Lexicon PCM80 DUALFX User's Manual
PCM 80 Dual FX Presets
PCM 80 Dual FX Presets
The 250 Dual FX presets are organized in 5 Banks (X0-X4) of 50 presets/Bank (numbered 0.0 – 4.9). Press Program Banks repeatedly to cycle through the
Banks. Turn SELECT to view the presets in the selected Bank. Press Load/✱ to load any displayed preset. Each preset has one or more parameters patched
to the front panel ADJUST knob. This gives you instant access to some of the most interesting aspects of the effect. In addition, all of the presets marked with
a T can be synchronized to tempo. To set the tempo, press the front panel Tap button twice in time with the beat. (Tempo can also be dialed in as a parameter
value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and drum patterns. Full descriptions of each preset
are available in the Dual FX User Guide.
Program Bank X0
Stereo
Presets 0.0-0.2 provide different room treatments for multiple
guitar tracks in a mix.
0.0 Solo Room ADJUST: Far Mics 0–24
Simulates one near mike (panned to the center) and two far
mikes (panned full left and right) in a medium sized room.
Master Delay sets the distance to the far mikes, FX Width sets
the width of the stereo spread.
0.1 Left Room ADJUST: Right Mic 0–24
A 2-mike version of Solo Room. A near mike is panned full left,
a far mike full right.
0.2 Right Room ADJUST: Left Mic 0–24
Similar to Left Room, but the stereo image is reversed.
0.3 Organ Room ADJUST: Slow/Fast 0–1
A rotary cabinet in a medium sized room, both miked in stereo.
An absolute must for organ, don’t overlook this for guitars, and
even vocals.
0.4 Phat Roads 1 ADJUST: Depth 1–127
Detune, satellite tremolo and stereo reverb combined for a
classic electric piano sound. For maximum effect, don’t mix
any dry signal with this program. T
0.5 Phat Roads 2 ADJUST: Depth 1–127
A tasty variation with the reverb placed in front of the tremolo
and detune. Running the reverb through the effects makes the
satellite tremolo even more dramatic. T
0.6 Phat Roads 3 ADJUST: Depth 1–127
A light touch of triplet echoes is added to the reverb in front of
the tremolo and detune. Echoes and tremolo are tempocontrolled. Echo rhythm patterns are set by EkoDly L and R.
Echo levels are set with EkoFbk L and R. T
0.7 StereoTunnel ADJUST: Depth 1–100
A versatile special effect ambience. At low settings this space
is open and airy, at higher settings it grows dark and ominous.
0.8 Is this on? ADJUST: PA spread 0–127
“Testing...1, 2, 3...” A PA ambience effect. ADJUST controls
the size from a small auditorium to a major outdoor event.
0.9 ..AndTheGods ADJUST: Fall/Rise 0–1
Inspired by the first track of Electric Ladyland. Hit it with a
percussive sound (gun shot, tympani, snare) then click ADJUST from 0 to 1. A wall of thunder crashes down 4 octaves
and undulates rhythmically between the speakers. Hit it again
with a similar sound, and click ADJUST from 1 to 0. Now, the
explosions rocket up into space.
Presets 1.0-1.9 allow multiple layers of reverb to be added to
percussion and drum tracks without cluttering up the mix, or
they can be used to fine tune the reverberant quality of accent
percussion. A stereo reverb is routed through a stereo 24dB/
octave filter (low, high, or bandpass) with 1 of 5 different types
of reverbs (each tuned for different percussion instruments).
Mono source versions are located in Bank X2 3.1-4.0.
1.0 Mix>Perc>BP ADJUST: Band 0–127
A stereo chamber optimized for percussion submix, followed
by a 24dB/octave bandpass filter.
1.1 Mix>Snare>LP ADJUST: Hi Cut 0–127
A stereo chamber optimized for snare drum, followed by a
24dB/octave lowpass filter.
1.2 Mix>Snare>HP ADJUST: Lo Cut 0–127
The complement of Mix>Snare>LP with the snare chamber
followed by a 24dB/octave highpass filter.
© Lexicon, Inc. 1995
1.3 Mix>Drum>LP ADJUST: Hi Cut 0–127
A stereo chamber optimized for drum submix, followed by a
24dB/octave lowpass filter.
1.4 Mix>Drum>HP ADJUST: Lo Cut 0–127
The complement of Mix>Drum>LP with the drum chamber
followed by a 24dB/octave highpass filter.
1.5 Mix>Drum>BP ADJUST: Band 0–127
A variation of Mix>Drum>LP and HP with the drum chamber
followed by a 24dB/octave bandpass filter.
1.6 Mix>Kick>LP ADJUST: Hi Cut 0–127
A stereo chamber optimized for kick drum, followed by a 24dB/
octave lowpass filter.
1.7 Mix>Kick>HP ADJUST: Lo Cut 0–127
The complement of Mix>Kick>LP with the kick chamber followed by a 24dB/octave highpass filter.
1.8 Mix>Gate>LP ADJUST: Hi Cut 0–100
Gated reverb in series with a 24dB/octave lowpass filter.
1.9 Mix>Gate>BP ADJUST: Center 0–100
Gated reverb in series with a 24dB/octave bandpass filter.
2.0 Mix>Car Park ADJUST: Spooky 0–127
A large concrete parking garage. ADJUST makes the ambience increasingly ominous. At the highest settings, an eerie
ringing rises up and rings out.
Presets 2.1-2.7 combine one of 3 basic reverberant spaces
with a low, high, or bandpass 24dB/octave filter. Amb1 is a
highly colored room with short decay. Amb2 is more transparent with moderate decay. Amb3 is a tight space with prominent
reflections. ADJUST controls the filters, allowing you to quickly
tailor the sound to create different wall coverings, open and
closed doors, telephones, radios, distance of the source, etc.
2.1 Mix>Amb1>LP ADJUST: Hi Cut 0–127
Amb1 followed by 24dB/octave lowpass filter.
2.2 Mix>Amb1>HP ADJUST: Lo Cut 0–127
Amb1 followed by 24dB/octave highpass filter.
2.3 Mix>Amb1>BP ADJUST: Band 0–127
Amb1 followed by 24dB/octave bandpass filter.
2.4 Mix>Amb2>LP ADJUST: Hi Cut 0–127
Amb2 followed by 24dB/octave lowpass filter.
2.5 Mix>Amb2>HP ADJUST: Lo Cut 0–127
Amb2 followed by 24dB/octave highpass filter.
2.6 Mix>Amb3>LP ADJUST: Hi Cut 0–127
Amb3 followed by 24dB/octave lowpass filter.
2.7 Mix>Amb3>HP ADJUST: Lo Cut 0–127
Amb3 followed by 24dB/octave highpass filter.
2.8 StereoFutz 1 ADJUST: Tone 0–127
Highly colored ambience that can produce TV rooms, sounds
coming from around the corner, down the hall, etc.
2.9 StereoFutz 2 ADJUST: Tone 0–127
Similar to StereoFutz1, but with a more prominent decay.
3.0 Outdoor ADJUST: Tails 0–32
A simple outdoor ambience with some early reflections.
3.1 OutdoorWall ADJUST: Distance 0–100
An outdoor ambience with a reflecting wall 100 yards away.
ADJUST changes the apparent distance of the wall.
3.2 ips TapeSlap ADJUST: TapeSpeed 1–4
Emulates the delay time and high frequency rolloff of an analog
2-track at different playback rates.
3.3 15ips Echo ADJUST: Feedback 0–100
Stereo 15ips tape echo simulation. Listen to the sound change
as it repeats.
3.4 7.5ipsEkoRvb ADJUST: Feedback 0–100
Stereo plate reverb fed by a 7.5ips tape echo simulation. Listen
to the sound change as it repeats.
3.5 V SpeedEko1 ADJUST: TapeSpeed 0–100
A stereo tape delay with varispeed. The delay times are
matched to an analog 2-track: 0=30ips, 25=15ips, 50=7.5ips,
100=3.75ips.
3.6 V SpeedEko2 ADJUST: TapeSpeed 0–100
A variation where the tape echoes also serve as predelay for
a plate reverb.
3.7 V SpeedEko3 ADJUST: TapeSpeed 0–100
A variation with the delay in series with the plate reverb. Only
the reverb is heard at the outputs.
3.8 Eko Spills 1 ADJUST: Depth 1–100
Echoes that drop in pitch as the input signal fades. The left
input signal drives the detune effect. Try this with percussion
accents, or as a special effect with vocals or other material.
3.9 Eko Spills 2 ADJUST: Feedback 1–100
A dramatic variation where the pitch drops over a larger range
in a shorter period of time.
4.0 X-RhythmEko1 ADJUST: X-Mix 0–100
ADJUST mixes the cross-feedback of quarter-note (0) and
triplet (100) echoes. Intermediate values create patterns that
change from quarter-notes to triplets for a shuffle feel. A stereo
chamber is in parallel with the echo effect. T
4.1 X-RhythmEko2 ADJUST: X-Mix 0–100
A variation with the rhythm changing from quarter-notes to
sixteenths. T
4.2 X-RhythmEko3 ADJUST: X-Mix 0–100
A variation that combines 5 and 7 against 1. It takes several
beats for this pattern to play out. T
4.3 X-RhythmEko4 ADJUST: R-Speed 0–100
A 2 against 3 cross-rhythm pattem. ADJUST allows control of
the overall speed of the pattern. T
4.4 X-RhythmEko5 ADJUST: Rvb Mix 0–100
A stereo chamber in series with the cross-rhythm echo effect.
The reverb is in front of the echoes. T
4.5 SlipTheEkos1 ADJUST: Back Beat 0–100
Similar to SlipTheBeat1 (4.8) with feedback turned up to
create a series of rhythmic repeats. Delays are set for a 3
against 2 pattern that alternates between left and right, and is
routed through a stereo drum chamber.
4.6 SlipTheEkos2 ADJUST: Back Beat 0–100
A variation with more dramatic delay settings and with reverb
in parallel to provide some extra punch on the initial attack. T
4.7 SlipTheEkos3 ADJUST: Back Beat 0–100
A variation with delays set to produce a rolling triplet pattern
that cycles from side to side. T
4.8 SlipTheBeat1 ADJUST: Back Beat 0–100
Left and right inputs are combined, sent into a slap delay, then
through a stereo chamber. Use this to slide a snare (or other
rhythm instrument) behind the beat. You can mix this delayed
signal with the original source to fatten it up, or use it without
the original if you want to change the groove by having the
snare lay back. T
4.9 SlipTheBeat2 ADJUST: Back Beat 0–100
A variation with the drum chamber in front of the slap to fatten
up the sound. T
Printed in U.S.A.
PCM 80 Dual FX Presets
Program Bank X1
Stereo
0.0 KnobLocation ADJUST: Width 0–90
Steers a stereo source between the center, side and rear
channels of an LCRS mix. No processing other than steering
is applied. ADJUST determines LCRS placement: 0=center
only, 45=left and right, 90=surround. Not mono compatible.
0.1 KnobPanSwap ADJUST: Width 0–90
Swap the left/right panning of a stereo source. ADJUST
determines the width of stereo source material as follows:
0=left/right swap, 45=mono, 90=normal stereo.
0.2 AutoPanSwap ADJUST: PanSpeed 0–90
A variation of KnobPanSwap with the LFO controlling stereo
width. Chorus and echoes can be added.
0.3 ips PlateSlap ADJUST: TapeSpeed 1–4
The ips TapeSlap program used as a predelay for a plate
reverb. ADJUST sets the tape speed: 1=30ips, 2=15ips,
3=7.5ips, 4=3.75ips.
0.4 15ips Plate ADJUST: Rvb Mix 0–100
Plate reverb with a stereo 15ips predelay. The predelay has a
slight amount of feedback.
0.5 4PoleRvb BP ADJUST: Center 0–127
A large chamber reverb feeding into a stereo, 24dB/octave
bandpass filter. Use this to focus the reverb around a tight tonal
area. Try it with different percussion instruments.
0.6 4PoleRvb HP ADJUST: LoCut 0–127
A large chamber reverb feeding into a stereo, 24dB/octave
highpass filter. Use this to put reverb on only the upper
frequency portion of a stereo source or mix.
0.7 4PoleRvb LP ADJUST: HiCut 0–127
A large chamber reverb feeding into a stereo, 24dB/octave
lowpass filter. Use this to put reverb on only the lower frequency portion of a stereo source or mix. Also great for
simulating backstage ambient effects.
0.8 Chorus>Rvb 1 ADJUST: Rvb Mix 0–100
Stereo chorus into stereo hall reverb. T
0.9 Chorus>Rvb 2 ADJUST: Rvb Mix 0–100
A variation with eighth-note delays added. T
1.0 Rvb>Chorus 1 ADJUST: Rvb Mix 0–100
The reverse of Chorus>Rvb 2 with the reverb fed into a stereo
chorus. Note the chorus effect on the reverb tail. T
1.1 Auto Pan Rvb ADJUST: Hi Cut 0–100
The output of a medium chamber panned across a stereo lowpass filter.
1.2 Knob Pan Rvb ADJUST: Pan 0–100
In this variation, use ADJUST to pan the reverb image to any
location: 0=left, 100=right.
1.3 FilterPanner ADJUST: PanWidth 0–100
A panning effect based on filter frequency. The high-cut
frequencies of the left and right channels are swept 90° out-ofphase to produce apparent left-right motion in the audio. T
1.4 EQ’d Rvb HP1 ADJUST: Sizzle 0–127
A stereo chamber reverb followed by a stereo highpass filter.
1.5 EQ’d Rvb HP2 ADJUST: Sizzle 0–127
A variation with a more resonant highpass filter.
1.6 EQ’d Rvb LP ADJUST: Boom 0–127
A stereo chamber reverb followed by a stereo lowpass filter.
The filter is resonant, like EQ’d Rvb HP2.
1.7 EQ’d Rvb BP ADJUST: Band 0–127
A stereo chamber reverb followed by a stereo bandpass filter.
1.8 EQ’d RvbSlap ADJUST: Slap 0–127
Reverb fed into a pair of bandpass filtered delays.
1.9 EQ’d RvbEnv1 ADJUST: HiRelease 0–100
A lowpass filter is wide open when signal is present. When
input stops, the AR release sweeps the filter. Low release
values produce filter/gated reverb effects. (Try these with
percussion.) Higher values produce a noticeable darkening of
the reverb tail as it decays. T
2.0 EQ’d RvbEnv2 ADJUST: LoRelease 0–100
Reverb followed by a highpass filter swept from high to low,
producing a dramatic effect when the input drops. T
2.1 EQ’d RvbEnv3 ADJUST: HiRelease 0–100
Reverb followed by a lowpass filter swept from high to low,
then back to high. The reverb is swept twice — once when the
input goes above the threshold, again when it falls below it. T
2.2 EQ’d RvbEnv4 ADJUST: LoRelease 0–100
A variation on EQ’d RvbEnv2 with reverb followed by a
highpass filter swept from low to high. T
2.3 Wah Verb ADJUST: Depth 0–100
4-Pole Wah. The reverb output is fed into the wah filter, which
is swept by a tempo-controlled LFO. T
2.4 Wah Verb Eko ADJUST: Feedback 0–100
Wah filter, reverb and eighth-note echoes combine to produce
surging timbre changes. The wah rate is tempo-controlled. T
2.5 Wah Eko Verb ADJUST: Feedback 0–100
A variant of Wah Verb Eko with the routing reversed. T
2.6 Weird EkoRvb ADJUST: Feedback 0–100
Reverb and dry signal mixed and fed into a tape echo with
some radical EQ, giving the decay a spacey, ringing quality. A
classic analog sci-fi effect —“Danger,Will Robinson!”
2.7 Echo Rise 1 ADJUST: RiseTime 1–100
Tape echo with automatic control of varispeed. The AR envelope changes the varispeed when input signal stops, producing echoes that rise in pitch at the end of a phrase.
2.8 Echo Rise 2 ADJUST: RiseTime 1–100
The varispeed echo flanger with a twist. The AR envelope
changes the varispeed when input signal stops. This produces
flanged echoes that rise in pitch at the end of a phrase.
2.9 Echo Rise 3 ADJUST: Feedback 1–100
A variation with the varispeed range set to produce about an
octave of pitch modulation.
3.0 Echo Rise 4 ADJUST: Depth 1–100
A variation with more reverb. ADJUST controls the range of
the varispeed change.
3.1 Rvb Eko Rise ADJUST: RiseTime 1–100
The output of a stereo plate is sent to the varispeed echo
flanger. The varispeed is changed by the AR envelope when
the input signal stops.
3.2 EQ’d Eko LP ADJUST: Dark Knob 0–127
Echoes are fed into a stereo lowpass filter. Placing the EQ after
the delays provides non-destructive tone control of the echo
repeats. T
3.3 EQ’d Eko HP ADJUST: Sizzle 0–127
A variation with the post echo EQ a highpass filter. T
3.4 EQ’d EkoEnv1 ADJUST: HiRelease 0–100
Lowpass frequency filter is wide open when signal is present.
When input stops, the AR release sweeps the filter. T
3.5 EQ’d EkoEnv2 ADJUST: LoRelease 0–100
A variation with a highpass filter swept by the AR. T
3.6 EQ’d EkoEnv3 ADJUST: LoRelease 0–100
An echo effect that builds over time. Echoes are fed into a
highpass filter, which is swept from high to low when input
signal stops. At the completion of the sweep the last repetition
of the echo delay is routed through the reverb — like an
exclamation point at the end of a sentence! T
3.7 StereoTapEko ADJUST: Feedback 0–100
Quick and easy stereo echo. Tap sets the echo rhythm. T
3.8 Flange>Rvb ADJUST: Rvb Mix 0–100
Stereo flanger into stereo hall reverb. T
3.9 Rvb>Flange ADJUST: Rvb Mix 0–100
The reverse of Flange>Rvb 1. The reverb output is routed into
a stereo chorus. Note the flange effect on the reverb tail. T
4.0 LFO Flange ADJUST: Depth 0–100
The LFO sweeps the flanger and ADJUST controls the sweep
depth. A small chamber is inserted before the flanger to
accentuate the effect. T
4.1 Tape Flange1 ADJUST: ReelBrake 0–100
Simulates the original method of combining the outputs of two
analog tape decks and using your thumb as a brake on one of
the tape reels. Run a mix through it! Turn Master Fbk down for
a less pronounced effect, or up for an even juicier sound.
4.2 Tape Flange2 ADJUST: ReelBrake 0–100
A variation with opposing left and right flange sweeps. Adds a
spatial dimension to the classic effect.
4.3 Rvb>T Flange ADJUST: ReelBrake 0–100
The characteristic “over the top” sweep of tape flanging is
emphasized by inserting a plate reverb in front of the flanger.
4.4 T Flange>Eko ADJUST: ReelBrake 0–100
A stereo delay follows the tape flanger. The left delay produces
an eighth-note pattern, the right produces a triplet pattern. T
4.5 VS EkoFlange ADJUST: TapeSpeed 0—100
Varispeed echo with flanging. A very analog-sounding stereo
effect. The delay times are matched to an analog 2-track:
0=30ips, 25=15ips, 50=7.5ips, 100=3.75ips.
4.6 Aerosol:Wet ADJUST: Low Depth 0–100
An extreme flanger with audio passed through a medium plate
reverb, then into the flanger. Turn ADJUST to 0 while running
audio, wait a few seconds, then start cranking it toward 100. T
4.7 Aerosol:Dry ADJUST: Low Depth 0–100
The Aerosol flanger totally dry. T
4.8 Aerosol:Mix ADJUST: Rvb Mix 0–100
The Aerosol flanger feeding a medium plate reverb. T
4.9 Phat Detune ADJUST: Depth 1—100
A rich stereo detune. Perfect for fattening up stereo sources.
The output of the detune is routed into a reverb. The reverb mix
is set to 0% Wet in the program, but can be altered to taste.
Program Bank X2
Stereo
0.0 4PoleEQ LP ADJUST: Hi Cut 0–127
A stereo, 24dB/octave lowpass filter. Master Delay and Master
Fbk add stereo echo effects. Don’t mix with dry signal.
0.1 4PoleEQ HP ADJUST: Lo Cut 0–127
A stereo, 24dB/octave highpass filter. Master Delay and
Master Fbk add stereo echo effects. Don’t mix with dry signal.
0.2 4PoleEQ BP ADJUST: Center 0–127
A stereo, 24dB/octave bandpass filter. Master Delay and
Master Fbk add stereo echo effects. Don’t mix with dry signal.
0.3 4PoleKnobWah ADJUST: Center 0–127
The stereo, 24dB/octave bandpass filter set up like a wah
pedal.
0.4 4PoleLFOWah ADJUST: Depth 0–100
A variation of the 4 Pole Wah with a tempo-controlled LFO
sweeping the wah automatically. T
0.5 Weird! ADJUST: Feedback 0–100
Another sci-fi echo effect. Left and right EQs are swept
independently by input envelopes. The color of the sound
changes as the repeats die away.
0.6 Weirder! ADJUST: Feedback 0–100
A variation where the EQ sweeps produce a more eerie decay.
0.7 Weirdest! ADJUST: Feedback 0–100
A variation where the EQs sweep upward as they fade away.
0.8 Phased Fbk ADJUST: Feedback 0–100
Out-of-phase right channel delay feedback in this filtered
eighth-note echo produces a subtle side-to-side spaciousness
as the echoes fade away. T
0.9 KnobFlange 1 ADJUST: Notch 0–100
ADJUST provides manual tuning of a flanger. Flanging is
applied in opposing amounts to each channel.
1.0 KnobFlange 2 ADJUST: Notch 0–100
A variation with flanging the same in each channel. T
1.1 KnobFlange 3 ADJUST: Notch 0–100
A small stereo chamber is fed into a manual flanger. The
presence of short reverb tails brings out the flanging effect,
especially with percussion. T
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