stops flashing.

LEVL FWD (Mono Forward/Reverse)

LEVL FWD sets the playback level for forward play.

LEVL REV (Mono Forward/Reverse)

LEVL REV sets the playback level for reverse play.

MARK

MARK adjusts the amount of pre-trigger audio that is finally recorded. If MARK = 0, MARK THE HEAD, then no pre-trigger audio is saved. If MARK is set to MARK THE TAIL, the trigger event is a STOP recording command, and only pre-trigger audio is saved. MARK can be adjusted for a few milliseconds in order to fine tune an attack, or up to 0.5 second (1 second in SME) for other uses.

PAN FWD (Mono Forward/Reverse)

PAN FWD sets the pan location between the two outputs for forward playback.

PAN REV (Mono Forward/Reverse)

PAN REV sets the pan location between the two outputs for reverse playback.

PLAY Key

PLAY is the manual playback trigger. When pressed, it arms level triggering if active, or immediately triggers playing the sample for the selected REPEAT count.

PLAY ORDER (Mono Forward/Reverse)

PLAY ORDER determines whether the forward or reverse sample is played first. With the slider all the way down, the sample is played in reverse first, and forward second. With the slider centered, the sample is played in forward and reverse at the same time. With the slider all the way up, the sample is played forward first, and in reverse second. A wide range of settings between these three basic points is available.

RATE

RATE changes playback speed, resulting in a changed audio pitch. A setting of 100% gives an unchanged pitch on playback. RATE can be varied at any time, either manually, or by MIDI, within the limitations mentioned in the Bank/Program descriptions.

If MARK is set to TAIL, or a large value, the LARC "******" display will fill up from left to right when REC is pressed. When all twelve "*"s are lit, all old audio will be erased by the new recording, Remember this when using MARK THE TAIL – if you trigger early, old audio will remain in memory. (This could be useful; you can always trim it out.)

MIDI Play Key

From the LARC, MIDI Play functions exactly like Play (below) and plays the sample at the previous rate. When patched to MIDI NOTE EVENT, before playing the sample it first sets a new rate based on the note value, Reference MIDI Note parameter, and Pitch Mirror (SME only). The rate intervals occur on semitone pitch intervals.

MIR

Pitch Mirror modifies the behavior of MIDI Play by decreasing the rate for increasing note vaues. This is particularly useful when playing mono SME samples in reverse. (It can also be used for stereo samples, but some reverse rates may produce audible clicks.)

REC Key

The 480L begins recording the instant REC is pressed. REC may be pressed at any time to restart a recording. Forward/Reverse Sampler, and Mono Samplers record via the left input.

REF

Reference MIDI Note selects the MIDI note value that produces X1 forward playback. It is used to transpose the control region of a MIDI keyboard. When MIR is off, notes higher than REF produce faster rates, lower notes produce slower rates, and notes more than an octave down produce reverse play rates.

REPEAT

REPEAT sets the number of times a sample is played. After selecting the number of play repeats, you must enter the selection by pressing PLAY.

RETRIGGER HOLD

When using audio triggering, RETRIGGER HOLD sets the period of time the sampler will wait before retriggering. When set to NO RETRIGGERING (all the way down) the sample may be level retriggered only when play is completed.

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480L Owner's Manual

REVERSE TIME (Mono Forward/Reverse)

REVERSE TIME sets how much of the sample to play back (in reverse play).

TAIL TRIM

Once a sample has been recorded, TAIL TRIM is used to remove unwanted information at the end of the sample, and select the start point for reverse playback.

A fine mode is provided for precise trim. Press the button under the Head Trim slider until the display flashes. To exit, press the button again and hold it until the display stops flashing.

TLV, Play TRIGGER Play Trigger selects the method for triggering playback. With the control all the way down, playback is continuous. In the middle range are playback trigger levels corresponding to the Headroom display on the LARC. With the slider all the way up, triggering is manual only, via the PLAY key.

After selecting a play trigger method or level, enter the selection by pressing PLAY.

Bank 7: the Sampler Programs

VX, Record VOICE MODE

In the Dual Rate Change Sampler, RECORD VOICE selects which of the two voices to record.

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Page 65

Bank 8: the Pitch Change and

Doppler Programs

The Pitch Change program is a true stereo pitch shifter which displays pitch change in

musical intervals. It can also operate as two

independent mono programs in each chan-

nel. In addition, a delay line with independent feedback paths is available to create

useful effects. Pitch parameters can be

quickly linked to MIDI Note values; a mirror

feature is also provided.

The Doppler program realistically separates

the sound of a large object passing at high

speed past a stationary listener. It is de-

signed primarily for use in film and video

post-production environments.

Page 66

Bank 8: the Pitch Change and Doppler Programs

MOD

Stero/Mono

SNC

Play Sync

PCH

Pitch L

FBR

R Feedback

PDL

L Predelay

PCH

Pitch R

FIN

Fine Pitch R

FBL

L Feedback

MIX

Wet/Dry Mix

MIDI

MIDI Pitch L

REF

MIDI Ref Note

MIR

Pitch Mirror

GLL

Glide L

SPL

Splice Time

MIDI

MIDI Pitch R

FIN

Fine Pitch L

PDR

R Predelay

REF

MIDI Ref Note

MIR

Pitch Mirror

GLR

Glide R

Page One

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Page Four

Figure 7.1. Pitch Change Parameters.

Lexicon

The Pitch Change Programs

The Pitch Change program located in Bank 8 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.

About the Pitch Change Parameters

Page One

MOD (Stereo/Mono Mode)

MOD selects stereo or mono mode. Move the slider all the way up to select mono, and down to select stereo. In stereo the two channels are linked, pitch shifting by the same amount and splicing at the same time.

SNC (Play Sync)

Normally the channels are in sync, but if PCH, FIN, or GL are moved frequently they can get out of sync. They can be resynchronized by pressing SNC. A small click may be heard when the button is pressed.

PCH (Pitch Interval Stereo/Left)

PCH 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.

FIN (Fine Pitch Stereo/Left)

FIN acts on both channels together in stereo mode, and the left channel in mono mode. It adjusts pitch continuously over a range of a few hundred cents, and is additive to the PCH control. If PCH is set to the middle of its range the FIN control can be used to set very small values of pitch shift, producing a chorusing effect.

PCH (Pitch Interval R)

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

FIN (Fine Pitch R)

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

Page Two

PDL (Predelay L)

PDL adjusts the length of a delay line in series with the left input. The range is zero to over 800 ms, with a fine scale available when the button is pushed. Pre-delay also affects the delay of any feedback which is applied. In stereo mode the two predelays must be set to the same value, or the signals will not be in phase.

PDR (Predelay R)

PDR is the same as the PDL, except that it acts upon the right channel.

FBL and FBR (Feedback Left and Right)

FBL and FBR control the amount of feedback from the output of the pitch shift to the input of the predelay line. The control is at zero feedback when centered, and is adjustable from 0 to +99%. Some very useful effects can be obtained by combining pitch shift, delay, and feedback.

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480L Owner's Manual

Bank 8: the Pitch Change and Doppler Programs

MIX (Wet/Dry Mix)

MIX controls the ratio of processed signal to direct signal from the input to the program. It allows a chorus effect to be set up with at least two voices with delay and feedback, and then have the effect mixed back into the original signal.

Page Three

MIDI (MIDI Pitch Event Left)

MIDI Pitch Event provides a fast link between a MIDI Note Event and interval pitch shifting. By establishing a patch with NOTE EVENT as source and PITCH EVENT as destination, the amount of pitch shift can track incoming notes in semitone intervals. Pressing the KEY will tell you the curent pitch shift.

REF (Reference MIDI Note Left)

REF sets the MIDI Note Value for no pitch change, NULL + 0C, when under MIDI control.

MIR (Pitch Mirror Left)

MIR selects the direction of MIDI pitch control. When MIR is ON, pitch is shifted down for increasing note values.

GLL (Glide Stereo/Left)

GLL affects both channels in stereo mode, and the left channel in mono mode. It changes the pitch continuously over a range of + one octave. This allows a glissando to be performed, either manually with the LARC, or via MIDI. The full resolution of the pitch shift is not available on this control, although vernier (fine tuning) is available by pressing the button under the slider twice.

SPL (Splice Length)

SPL sets the amount of time the splice takes to complete. It is only active at moderate values of pitch shift. Very short splices produce less of a metallic or combing sound in the pitch shift, but can sometimes be audible as a click or a glitch. Longer splices are sometimes less obvious, but can affect the timbre of the sound. High values of pitch shift require short splices, so SPL is deactivated if the pitch shift selected is quite high. The default value of 16 gives good results in most applications.

Page Four

The following controls work on the right channel when the pitch shifter is in mono mode.

MIDI (MIDI Pitch Event Right) REF (Reference MIDI Note Right) MIR (Pitch Mirror Right) GLR (Glide Right)

Program Descriptions

1 Pitch Change

This program has pitch values set to 0 and is set for stereo shift.

2 Pitch Chorus

Pitch Chorus is a dual mono program, which means that both the left and right channels can be set for different amounts of pitch shift. The left channel is preset for -3 cents. The right channel is preset for +6 cents. This produces a medium rolling chorus effect with a lush characteristic.

3 1% Up 1% Down

This is another dual mono program. The pitches are set 1% up and 1% down, creating a heavily processed sound. 39.27 ms and 32.69 ms of delay are used on the pitches, reinforcing the overall effect. This program is ideal for guitar and vocals.

4 Barber Pole

This is a true stereo program. Both sides are set for 3 cents of downward pitch shift. No additional delay is used, but -41% feedback is assigned to the left and +41% is assigned to the right. This helps give the smooth, slow downward resonance characteristic of this program. Use the left/stereo Pitch slider for additional amounts of stereo pitch shifting.

5 Half Steps

This stereo program uses 600 ms of delay and 44% feedback on both left and right channels, routed back to a Minor 2nd downward pitch shift. This program is strictly for effects use — try changing the delay settings for even more outrageous effects.

6 Stair Case

This is a dual mono variation of Half Steps with shorter delays and larger intervals.

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Page 68

Bank 8: the Pitch Change and Doppler Programs

Programs — Bank 8: Pitch Shift

Lexicon

1Pitch Change

MOD SNC PCH FIN PCH FIN

Stereo +null +null +null +null

PDL PDR FBL FBR MIX 0ms 0ms 0% 0% All Fx MIDI REF MIR GLL SPL +null 48c2 +Off +null 16 MIDI REF MIR GLR +null 72c4 +Off +null

2 Pitch Chorus

MOD SNC PCH FIN PCH FIN Mono -3c -3c +6c +6c

PDL PDR FBL FBR MIX

6.48 ms 9.81 ms +23% +13% All Fx MIDI REF MIR GLL SPL

-3c 48c2 +Off +Off -3c 16

MIDI REF MIR GLR

+6c 72c4 +Off +Off +6c

3 1% Up 1% Dwn

MOD SNC PCH FIN PCH FIN Mono +10c +10c -10c -10c

PDL PDR FBL FBR MIX

39.27 ms 32.69 ms +10% +10% All Fx MIDI REF MIR GLL SPL

+10c 48c2 +Off +10c 16

MIDI REF MIR GLR

-10c 72c4 +Off -10c

4 Barber Pole

MOD SNC PCH FIN PCH FIN

Stereo -3c -3c -3c -3c

PDL PDR FBL FBR MIX

0.0 ms 0.0 ms -41% +41% All Fx MIDI REF MIR GLL SPL

-3c 48c2 +Off -3c 16

MIDI REF MIR GLR

-3c 72c4 +Off -3c

5 Half Steps

MOD SNC PCH FIN PCH FIN

Stereo -m2nd0c -m2nd0c -m2nd0c -m2nd0c

PDL PDR FBL FBR MIX

600.03ms600.03ms +44% +44% All Fx MIDI REF MIR GLL SPL

-m2nd0c 48c2 +Off -m2nd0c 16 MIDI REF MIR GLR

-m2nd0c 72 +Off -m2nd0c

6 Stair Case

MOD SNC PCH FIN PCH FIN

Mono +m3rd+47c+m3rd+47c+M3rd+2c +M3rd+2c

PDL PDR FBL FBR MIX

29.03 30.95 +55% -60% 20%Fx MIDI REF MIR GLL SPL

+m3rd+2c 48c2 +Off +m3rd+47c 16

MIDI REF MIR GLR

+M3rd+2c 72c4 +Off +M3rd+2c

7-4

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480L Owner's Manual

PLAY

Play Trigger

TYP

Play Type

SPD

Speed

Amp Q/Pch Q

PLAY

Play Doppler

TIM

Time

DST

Distance

TRIG

Trigger Doppler

Page One

Page Two

The Doppler Program

Bank 8: the Pitch Change and Doppler Programs

Everyone is familiar with the Doppler effect heard when a train or truck goes zooming by. The Doppler program recreates this effect with startling realism by reproducing the panning, amplitude and pitch variations heard as a sound source moves past the listener.

These programs were designed specifically for film and video applications. An audio trigger allows the Doppler to be cued into a mix. The Cascade mode allows audio to be captured and looped in a sampling program in Machine A, and a Doppler program to be loaded into Machine B that will trigger the effect. Try very short times (one second or less) and small distances (0.3 meters) to produce an illusion of a sound zooming by your head.

Note that using a combination of high settings for all parameters can result in noise and aliasing becoming audible.

About the Doppler Parameters

Page One

PLAY (Play Trigger)

When triggering the doppler effect manually, press PLAY to trigger. The sound must have started at some time before PLAY is pressed. This is called memory preload and is equal to the amount of time it takes the sound to travel from the starting point of the object to the listener. The amount of time required depends on the settings of SPEED and TIME. At maximum speed and time the sound must be started up to 1.3 seconds before PLAY is pressed. At minimum SPEEDs and TIMEs, the time needed to preload the machine's memory is quite short.

If an audio trigger has been set up on page two, pressing PLAY does not start the effect immediately; it arms the effect, and then waits for the appropriate level to start the effect. The memory preload time is built in, so the effect starts shortly after the trigger.

TYPE (Play Type)

TYPE affects the rate of change of the level of the sound. It has two modes--NORMAL and ZOOM. In NORMAL, the level is inversely proportional to the distance from the object to the listener. The object moves in a straight line from one side to the other. In ZOOM, the level is inversely proportional to the distance squared. The sound moves in a parobola, moving rapidly toward the listener and then away.

FG (Fudge Factor)

FG is AMP Q/Pitch Q * 64. The amplitude Q (i.e., the sharpness of the amplitude increase as the object goes by) is set only by DISTANCE Q. When FG is set to 64, the pitch change follows the amplitude change in a theoretically accurate manner. Sometimes it sounds better to have the pitch vary more gradually. This can be achieved by raising FG. For example, when FG is set to 128, the pitch acts as if the object is twice as far away, while the amplitude remains at the distance set with DISTANCE Q.

SPEED

SPEED sets the total pitch shift that will occur. When SPEED is set to 0, there will be no pitch shift. The pitch shift set with SPEED is quite accurate.

TIME

TIME sets the time between when the device is triggered and when the sound is midway between the two loudspeakers.The total time of the effect is twice the value set with TIME. TIME has great impact on perceived speed. Short times and small distances make the object appear to be moving quite fast.

DISTANCE Q

DISTANCE Q sets the sharpness of the effect in both amplitude and frequency. The control displays the distance of closest approach, and the displayed distance depends on the TIME selected. For an accurate emulation of a real event, time should be set first.

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Bank 8: the Pitch Change and Doppler Programs

Lexicon

Page Two

PLAY (Play Trigger)

Identical to PLAY on page one.

TRIGGER (Trigger Mode)

TRIGGER sets the level of the audio trigger. At the maximum setting, the effect is triggered manually with PLAY or MIDI. When a level has been selected, PLAY arms the effect. It then waits for a signal at the selected level to run. It must be rearmed before running again; the continuous setting has no meaning. When audio level exceeds the trigger level, the 480L waits for the memory preload and then starts the effect.

Programs — Bank 8: Doppler

7 Xpres Subway

PLAY TYP FG SPD TIME DST

Zoom 89 122 6.2 35.9

PLAY TRIG

Program Descriptions

7 Xpres Subway

Imagine standing at the back of the station platform as the express rushes by.

8 Indy Corner

With Speed set at over 300 k.p.h., this is a very high speed turn! High amplitude and pitch change near center create a pronounced "whoosh". If distance is increased, things get tamer — as though you had a seat on the straightaway.

9 Airport Land

A long and gradual Doppler shift with a mild amplitude change.

0 Airport Tkof

Takeoff is shorter, with a gradual pitch change, and a more aggressive amplitude change.

8 Indy Corner

PLAY TYP FG SPD TIME DST

Zoom 226 339 1.2 5.3

PLAY TRIG

9 Airport Land

PLAY TYP FG SPD TIME DST

Norm 153 70 12.0 119.2

PLAY TRIG

0 Airport Tkof

PLAY TYP FG SPD TIME DST

Norm 213 184 6.8 268.1

PLAY TRIG

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Page 71

Bank 9: the Mastering Programs

This chapter describes the Mastering

programs located in Bank 9. These in-

clude The In/Out, Stereo Adjust,

PONS Adjust, Stereo and Mono

Parametric EQ, and Panorama.

Page 72

Bank 9: the Mastering Programs Lexicon

LVL

Stereo Level

FIN

Fine Level

BAL

Balance

SPC

Spatial EQ

XOV

Bas Crossover

BAS

Bass EQ

TRB

Treble EQ

HFC

Ind Treb X-over

TBR

Treble R

DLY

Delay

INV

Flip & Swap

SHL

Shelf

SHUF

Shuffler

AUTO

Auto DC Cut

ROT

Rotate

HFC

Stereo Treb X-over

DCR

DC R Offset

TBL

Treble L

EMP

De-emphasis

DCL

DC L Offset

The In/Out Program

The In/Out program is a bypass program that feeds input signal unaltered through processors to outputs. This program has no adjustable parameters.

Page One

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Page Three

Page Four

The Stereo Adjust Program

The Stereo Adjust program permits slight but important adjustments to level and equalization when preparing a compact disc master. It also allows digital fades to true zero at the end of a track. It supplies a stereo digital fader, as well as shelving equalization. The frequencies of the shelving filters can be adjusted. In addition, a SPATIAL EQ control allows adjustment in the digital domain of this important property of recorded sound. SPATIAL EQ (used in conjunction with BAS) increases the stereo width at low frequencies, enhancing the richness, spaciousness, and depth of the recording.

About the Stereo Adjust Parameters

Page One

LVL (Level)

LVL is a stereo level control, with both channels equally attenuated or boosted. From -12 to +12 the slider 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.

FIN (Fine Level)

FIN is identical to the LVL, but has a range of + 3.5 dB the setting of LVL. This allows fine adjustment of level while the mix is proceeding, without fear of over or undershooting the desired setting. If in a mix you want to make a level increase at some point of 4.5 dB, and then drop back to zero, you can set the FIN to the bottom of its range beforehand. Then readjust LVL so that the attenuation is once again zero. Now the FIN control will have a range of 0 to 7 dB of boost.

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 left, instead of simply being attenuated (as BAL would do it) the right channel is inverted in phase and added to the left channel. A stereo image appears to rotate when this control is used. Ambient information is preserved, and both channels appear to retain equal loudness.

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480L Owner's Manual

Bank 9: the Mastering Programs

If stereo material is recorded with a coincident pair of figure-of-eight microphones, moving the ROT slider is exactly equivalent to rotating the microphone pair. Other microphone arrays and multimicrophone setups do not rotate perfectly, but using this control is frequently preferable to simply adjusting balance. The display shows the actual channel gains for a continually panned source.

BAS (Bass EQ)

BAS is a 6 dB/octave shelving EQ control with a range of +6 dB boost and full cut. It moves in .50 dB steps from +6 to -6 dB. The crossover point is adjusted with XOV (on page 2). BAS acts on both stereo channels equally.

TREB (Treble EQ)

TRB is a 6 dB/octave shelving EQ controls with a range of +6 dB boost and full cut. It moves in .50 dB steps from +6 to -6 dB. The crossover point is adjusted with STREB HFC (on page 2). TREB acts on both stereo channels equally.

Page Two

XOV (Bass Crossover)

XOV sets the crossover point for BAS (on page 1)and SPC (on page 2). When BAS is set to full cut, the level is -3 dB at the frequency set with XOV.

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 SPC 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 SPC may reduce the bass level. This effect can be compensated for by raising the overall bass level with BAS. Since both controls use the same XOV seting, this compensation will be quite accurate as long as SPC is set to less than 3 dB boost.

TBL and TBR (Independent L and R Treble)

These controls allow independent adjustment of right and left 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.

HFC (Stereo Treble Crossover)

HFC sets the crossover point for TREB (on page 1). When TREB is set to full cut, the level is -3 dB at the frequency set with HFC.

HFC (Independent Treble Crossover)

HFC sets the crossover point for TREB LEFT and TREB RIGHT (on page 2). When TREB is set to full cut, the level is -3 dB at the frequency set with HFC.

SPC (Spatial EQ)

SPC sets the amount of a crossfeed between channels. The signal first goes through a 6 dB/octave lowpass filter whose frequency is set with XOV.

When SPC is set positive (above 0) the crossfeed has a negative sign. When SPC 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 cicuit is unity.

Page Three

DLY (11 usec Correction On/Off)

When this control is on, the left channel is delayed relative to the right by 11 usec. This allows a PCM-F1 tape to be corrected for compact disc.

EMP (De-emphasis On/Off)

When EMP is On, the incoming signal is digitally deemphasized. This should not be used unless the material has been emphasized in the record process— such as a PCM-F1 tape. Note that the automatic

sensing bit is not turned off at the same time

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!

8-3

Page 74

Bank 9: the Mastering Programs Lexicon

Shuffler

Shuffler is designed to be used with Binaural recordings, or with any recording technique involving only omnidirectional microphones placed at close distances (such as true Binaural or directional micro-

AUTO (Automatic DC Cut)

Enables routines for correcting DC offset from material recorded through analog-to-digital converters that are

not properly trimmed for DC. phones spaced to equal ear-to-ear distance and aimed forward). It adds a significant amount of L-R low frequency information. If widely spaced omnidirec-

RESET

RESET disables all DC adjustment. tional microphones, or accent microphones, are mixed with the Binaural pair, Shuffler should be used before the microphone signals are mixed to avoid a severe boost in L-R information.

HOLD

HOLD freezes automatic nulling and enables DCL

and DCR for manual individual channel adjustment.

Shelf

Adjusts the +3dB frequency of the Shuffler shelf.

Flip & Swap (Right Channel Phase Invert)

Enables either a change of audio channels, or a polarity inversion in one or both channels. This change is made in the digital domain. The available settings are:

Channel Position Polarity

+L +R NORM NORM +L-R NORM INV +R +L INV NORM +R -L INV INV

AUTO NULL

AUTO NULL automatically reduces +4 bits of DC error

to >48dB down for eachchannel. It maintains a slight

positiveoffset near zero to avoid toggling theMSB D/A

converters downstream.DC errors greater than -24dB

will not be nulled.

DCL (DC Offset Left) and DCR (DC Offset Right)

Replaces any previously obtained value with the slider

value. The display indicates the percent of the correc-

tion relative to the -24dB maximum.

8-4

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480L Owner's Manual

LVL

Level

FIN

Fine Level

ROT

Rotate

BAS

Bass Left

BAS

Bass Right

TBL

Treble Left

TBR

Treble R

SPC

Spatial EQ

FLP

Flip & Swap

DIT

Dither

PONS

Noise Shaping

SHL

Shelf

XOV

Bass Xover

HFC

Treble Xover

SHUF

Shuffler

BAL

LDB Balance R

Page One

Page Two

Page Three

The PONS Adjust Program

Bank 9: the Mastering Programs

PONS Adjust is similar to the Stereo Adjust Program — A two-channel digital mixer with precision level adjustment, low and high frequency shelving EQ, and precision stereo balance controls. Additional parameters include precision binaural rotation, spatial EQ (L-R shelving boost or cut), and Blumlein shuffler.

PONS Adjust incorporates psychoacoustically optimized noise shaping that can increase the signal-tonoise performance of a 16-bit digital recording medium. This performance increase is attained by processing a digital recording made at 18-bit (or higher) bitwidth, through PONS, then transferring digitally to a 16-bit medium, and converting back to analog through an 18-bit converter.

About the PONS Parameters

Page One

LVL (Level)

BAL (Balance)

ROT (Rotate)

FIN (Fine Level)

TBL

TBL is a 6dB/octave high shelving EQ that operates on the left channel. It moves in .5dB increments from +6 to

-6dB, and in 1dB increments below -6dB to Full Cut.

TBR

TBR is identical, but operates on the right channel.

8-5

Page 76

Bank 9: the Mastering Programs Lexicon

Page Two

XOV (Bass Crossover)

XOV sets the crossover point for BAS and SPC . When BAS is set to full cut, the level is -3 dB at the frequency set with XOV.

HFC (Stereo Treble Crossover)

HFC sets the crossover point for TBL and TBR. When TBL or TBR is set to full cut, the level is -3 dB at the frequency set with HFC.

SPC (Spatial EQ)

SPC sets the amount of a crossfeed between channels. The signal first goes through a 6 dB/octave lowpass filter whose frequency is set with XOV.

BAS (Bass Left and Right)

The BAS controls are 6dB per octave low shelving EQs which operate on the left and right channels. Each moves in .5dB increments from +6 to -6dB, and in 1dB increments below -6dB to full cut.

Flip & Swap (Right Channel Phase Invert)

Enables either a change of audio channels, or a

polarity inversion in one or both channels. This change

is made in the digital domain. The available settings

are:

Channel Position Polarity

+L +R NORM NORM +L-R NORM INV +R +L INV NORM +R -L INV INV

Page Three

DIT (Dither)

Enables or disables dither noise set with the PONS

control as follows:

0 = Dither OFF 1 = Dither ON

PONS

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 opti-

mized noise shaping (PONS) because it takes advan-

tage of the vraiations in the ear's sensitivity to noise

within the 20 Hz - 30 kHz range. This control has been

optimized. Do not adjust.

Shelf

Adjusts the +3dB frequency of the Shuffler shelf.

Shuffler

Shuffler is designed to be used with Binaural record-

ings, or with any recording technique involving only

omnidirectional microphones placed at close dis-

tances (such as true Binaural). It adds a significant

amount of L-R low frequency information. If widely

spaced omnidirectional microphones, or accent micro-

phones, are mixed with the Binaural pair, Shuffler

should be used before the microphone signals are

mixed to avoid a severe boost in L-R information.

8-6

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480L Owner's Manual

LEV

Stereo Level

FIN

Fine Level

BAL

LDB Balance R

FR1L

Filter 1 Left

FR2L

Filter 2 Left

LNK

Stereo Link

LEV

FIlter Level

FIN

Fine Frequency L

FIN

Fine Frequency R

LEV

FIlter Level

FR1R

FIlter 1 Right

LEV

FIlter Level

FR2R

FIlter 2 Right

LEV

Filter Level

Page One

Page Two

Page Three

The Parametric EQ Programs

Bank 9: the Mastering Programs

Two Parametric EQ programs are located in Bank 9. The Stereo Parametric EQ program provides a two band stereo, or dual mono, parametric equalizer. The Mono Parametric EQ program provides a 4-Band monaural parametric equalizer. Both programs provide frequency adjustment on each band between 30 Hz and 17 kHz, boost/cut +12 dB, and Q adjustable between Shelf and 7. In addition, the low frequency filters provide a Notch (Q=32) with a boost/cut of 36 dB. Coarse and fine level control, panning (stereo only) and fine frequency adjustment are also provided. Both programs operate entirely in the digital domain.

About the Stereo Parametric EQ Parameters

Page One

LVL (Stereo Level)

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

BAL (Balance)

LNK (Stereo Link)

LNK synchronizes the left and right channel settings of the level, Q, and frequency sliders. When LNK is on, only the left channel sliders on Page Two and Page Three are active. When LNK is turned off, independent control of left and right channel settings is established. This is particularly useful in mastering applications.

FIN

FIN FREQ L and FINE FREQ R provide fine frequency adjustment of the Page Two filters by adding a small amount to their respective frequency settings. (They set the frequency only for the Page Two filters.) These settings are particularly useful for fine tuning of notch filters.

FIN (Fine Level)

FIN is identical to LVL, but has a range of + 3.5 dB in reference to the LVL setting. This allows fine adjustment of the level while the mix is proceeding without fear of over or undershooting the desired setting.

Note: LVL and FIN provide proper scaling for the filters. For example, if you set a 12 dB boost at some frequency, it is possible to exceed the dynamic range of the 480L if a high level signal comes in at the center frequency you have chosen to boost. You can reduce the drive to the filter with the level controls to prevent overload.

8-7

Page 78

Bank 9: the Mastering Programs Lexicon

Page Two

FR-1 L and FR-1R

These controls allow frequency settings to be adjusted independently on either the left or the right channel. Frequency settings fall between 30 Hz and 17 kHz.

Q adjusts the amount of bandwidth affected by the level control. The Q is determined by dividing the center frequency by the bandwidth to be affected (in Hz.). For example, if a frequency of 1000 Hz is selected, and the bandwidth to be boosted or cut is 500 Hz, the Q = 2. The Page Two filters provide a Q adjustment from shelf to Notch ( Q =16 or Q =32). The Shelf (SL) on Page Two filters is a low frequency shelf. This means that with a frequency of 500 Hz, a level of +12 dB, and Shelf (SL) selected, frequencies below approximately 300 Hz will be boosted by 12 dB, and 500 Hz will be boosted approximately +9 dB. The Notch feature is found only on the Page Two filters and is optimized for low frequencies.

LEV

LEV provides level boost or cut at the defined frequency and Q settings. LVL is adjustable between -12 to +12 dB when the Q setting falls between shelf and Q = 7. When a Notch Q is selected (Q=16 or Q=32), LVL is adjustable between -36 and +36 dB. This only applies to the Page Two filters.

Page Three

FR-1 L and FR-1R

These controls allow frequency settings to be inde-

pendently adjusted on either the left or the right chan-

nel. Frequency settings fall between 30 Hz and 17 kHz.

Q adjusts the amount of bandwidth affected by the level

control. The Q is determined by dividing the center

frequency in Hz by the bandwidth to be affected in Hz.

For example, if a frequency of 1000 Hz is selected, and

the bandwidth to be boosted or cut is 500 Hz, the Q =

2. The Page Three filters provide a Q adjustment from

shelf to Q = 7. The filters on Page Three have a high

frequency shelf that boosts all frequencies above the

set frequency. This is identified by “SH” in the Q

display.

LEV

LEV provides level boost or cut at the defined fre-

quency and Q settings. LVL is adjustable between -12

to +12 db.

8-8

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480L Owner's Manual

LVL

Level

FIN

Fine Level

FIN

Fine Freq. 1

FR-LM

Low-Mid Freq.

FIN

Fine Freq. 2

LEV

Level

LEV

Level

FR-HM

High-Mid Freq.

LEV

Level

FR-LF

Low Frequency

FR-HF

High Freq.

LEV

Level

Page One

Page Two

Page Three

About the Mono Parametric EQ Parameters

Page One LVL (Level)

LVL is a mono level control, From -12 to +12 the slider moves in .25 dB increments. Below -12 it moves in .50dB increments. Below -60 dB calibration is in larger steps, finally dropping to zero output at -72 dB.

FIN (Fine Level)

Note: LVL and FIN provide proper scaling for the filters. For example, if you set a 12 dB boost at some frequency, it is possible to exceed the dynamic range of the 480 if a high level signal comes in at the center frequency you have chosen to boost. You can reduce the drive to the filter with the level controls to prevent overload.

FIN

FIN FREQ 1 and 2 provide fine frequency adjustment of the Page Two filters by adding a small amount to their respective frequency settings. (They set the frequency only for the Page Two filters.) These settings are particularly useful for fine tuning of notch filters.

Page Two FR-1 LF

This control sets the frequency to be adjusted for the Low Frequency band. Frequency settings fall between 30 Hz and 17 kHz.

Bank 9: the Mastering Programs

Notch (Q=16 or Q=32) The Shelf (SL) on Page Two filters is a low frequency shelf. This means that with a frequency of 500 Hz, a level of +12 dB and Shelf (SL) selected, frequencies below approximately 300 Hz will be boosted by 12 dB and 500 Hz will be boosted approximately +9 dB. The Notch feature is found only on the Page Two filters and is optimized for low frequencies.

LEV

LEV provides level boost or cut at the defined frequency and Q settings. LVL is adjustable between -12 to +12 db when the Q setting falls between shelf and Q = 7. When a Notch Q is selected (Q=16 or Q=32), LVL is adjustable between -36 and +36 dB. This only applies to the Page Two filters.

FR-LM

This control sets the frequency to be adjusted for the Low-Mid Frequency band. Frequency settings fall between 30 Hz and 17 kHz.

Page Three FR-HM

This control sets the frequency to be adjusted for the High-Mid Frequency band. Frequency settings fall between 30 Hz and 17 kHz.

The Page Three filters provide a Q adjustment from shelf to Q = 7. The filters on Page Three have a high frequency shelf that boosts all frequencies above the set frequency. This is identified by “SH” in the Q display.

LEV

LEV provides level boost or cut at the defined frequency and Q settings. LVL is adjustable between -12 to +12 db.

FR-HI

This control sets the frequency to be adjusted for the High Frequency band. Frequency settings fall between 30 Hz and 17 kHz.

8-9

Page 80

Bank 9: the Mastering Programs Lexicon

CH1

Left Channel In

CH2

Right Channel In

ANG

Speaker Angle

LFB

L-R Boost

MIX

Dry Input

EFF

Effect

Page One

The Panorama (Binauaral) Program

Panorama is a crosstalk elimination program. It increases the apparent width of stereo sounds by eliminating the crosstalk around the ears of the listener. One of the major uses of this program in the 480L is to spread the sound of a reverb or effect outside the bounds of the loudspeakers. This is easily done with a mixing board by putting the 480L in cascade mode with Ambience or a reverb program in machine A, and Panorama in machine B. The mix control in machine A should be ALL EFFECTS. In machine B the Effect control and the Low frequency width are used to increase the width of the reverb, and the Dry Input Mix control or an external mixer can be used to add the unexpanded original sound back into the expanded reverb.

In making expanded recordings the listener is assumed to be exactly between the two loudspeakers, and the speakers should be at the angle set in the program. For this reason, this expansion is best done at the time of playback, using a home processor. However, there may be good reasons for doing some expansion in a recording. Low frequencies are spread by the program through the whole listening room — they do not require precise adjustment. Even under non-ideal playback conditions, some improvement may be noted. Recordings made with ORTF, or closely spaced omni microphone techniques, will probably greatly benefit from some LF L-R boost, which can be adjusted independently from the crosstalk cancellation controlled by the EFFECT control.

This program may also be of use to professionals using Binaural recordings to study acoustic or noise environments. Binaural recordings played with Panorama through a carefully set up loudspeaker system give nearly ideal reproduction of the original recorded sound field, at least in the front hemisphere.

Setting up the program for this application is best done

with a noise source at the input. Use CH1 to turn off the

left input level, and move your head to find a position

which gives a sharp null in the left ear. Now raise CH1

and lower CH2. The null should now be in the right ear.

If it is not, adjust ANG and the listening position until a

sharp null occurs for each ear.

About the parameters

CH1, CH2 (Left In, Right In)

These controls are simple linear attenuators on the left

and right inputs. They can be used to set up the

program, or they can be used as input balance con-

trols. They can also be used to trim the balance into the

L-R boost control.

EFF (Effect)

EFF sets the amount of crosstalk cancellation in the

mid frequencies, and acts as a width control. If EFF is

set to 0, and L-R boost is also set to 0, the program has

no effect on the sound.

ANG (Speaker Angle)

ANG sets the speaker angle expected in the listening

environment. This is the total angle between the speak-

ers. Lower settings of the speaker angle control (40° or

so) are more effective when the actual speaker posi-

tions to be used by the listener are unknown. This is

because most listeners tend to use smaller speaker

angles, and because the effective listening area is

greater when ANG is low.

LFB (LF-LR BOOST)

LFB is a L-R bass boost with a maximum boost of 20dB.

It is similar to the Spatial Eq control in Stereo Adjust, but

works differently. It is a pure boost in the difference

channel only. It does not affect the mono channel. If

Panorama is being used to process a binaural record-

ing for loudspeaker reproduction, LFB should be at

least half-way up. This control is independent of EFF,

so the low frequency width can be increased without

changing the mid-frequency width.

8-10

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480L Owner's Manual

Bank 9: the Mastering Programs

LFB may also be useful in film mixing in a matrixed surround system. It will tend to send low frequencies into the surround. For this application, be sure to set EFF to 0.

MIX (Dry Input MIX)

Dry Input Mix is not like the other mix controls in the

480. It mixes the stereo input to the 480L into the output of Panorama, regardless of the configuration selected for the 480L. In Single mode this is equivalent to the usual MIX. In Split modes the results will be not useful. In Cascade, however, when Panorama is in machine B, this control allows you put a reverb or effect in machine A, spread the reverb only, and then mix the dry input with the spread out reverb.

1 The In/Out

NO LARC DATA

2 Stereo Adjust

LVL FIN BAL ROT BAS TRB

0 0 Center Center Flat Flat

XOV HFC HFC SPC TBL TBR

493Hz 5.538kHz 5.538kHz Flat Flat Flat

DLY EMP INV SHL SHUF

0 0 +L/+R 0 0

AUTO DCL DCR

- 0 0

3 PONS Adjust

LVL FIN BAL ROT TBL TBR

0 0 Center Center Flat Flat

XOV HFC SPC BAS BAS FLP

367Hz 2040Hz Flat Flat Flat +L/+R

DIT PONS SHL SHUF

30 - 0 0

4 MS Decode

LVL FIN BAL ROT BAS TRB

0 0 Center 2:9 - 72.1 Flat Flat

XOV HFC HFC SPC TBL TBR

493Hz 5.538kHz 5.538kHz Flat Flat Flat

DLY EMP INV SHL SHUF

0 0 +L/+R 0 0

AUTO DCL DCR

- 0 0

5 Invert L-R

LVL FIN BAL ROT BAS TRB

0 0 Center Center Flat Flat

XOV HFC HFC SPC TBL TBR

493Hz 5.538kHz 5.538kHz Flat Flat Flat

DLY EMP INV SHL SHUF

0 0 +L/-R 0 0

AUTO DCL DCR

- 0 0

6 Channel Swap

LVL FIN BAL ROT BAS TRB

0 0 Center Center Flat Flat

XOV HFC HFC SPC TBL TBR

493Hz 5.538kHz 5.538kHz Flat Flat Flat

DLY EMP INV SHL SHUF

0 0 +L/+R 0 0

AUTO DCL DCR

- 0 0

7 Stereo Parametric EQ

LVL FIN BAL LNK FIN FIN

0 0 Center On 1.0 1.0

FR-1L Q LEV FR-1R Q LEV

1.0 1.5 0 Use Left Use Left Use Left

FR-2L Q LEV FR-2R Q LEV

1.0 1.5 0 Use Left Use Left Use Left

8 60Hz Notch

LVL FIN BAL LNK FIN FIN

0 0 Center On 60 60

FR-1L Q LEV FR-1R Q LEV

60 32 -36 Use Left Use Left Use Left

FR-2L Q LEV FR-2R Q LEV

1.0 1.5 0 Use Left Use Left Use Left

9 Mono Parametric EQ

LVL FIN FIN FIN

0 0 Center On 60 60

FR-1L Q LEV FR-1R Q LEV

1.0 1.5 0 1.0 1.5 0

FR-2L Q LEV FR-2R Q LEV

1.0 1.5 0 1.0 1.5 0

0 Panorama

CH1 CH2 EFF ANG LFB MIX

254 254 254 56 deg 0 All Fx

8-11

Page 82

Bank 9: the Mastering Programs Lexicon

Program Descriptions

1 The In/Out

A bypass program that feeds an input signal unaltered through the processors. This program has no adjustable parameters.

2 Stereo Adjust

A digital mixing program designed for mastering applications. The program loads with parameters nulled.

3 PONS Adjust

A variation of Stereo Adjust which incorporates psychoacousticaly-optimized noise shaping (PONS) dither.

4 MS Decode

A variation of Stereo Adjust that is preset to decode MS recordings. The mid signal is fed to the left input, and side is fed to the right. The Flip & Swap parameter can reverse the channels if a digital source is used. The BAL control provicdes the mix ratio of M and S signals.

5 Invert L-R

A variation of Stereo Adjust that has the Flip & Swap parameter presetwith a digital phase inversion.

6 Channel Swap

A variation of Stereo Adjust that has the Flip & Swap

parameter preset to swap left and right channel input

signals.

7 Stereo Parametric EQ

2-Band stereo parametric EQ and mixer with param-

eters nulled.

8 60Hz Notch

A variation of Stereo Parametric EQ preset with a 60 Hz

cut.

9 Mono Parametric EQ

4-Band mono parametric EQ and mixer with param-

eters nulled.

0 Panorama

Integral crosstalk cancellation program adds width to

stereo image. Use in cascade configurations with

reverb or ambience in Machine A, and Panorama in

Machine B.

8-12

Page 83

Bank 10: the Compressor Programs

This chapter describes the Compressor

programs located in Bank 10.

Page 84

Bank 10: the Compressor Programs

DLY

Front Delay

SLP

Slope

THR

Threshold Down

ATC

Attack Time Const

RTC

Release Time Const

EXT

Expander Thresh

EXG

Expander Gain

GAIN

Maximum Gain

EXS

Expander Slope

Page One

Page Two

The Compressor/Expander Program

Compressor is a stereo compressor program, with a user interface similar to several mastering compressors. The important thing to keep in mind as you use this program is: It always has unity gain at high levels. The compression is achieved by adding gain as the input level decreases.

If you are accustomed to standard compressors, the following may be helpful:

Many compressors currently available allow you to set the threshold — the level above which the output level will be decreased. The threshold in the 480L's compressor defines the level below which the output level is increased. Signal level that is above this threshold setting remains at unity gain. This allows you to leave peak values intact while increasing the overall program loudness.

dBFS

-10 dB

O u

-20 dB

p u

-30 dB

G a

-40 dB

-50 dB

-60 dB

Slope = 2:00 to 1

-50 dB -40 dB -30 dB -20 dB -10 dB dBFS Input Gain

Threshold = -10 dB

Lexicon

About the parameters

Page One

DEL (Delay)

DEL is a stereo delay line which allows the digital detectors time to adapt to the incoming signal. With Attack Time set to 30ms, input delays of 30ms or so are desirable. Much longer attack times are possible, and the delay can be set up to approximately 200ms. Delay is not a problem in a mastering situation, or when time alignment can be corrected. If delay through the compressor is not tolerable, shorter attack times can be used, but there will be some noise and distortion on transients.

SLP (Slope or Compression Ratio)

SLP varies from 1:1 (no compression), up to 99.99:1 (high compression). With high compression, the output level is constant as the input level decreases. At 2:1 compression the output level drops 3dB for every 6dB drop in input level.

GAIN (Max Gain)

GAIN sets the maximum gain the compressor will have. Typically this would be set between 6 and 12dB. More than 15dB will bring up noise on a low level signal, and noise pumping may be obvious. The maximum allowed is 24dB.

Compressor with a 2:00=1 ratio, with threshold set at

-10dB.

9-2

THR (Threshold Dn)

THR sets the level above which the compressor always has unity gain. Note that the level detected by the compressor circuitry is the average level; the 480L input lights read the peak level. Therefore, if the peak to average ratio of the music is 10dB, THR must be set to -10dB or greater, or the average output level can exceed 10dB — and the peak output will overload. This means that THR must be set carefully. As THR is lowered, the compressor maintains unity gain until the input level drops lower. If you are listening to the output, the gain will appear to decrease as this control is raised. Typically, you want to set THR to get the maximum gain possible without overload.

Page 85

480L Owner's Manual

Bank 10: the Compressor Programs

ATC (Attack Time Constant)

ATC adjusts the speed with which the compressor responds to an increase in input level. The nominal value is about 30ms. The times on the slider move in factors of 2, from 7ms to about 1 second. Both 7ms and 15ms will cause some distortion and are not recommended unless delay through the program cannot be tolerated. High values of ATC can be used with large delays in a program-leveling application. The filter used for ATC is a non-linear filter. The number of dB/ second depends on the rate at which the input is changing. Fast changes will make a quicker attack, causing the gain to decrease quickly.

RTC (Release Time Constant)

RTC adjusts the release time constant. This filter maintains a constant number of dBs per second, regardless of the size of the change. Thus, the rate of increase in gain is constant. The value displayed for the release time is something of an approximation, since the ordinary meaning of “time constant” does not apply to this type of control.

Page Two

EXS (Expand Slope)

EXS adjusts the slope of the expansion. It behaves similarly to the compression ratio, but it is important to keep in mind that the expander and the compressor in this program are not in series. They both respond to the same input level, but in different ways. For example, if some material is compressed with a 2:1 ratio, recorded, and then played back through the expander with a 2:1 expansion ratio, the original dynamics will be restored. The same will occur if two compressor programs are run in cascade. However, if the compressor and expander are both set to operate in the same

program at the same time with identical THR points and slopes, the result will not‘ have the original dynamics.

Consider a drop in input level of 6dB. For a 2:1 compression in level the output gain should increase 3dB, giving a net drop in output level of 3dB. However, for a 2:1 expansion, the output gain should drop 6dB, giving a net output of -12dB. If both the compressor and expander are operated at the same time, the net result will be an output gain decrease of 3dB, representing a net expansion of the signal.

EXT (Expander Threshold)

EXT sets the level below which expansion starts. When the expansion is intended to apply to the whole program, or perhaps just to the peaks of the program, EXT should be set to about 10 or 12dB, similar to the setting of the THR control of the compressor. If the expander is to be used as a noise gate, EXT should be set much higher, to just below the level of the noise.

EXM (Expand Maximum Attenuation)

EXM sets the maximum attenuation reached by the expander. It is similar in operation to the GAIN control of the expander.

Programs — BANK 10: Compressor/Expander

1 2.00=1 COMP

DLY SLP GAIN THR ATC RTC

27.45ms 2.00=1 9dB 21dB 15ms 91ms EXS EXG EXT

2.00=1 10dB -48dB

2 6.24=1

DLY SLP GAIN THR ATC RTC

12.56ms 6.24=1 12dB 16dB 7ms 91ms EXS EXG EXT

1.88=1 7dB -40dB

3 18.28=1 COMP

DLY SLP GAIN THR ATC RTC

20.38ms 18.28=1 10dB 20dB 15ms 91ms EXS EXG EXT

2.00=1 10dB -48dB

4 Transfer

DLY SLP GAIN THR ATC RTC

40.26ms 1.33=1 10dB 10dB 30ms 73ms EXS EXG EXT

1.00=1 0dB 0dB

5 Vox Easy

DLY SLP GAIN THR ATC RTC

12.56ms 5.00=1 8dB 15dB 7ms 73ms EXS EXG EXT

1.88=1 7dB -40dB

9-3

Page 86

Bank 10: the Compressor Programs

Lexicon

6 FM

DLY SLP GAIN THR ATC RTC

15.64ms 14.22=1 7dB 15dB 15ms 58ms EXS EXG EXT

1.88=1 7dB -40dB

7 Nailed

DLY SLP GAIN THR ATC RTC

39.27ms 21.33=1 6dB 0dB 7ms 286ms EXS EXG EXT

2.00=1 10dB -40dB

8 Noise Gate

DLY SLP GAIN THR ATC RTC

20.38ms 1.00=1 0dB 0dB 7ms 37ms EXS EXG EXT

2.98=1 24dB -30dB

9 2-Slp-Mach A

DLY SLP GAIN THR ATC RTC

9.40ms 1.77=1 10dB -18dB 7ms 181ms EXS EXG EXT

1.50=1 10dB 50dB

0 2-Slp-Mach B

DLY SLP GAIN THR ATC RTC 0ms 2.41=1 4dB -12dB 7ms 91ms EXS EXG EXT

1.00=1 10dB 46dB

Program Descriptions

1 2.00=1 Compressor

A two-to-one compressor/expander with time constants optimized for both processes.

2 6.24=1 Compressor

A more aggressive compressor/expander that provides more overall loudness than 2.00=1 Compressor.

3 18.00=1 Compressor

An even more aggressive compressor/expander — the dynamic range becomes noticeably restricted.

4 Transfer

Very linear compressor designed for mastering applications.

5 Vox Easy

A compressor/expander that is a good starting point for a vocal track — use it on a mixer's patch point. Peaks remain intact and the loudness of the vocalist(s) in the mix is increased.

6 FM

Gain below threshold ramps rapidly and hits a brick wall — feed program material in and compare it with your favorite station.

7 Nailed

Provides a compressor/expander that affords little dynamic range on output — true to its name!

9-4

8 Noise Gate

Compressor is inactive, and the expander time constants have been optimized for gating.

9 2-Slp-Mach A 0 2-Slp-Mach B

These programs are designed to be used with the 480L in Cascade configuration. Load the programs as their names describe them:

in Machine A, load 2-Slp-Mach A In Machine B, load 2-Slp-Mach B

These programs provide a compressor that has a nonlinear gain slope. Machine A provides a slow rise in gain from -18dB up to -12dB. Machine B provides a more aggressive gain slope from -12dB forward. Really sounds great on dynamic pop program material.

Page 87

Banks 11-12: the Random Halls

and Spaces Program

This chapter describes the Random Hall

programs located in Bank 11, and the Ran-

dom Spaces programs located in Bank 12.

Page 88

Banks 11-12: the Random Halls and Spaces Program

SHP

Shape

SPR

Spread

BAS

Bass Multiply

HFC

High Freq Cutoff

PDL

Predelay

DIF

Diffusion

PRE

L>L

ECHO

R>R

ECHO

Delay 2

DEL

Delay 3

SIZ

Size

XOV

Crossover

MOD

Mode

MIX

Wet/Dry Mix

RTM

Reverb Time

ELS L>R

SPN SPin

WAN

Wander

AYS

Delay 4

SHL

Shelf

PRE

Delay 1

RTC

High Freq Cutoff

LEV R>L

LEV

Reverb Level

Page One

Page Two

Page Three

Page Four

Lexicon

The Random Halls and Spaces Program

RHALL is similar to the standard Hall program in the 480L, with the addition of 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 apparent reverb time of RHALL is much closer to the value indicated by the display than the standard Hall. For this reason, decay optimization is not needed in this program. However, the controller has been left in place to enable switching between the REVERB and EFFECTS modes of operation. The random elements also improve the steadystate timbre of the program.

The amount of coloration has been substantially reduced from that in the standard Reverb programs — especially at small settings of the spread control. In addition, the steepness of the filter in the TREBLE DECAY control has been increased. — Don’t be surprised if you need to set this control higher in this program than in the standard Reverb programs.

The Random Hall and Ambience programs are particularly useful in sound reinforcement where it can improve the existing acoustics of a hall by adding lateral reflections (and possibly also delayed dry signal) from speakers hidden around the listening space. The fact that many of the reflections are time-varying is important to increasing gain before feedback in such a situation. Ambience incorporates both a PRE-DELAY and an INPUT DELAY that can be set to further enhance this application.

About the parameters Page One

RTM (Mid-Frequency Reverb Time)

When RTM is moved to full scale, infinite reverb is switched on, and is displayed on the LARC. Program material fed to the inputs of the machine running RHall prior to enabling infinite mode will reverberate infinitely! Moving the RTM slider until the LARC displays Reverb time disables infinite mode. The RTM slider will fade the infinite loop if no other input signal is present.

SHAPE

10-2

Page 89

Banks 11-12: the Random Halls and Spaces Program480L Owner's Manual

SPREAD

SIZE

HF CUTOFF

PREDELAY

PREDELAY 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 SHAPE at a middle value and adjusting SPREAD for the desired effective pre-delay.

Additional delay added with the PREDELAY 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 predelays can be useful for slap-echo effects.

Note: Very high values of PREDELAY limit the amount of SPREAD available. The display, however, does not reflect this.

Page Two

BASS MULTIPLY

CROSSOVER

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

RT HF CUT

DIFFUSION

10-3

Page 90

Banks 11-12: the Random Halls and Spaces Program

Lexicon

MODE

Selects between linked and unlinked modes of operation for RT MID, SHP, SPR, and SIZ parameters. The Reverb mode maintains optimum relational values between these controllers as settings are changed. Effects mode permits independent parameter control.

WET/DRY MIX

Page Three

PREECHO LEVEL

WAN (Wander)

WAN is identical to the wander control in the EFFECTS program. It sets the distance in time that the early reflections will move. For best results WAN should be about 10ms at larger sizes.

Page Four

PREECHO DELAY TIME

REVERB LEVEL

Digitally controls the output gain from the processor. This is useful for setting different versions of overall program balance. This parameter may also be controlled via MIDI, which allows the amount of reverb to be easily controlled remotely without affecting the wet/ dry mix.

SHELF

A level control that adds pre-high frequency cutoff energy to the reverb output, allowing a double "knee" in the low pass filter.

The preecho reflection parameters change the perceived locations of reflecting surfaces surrounding the source. PREECHO LEVEL adjusts the loudness of the reflection.

Controls are similar to those available in the standard Reverb programs. However, there are only 4 preechoes. The remaining two sliders on Page 3 control SPIN and WANDER, as in the EFFECTS or AMBIENCE program .

SPN (Spin)

SPN is identical to the spin control in the EFFECTS program. It affects the movement of many of the delay taps in the program. The object of SPN and WAN is to continuously alter the timbre of the reverberant sound. This makes the result more natural. It is not intended to make the position of instruments unstable. SPN should typically be 37 or higher. High values may make the pitch of piano or guitar unstable.

10-4

Page 91

Programs — Bank 11: Random Hall

Banks 11-12: the Random Halls and Spaces Program480L Owner's Manual

1 Large RHall

RTM SHP SPR SIZ HFC PDL

2.09s 120 158 38M 3402Hz 0ms BAS XOV HFC DIF MOD MIX x1.2 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 10ms

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

2 Lg RHall & Stg

RTM SHP SPR SIZ HFC PDL

2.61s 120 158 38M 3402Hz 0ms BAS XOV HFC DIF MOD MIX x1.2 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

-8dB -8dB -7dB -7dB 43 10ms DLY1 DLY2 DLY3 DLY4 SHL RLV 14ms 20ms 40ms 48ms 0 160

3 Medium RHall

RTM SHP SPR SIZ HFC PDL

2.06s 120 127 30M 3402Hz 0ms

BAS XOV HFC DIF MOD MIX x1.2 493Hz 3591Hz 68 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 10ms

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

6 Sm RHall & Stage

RTM SHP SPR SIZ HFC PDL

1.12s 92 51 25M 4611Hz 0 BAS XOV HFC DIF MOD MIX

x1.0 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

-9dB -9dB -8dB -8dB 43 6762µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

8ms 12ms 44ms 36ms 0 160

7 Large RChurch

RTM SHP SPR SIZ HFC PDL

4.07s 82 228 39M 2523Hz 36ms BAS XOV HFC DIF MOD MIX

x1.5 885Hz 2862Hz 70 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 10ms

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

8 Small RChurch

RTM SHP SPR SIZ HFC PDL

2.42s 72 107 31M 3784Hz 16ms BAS XOV HFC DIF MOD MIX

x1.0 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 6762µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

4 Med RHall & Stage

RTM SHP SPR SIZ HFC PDL

2.06s 120 127 30M 3402Hz 0ms BAS XOV HFC DIF MOD MIX x1.2 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

-8dB -8dB -7dB -7dB 43 10ms DLY1 DLY2 DLY3 DLY4 SHL RLV 14ms 20ms 40ms 48ms 0 160

5 Small RHall

RTM SHP SPR SIZ HFC PDL

1.12s 92 51 25M 4611Hz 0ms

BAS XOV HFC DIF MOD MIX x1.0 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 10ms

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

9 Jazz RHall

RTM SHP SPR SIZ HFC PDL

1.32s 34 103 24M 12788Hz 0 BAS XOV HFC DIF MOD MIX

x1.2 752Hz 5538Hz 98 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 38 6762µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

0 Auto Park R

RTM SHP SPR SIZ HFC PDL

5.33s 149 248 39M 7181Hz 24ms BAS XOV HFC DIF MOD MIX

x1.0 752Hz 5538Hz 98 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

-8dB -8dB -12dB -12dB 34 9114µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

22ms 16ms 40ms 48ms 0 160

10-5

Page 92

Banks 11-12: the Random Halls and Spaces Program

The Random Halls Program

Lexicon

Like the programs in Bank 1 (480L Hall), the Random Hall programs in Bank 11 are designed to emulate real concert halls. The random elements in these programs provide smoother decay, particularly where values of Size and Reverb Time are high.

1 Large RHall

Large RHall provides the sense of space and ambience of a large concert hall to music which has already been mixed.

2 Lg RHall + Stage

Lg RHall + Stage is similar to Large RHall, except that the musicians are located at one end of the hall, and several preechoes simulate the effects of a procenium arch.

3 Medium RHall

Medium RHall is very similar to Large RHall, but smaller.

4 Med RHall + Stage

Med RHall + Stage is very similar to Lg RHall + Stage, but smaller.

5 Small RHall

Small RHall is a smaller version of Medium RHall.

6 Sm RHall+ Stage

Sm RHall +Stage is a smaller version of Med RHall + Stage.

7 Large RChurch

Large RChurch is a big space with the musicians centrally located, and a comparatively long RT MID.

8 Small RChurch

Small RChurch is a smaller version of program 7.

9 Jazz RHall

Jazz RHall is a relatively small space with hard bright walls and a short RT MID. It emulates a hall full of people, without the noise they make. It has high diffusion, and sounds good with jazz or pop material.

0 Auto Park R

Auto Park R reproduces the sound of an underground parking garage.

10-6

Page 93

Programs — Bank 12: Random Spaces

Banks 11-12: the Random Halls and Spaces Program480L Owner's Manual

1 Music Club R

RTM SHR SPD SIZ HFC PDL

1.06s 40 57 26M 7181Hz 0 BAS XOV HFC DIF MOD MIX x1.0 752Hz 3591Hz 78 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 6762µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

2 Large Room R

RTM SHP SPR SIZ HFC PDL

0.71s 52 83 20M 6593Hz 0 BAS XOV HFC DIF MOD MIX x1.2 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 10ms

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 - 160

3 Medium Room R

RTM SHP SPR SIZ HFC PDL

0.50s 22 10 20M 7493Hz 0 BAS XOV HFC DIF MOD MIX x1.2 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 5586µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

6 Large Chamber R

RTM SHP SPR SIZ HFC PDL

0.90s 3 0 21M 7181Hz 0 BAS XOV HFC DIF MOD MIX

x1.0 1158Hz 5538Hz 99 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 3066µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

7 Small Chamber R

RTM SHP SPR SIZ HFC PDL

0.37s 16 0 11M 7181Hz 0 BAS XOV HFC DIF MOD MIX

x1.0 1158Hz 3591Hz 70 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 3066µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

8 Small & Bright R

RTM SHP SPR SIZ HFC PDL

0.68s 40 41 10M 10127Hz 0 BAS XOV HFC DIF MOD MIX

x0.8 1158Hz 7493Hz 70 REV0 All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 3066µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

4 Small Room R

RTM SHP SPR SIZ HFC PDL

0.32s 16 0 11M 7493Hz 0 BAS XOV HFC DIF MOD MIX x1.0 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 3402µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

5 Very Small R

RTM SHP SPR SIZ HFC PDL

0.15s 8 0 5M 7493Hz 0 BAS XOV HFC DIF MOD MIX x1.0 493Hz 3591Hz 65 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

Off Off Off Off 43 3066µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

0 0 0 0 0 160

9 Chorus Room

RTM SHP SPR SIZ HFC PDL

0.12s 255 12 2M Full 16 BAS XOV HFC DIF MOD MIX

x1.5 2.198Hz 21.18Hz 5 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

-4dB -4dB Off Off 48 1302µs

DLY1 DLY2 DLY3 DLY4 SHL RLV

22ms 12ms 0 0 0 160

0 Wet & Tacky

RTM SHP SPR SIZ HFC PDL

1.39s 23 36 24M 7493Hz 0 BAS XOV HFC DIF MOD MIX

x0.8 1158Hz 4395Hz 70 REV All Fx

LVL1 LVL2 LVL3 LVL4 SPN WAN

-14dB -14dB -14dB -14dB 48 9618µs DLY1 DLY2 DLY3 DLY4 SHL RLV

14ms 18ms 28ms 34ms 0 160

10-7

Page 94

Banks 11-12: the Random Halls and Spaces Program

Program Descriptions

Lexicon

The Random Spaces presets are similar to the Room presets located in Bank 2. Most of the presets simulate the same room sizes as those in the standard Rooms. The random delay elements, however, make the rooms seem more “live”. These elements are very useful when you are attemping to simulate atmospheres that are busy, or that have movement. In two presets, CHORUS ROOM and WET & TACKY, these elements have been optimized to provide a chorusing effect with spatial qualities.

1 Music Club R

Music ClubR is similar to Jazz Hall, but is smaller and less reverberant--especially at high frequencies.

2 Large Room R

Large Room R resembles a good-sized lecture room. It is smaller than Music Club R, and more colored, with comb filtering and slap echoes.

3 Medium Room R

Medium Room R is a smaller version of Large Room R.

4 Small Room R

Small Room R is much smaller and less reverberant than the Large and Medium Rooms. It resembles a typical American living room.

5 Very Small

Very Small has the intimate, close feel of a bedroom or den.

6 Large Chamber R

Large Chamber R has few size cues. It produces a sound similar to a good live chamber with nonparallel walls and hard surfaces. Large Chamber R can be used wherever a plate would normally be used, but with a more subtle acoustic sound.

7 Small Chamber R

Small Chamber R is a smaller version of program 6.

8 Small & Bright R

Small & Bright R adds presence to a sound without adding a lot of obvious reverberation.

9 Chorus Room 2

A small room with random delay elements that create a subtle chorus effect. This is useful for horms, strings, and vocals.

0 Wet & Tacky

A larger room with longer reverb time and chorus-like random delay elements. The random delay elements

add a shimmer to the reverberant decay.

10-8

Page 95

Banks 13-14: the Ambience Programs

This chapter describes the Ambience pro-

grams located in Bank 13 and the Post-

Ambience programs located in Bank 14.

Page 96

Banks 13-14: the Ambience Programs

RTL

Reverb Level

SIZ

Size

DIF

Diffusion

ROL

Rolloff

PDL

Predelay

MIX

Wet/Dry Mix

Reverb Time

SPN SPin

WAN

Wander

IND

Dry Delay

MIX

Wet/Dry Mix

Page One

Page Two

Lexicon

The Ambience Program

The Lexicon 480L reverberation programs (HALLS and ROOMS Banks) are designed to add a cushion of reverberance to recorded music, while leaving the clarity of the direct sound unaffected. 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. The difference between the two approaches to reverb is very dramatic, and can best be heard by comparing this program with any Hall or Random Hall program. Review Using the Reverb Pro- grams in the Owner’s Manual for more information on Reverb and Ambience.

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 Ambience is an effective way of realistically adding distance to a closemiked 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. 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. Ambience can be used in a recording situation any time a close-miked sound is undesireable.

About the parameters

Page 1

RT (Reverb Time)

This control is not of great importance to the sound. The range of action is limited. Be careful — both long and short reverb times may sound unnatural. If a much longer or shorter reverb time than the preset provides is desired, SIZ should be changed first.

RTL (Reverb Level)

RTL controls the level of the reverberant part of the ambient decay. At 0, only the early reflections will be present in the sound, and there is an abrupt end to the sound when these early reflections are gone. Setting RTL to about 70 results in a natural blend of early and late reflections.

SIZ (Size)

SIZ allows you to vary the apparent size of the space over a wide range. SIZ is the most dramatic control, and must be selected to match the music or program material. It should be the first control that you adjust to tailor the desired space. SIZ also affects the reverb time, in a similar way to the standard reverb programs.

ROL (Rolloff)

ROL controls the -3dB point of a 6dB/octave filter on the output. It sets the effective bandwidth of both the early reflections and the reverberance.

DIF (Diffusion)

DIF controls the degree to which initial echo density increases over time. High settings of DIF result in high initial buildup of echo density; low settings cause low initial buildup. After the initial period (controlled by DIF), density continues to change at a rate determined by SIZ. To enhance percussion, use high settings of DIF. For clearer, more natural vocals, mixes, and music, use low or moderate settings.

11-2

Page 97

480L Owner's Manual

Banks 13-14: the Ambience Programs

Page 2

SPN (Spin)

SPN is identical to the spin control in the EFFECTS algorithm. It affects the movement of several early reflections. The object of SPN (and WAN) is to continuously alter the timbre of the early reflection parts of the ambient sound. This makes the result more natural. It is not intended to make the position of instruments unstable.

WAN (Wander)

WAN is also identical to the wander control in the EFFECTS algorithm. It sets the distance in time that the early reflections will move.

PDL (Predelay)

PDL adds an additional delay to the reflections and to the reverberation. Normally PDL should be set to 0, since the delays in the program will have already been set correctly by the hall synthesis. This control may be useful in a sound reinforcement situation, or for ambience effects.

IND (Dry Delay)

IND controls the amount of delay in the dry signal mixed by the MIX control. Normally, this control should be set to 0. This control may be useful in a sound reinforcement situation, when both delayed dry sound and synthesized reflections are desired.

Using the AMBIENCE Program to Match Recorded Ambience

On Page One, set Reverb Level (Slider 2) to 0. You should now be listening to the ambient build of the space.

Matching the High Frequency Contour

This step involves closely approximatingthe High Frequency contour of the original sound source (the predominant instrument, vocalist, etc.)

Move the HF CUT control to its highest value. This is likely not to be the correct value. Now, set HF CUT to its lowest value. This is also likely to be incorrect. To locate the correct value, adjust HF CUT between these two points while listening carefully. Make this adjustment BY EAR — no by reference to displayed values. Once you think you have determined the optimal point, move the slider above and below the value to confirm your selection.

Matching Room Size

Approximating the ambient build of the space requires adjustment of the SIZE control. Use the same technique as that described for establishing a value for HF CUT.

Set the MIX value to 90%, or listen to the DRY signal from time to time to hear where you are.

MIX (Identical to Wet/Dry mix above) MIX is the same as other standard 480L programs. Keep in mind that, in the Ambience program, MIX closely simulates microphone proximity effect. For convenience, this control has been placed on both Pages 1 and 2.

Note: The SIZE control does not update in real-time. To simplify the listening process, start at the highest setting of SIZE, and decrease the value by 5 meter increments, listening for:

an extraneous delay when the value is too high, or a "cramping" of the program material when the value is

too low.Use low frequency information to "zero in" on the correct value. Once you have found a value you think is correct, move SIZE two values above and below your selection to confirm your choice.

Creating Depth

The MIX control in the Ambience programs emulates the movement of a coincident pair of microphones from the sound source into the room.

Until now, with MIX set to nearly 100% wet, you have been listening at the rear of the ambient space created by the SIZE control. Slowly moving MIX to 100% dry, simulates moving the microphone pair closer to the sound source.

11-3

Page 98

Banks 13-14: the Ambience Programs

Lexicon

Listen only to the returns of the 480L. If you have closely approximated the HF contour and size of the space, moving MIX should yield a smooth transition from the rear of the space to the original sound source (the predominant instrument, vocalist, etc.) If your approximations were close, doing this will immediately alert you as to which controls are set incorrectly.

Adding Reverberation

The reverberant contour of the Ambience algrithm is not a complex as that of the Reverb algorithms. Reverb Time is linked with the Size control to provide a close approximation of naturallly occurring reverb time for the space determined by SIZE. REVERB TIME can be tailored to taste. Raising the REVERB LEVEL will increase the level of these later reflections without altering the balance of the ambient build.

Store your work so far to a register, so that it will not be lost when you try the following examples.

One reason this program is so powerful is that, when using conventional analog mixing methods (sends from dry signal and 480L100% wet MIX on returns or channels), the console send control emulates a depth control into the room you have created. If the 480L is set up in a Stereo Input configuration, the dry signal can be effectively panned in TWO DIMENSIONS — left to right, and front to rear.

Front to rear panning is equal send level X2. Rear L-R panning is unequal send level. Front L-R panning is the console pan control

Now, try changing the configuration of the 480L to Cascade. In MACH A, load the register you stored. In MACH B, load STEREO ADJUST from the Mastering program. Using the ROT control on Page 1 of STEREO ADJUST, you can pan a L+R signal, left to right, against an L-R signal to shift the image of the ambience. The SPATIAL EQ control on Page 2 of STEREO ADJUST can tailor the width of the space. Loading these in reverse order, you can pan a L+R signal left to right against and L-R signal to shift the image feeding the ambience.

Add Predelay as necessary to increase the gap between the direct sound and early reflections. Note the Input Delay, as the effect occurs before the dry signal. Use these two controls to precisely position the source when using the 480L in the digital domain.

To try this, set up two sources (such as dialog and footsteps, or an instrument) on adjacent channels dual-mono. Each can be panned L-R via the pan control on the console. The two sends control depth into the ambience for L or R. (This works wonderfully with stereo sends!) The independent send level emulates the movement of a single directional microphone from the sound source into the room with the rear of the capsule facing a rear corner of the room.

11-4

Page 99

480L Owner's Manual

Programs — Bank 13: Ambience

Banks 13-14: the Ambience Programs

1 Very Lg Ambience

RTM RTL SIZ ROL DIF MIX

3.34s 71 40M 2862Hz 75 All Fx SPN WAN PDL IND MIX

34 7098µs 0 0 All Fx

2 Large Ambience

RTM RTL SIZ ROL DIF MIX

2.75s 71 33M 2862Hz 75 All Fx SPN WAN PDL IND MIX

34 7098µs 0 0 All Fx

3 Medium Ambience

RTM RTL SIZ ROL DIF MIX

1.77s 71 20M 2862Hz 75 All Fx SPN WAN PDL IND MIX

34 7098µs 0 0 All Fx

4 Small Ambience

RTM RTL SIZ ROL DIF MIX

1.10s 71 13M 2862Hz 75 All Fx SPN WAN PDL IND MIX

34 7098µs 0 0 All Fx

5 Strong Ambience

RTM RTL SIZ ROL DIF MIX

0.59s 34 27M 3591Hz 56 All Fx SPN WAN PDL IND MIX

38 12ms 10.15ms 0 All Fx

6 Heavy Ambience

RTM RTL SIZ ROL DIF MIX

1.68s 100 23M 3591Hz 99 All Fx SPN WAN PDL IND MIX

34 7098µs 19.96ms 0 All Fx

7 Ambient Hall

RTM RTL SIZ ROL DIF MIX

3.0s 106 36M 2198Hz 94 All Fx

SPN WAN PDL IND MIX

29 25ms 27.04ms 0 All Fx

8 Announcer

RTM RTL SIZ ROL DIF MIX

0.69s 48 10M 2862Hz 88 All Fx SPN WAN PDL IND MIX

16 1218µs 0 0 All Fx

9 Closet

RTM RTL SIZ ROL DIF MIX

0.51s 106 7M 1586Hz 99 All Fx SPN WAN PDL IND MIX

0 0 0 0 All Fx

0 Gated Ambience

RTM RTL SIZ ROL DIF MIX

0.29s 29 20M 6315Hz 51 All Fx SPN WAN PDL IND MIX

33 7098µs 0 0 All Fx

11-5

Page 100

Banks 13-14: the Ambience Programs

Program Descriptions

Lexicon

The prrograms listed above for the AMBIENCE program were designed to emulate the real spaces typically required for music, jingle, and post-production work.

1 Very Large Ambience

Resembles a very large ambient space (large shopping mall, parking garage, warehouse) that has far more "clutter" than a concert hall or performance environment. Lowering the RT LEVEL reduces the clutter while maintaining the sense of a very large ambient space.

2 Large Ambience

Similar to Very Large Ambience, but less spacious. Provides the ambience of a large symmetrical room.

3 Medium Ambience

Similar to Large Ambience, but smaller. Imagine a large courtroom, or a lecture room — then load the preset.

4 Small Ambience

Similar to Medium Ambience, but smaller — typical lobby, or small lounge.

5 Strong Ambience

The room size is larger than Medium Ambience, but the RT LEVEL has been reduced to provide a strong "wash" of ambience with a relatively short decay time.

6 Heavy Ambience

Resembles a large rectangular performance space with musicians or performers positioned in the middle of the space. Microphone proximity to the musicians or performers can be simulated by adjusting the MIX control. If the 480L is used with a mixing console and interfaced with stereo sends and returns, the MIX control should be left at ALL FX and the level of the sends will determine proximity effect.

7 Ambient Hall

Fast, dense ambient attack. Reverberant characteristics of Large RHall.

8 Announcer

Adds a very useful ambient spaciousness to a dry announcer's dialog track.

9 Closet

Just as you would imagine — it even feels cramped!

0 Gated Ambience

Very strong ambience with fast decay — just add your favorite snare drum!

11-6

Lexicon M480L Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual