PCM 80
Pitch FX
Algorithm Card
V1.1
User Guide
Unpacking and Inspection
After unpacking the Pitch FX Algorithm Card, save all packing materials in case you ever need to ship the card.
Thoroughly inspect the card and packing materials for signs of damage. Report any shipment damage to the
carrier at once; report equipment malfunction to your dealer.
Precautions
This is a read only card.
Use only with the Lexicon PCM 80, software version 1.10 or higher.
To avoid damage to the card, do not expose to rain or moisture, extreme temperatures, direct sunlight, or extreme shock.
In the event the card is dropped, damaged, or exposed to liquids, do not insert it into the PCM 80.
Copyright 1997
All Rights Reserved.
Lexicon Part # 070-11674 Rev 1
Lexicon Inc.
3 Oak Park
Bedford MA 01730-1441
Telephone 781-280-0300
Fax 781-280-0490
www.lexicon.com
Introduction
1. Pitch FX Card Operation
Handling the Algorithm Card............................................................... 1-1
Loading the Pitch FX Algorithms ........................................................ 1-3
Loading the Pitch FX Presets ............................................................. 1-4
2. The Pitch FX Algorithms and Parameters
Overview............................................................................................. 2-1
The Quad>Hall Algorithm ................................................................... 2-2
The Dual-Chmb Algorithm .................................................................. 2-4
The Dual-Plt Algorithm........................................................................ 2-6
The Dual-Inv Algorithm ....................................................................... 2-8
The Stereo-Chmb Algorithm ............................................................. 2-10
The VSO-Chmb Algorithm ................................................................ 2-11
Parameter Descriptions .................................................................... 2-13
Tips for Setting Parameters .............................................................. 2-14
3. Using the Submixer
Sends ........................................................................................... 3-2
Returns......................................................................................... 3-2
Routing ......................................................................................... 3-3
Useful Configurations ................................................................... 3-3
Rvb and Pitch FX Block Controls........................................................ 3-9
Contents
4. The Presets
Program Bank X0 Vocal & Instrument ................................................ 4-2
Program Bank X1 Music & Sound Design .......................................... 4-6
Thank you for your purchase of the PCM 80 Pitch FX Algorithm Card. Six
algorithms, each combined with uncompromised Lexicon reverb, provide a wide
range of useful pitch shift effects, ranging from pitch correction to unique special
effects.
A Quad>Hall algorithm provides a 4-voice pitch shifter, combined with the PCM
80 Concert Hall reverb. The other pitch shift algorithms use the PCM 80 Dual FX
structure for unparalleled flexibility and ease of use. 100 new presets provide
exciting examples of the effects that can be created from each algorithm.
Introduction
The five Dual FX-type algorithms: Dual-Chmb, Dual-Plt, Dual-Inv, Stereo-Chmb
and VSO-Chmb, each contain two independent effect blocks — one of three
stereo reverbs and one of three different stereo pitch shift blocks. Each algorithm
also has the full set of modulation and patch features introduced in the PCM 80.
Configuration and routing control is provided by a dedicated Submixer incorporated into each algorithm. Any combination of reverb and effects blocks can be
arranged in any configuration simply by changing the Submixer’s controls. As
the Submixer has continuously variable controls, you can alter the configurations on the fly — changing, for example, from reverb-into-effects to effects-intoreverb.
The Submixer appears as a new row on the PCM 80 parameter matrix. Three
basic Submixer controls are provided: Sends, Returns, and Routing. Any
configuration can be achieved by simply adjusting these three parameters.
Sends control the eight levels feeding into the reverb and effect blocks.
Returns control the eight levels feeding from the reverb and effect blocks.
Routing controls the configuration of all inputs and outputs to allow the two
effects blocks to be placed in series, parallel, or reverse series.
The Submixer row also contains controls for each block: Input Level, Input
Width, Output Width, Output Level, High Cut and Low Cut filters, and Wet/Dry
Mix. All of the Submixer parameters are continuously variable and can be
controlled in real-time by any PCM 80 patch source.
The Pitch FX Submixer
Five of the Pitch FX algorithms are made up of combinations of the following 2voice Effect and Reverb blocks.
Algorithm Pitch FX Reverb
Dual-Chmb Dual Shift Chamber
Dual-Plt Dual Shift Plate
Dual-Inv Dual Shift Inverse
Stereo-Chmb Stereo Shift Chamber
VSO-Chmb VSO Shift Chamber
Rvb and Pitch FX Blocks
Each of these five algorithms has a different combination of FX and Rvb types,
but the basic functionality of each is the same. Controls for each algorithm are
arranged in a PCM 80-type matrix. The audio parameters are identical to those
in the PCM 80. New control parameters are found in the Control row and a new
Submixer row.
The Presets
Pitch FX Card Banks
Bank X0 Vocal & Instrument
0.0 - 0.9 Vocal Shift
1.0 - 1.9 Vocal Harmony
2.0 - 2.9 Guitar Magic
3.0 - 3.9 Instrument Shift &
Harmony
4.0 - 4.9 Percussion & Tempo
Bank X1 Music & Sound Design
0.0 - 0.9 Sci-Fi FX
1.0 - 1.9 Pitch & Delay
2.0 - 2.9 Pitch Sequences
3.0 - 3.9 Pads & Drones
4.0 - 4.9 Utility Programs:
VSO, Dual Mono,
"Clean Slate" versions
of the algorithms
Note: All of the Pitch FX algorithms
combine pitch shifting and stereo
reverb. Be aware that in many of the
presets the reverb mix or level is
turned down or off. The amount of
reverb for a given application is very
dependent on what else is going on
in the mix. In most of the presets
where the reverb is turned down,
we’ve already set the reverb parameters to values that will work well with
the pitch effect -– all you need to do
is turn up the appropriate reverb
parameter (Rvb Mix or RvbOutLvl
in row 1 of any edit matrix).
The PCM 80 Pitch FX card contains a built-in library of 100 preset programs that
provide not only a variety of effect configurations, but a whole new assortment
of exciting and useful pitch shift sounds. As in the PCM 80, the presets are
organized into banks of 50, and functionally grouped for a wide range of
applications. Be sure to experiment with all 100 presets to get a feel for the full
range of the Pitch FX capabilities. As in the PCM 80, each preset has one or more
parameters patched to the front panel ADJUST knob, giving you instant control
over the primary aspect of the effect — without going into Edit mode.
Bank X0 contains pitch effects for voice and instruments. Row 0 contains “bread
and butter” vocal effects for correcting intonation of recorded tracks or thickening
up a voice (or voices) by adding from one to four additional doublings. These
presets work well with single voice melodies or multi voice harmonies as input.
The vocal harmony effects in Row 1 allow you to add from one to four voices of
harmony and reverb to a single voice track. Presets 1.7-1.9 allow you to use a
MIDI keyboard to control the tuning of voices in real time. The presets in Row 2
have been optimized for guitar. You’ll find the classic pitch effects for guitars
(stereo detune, vibrato) and some new variations that take advantage of the
combination of pitch shift with reverb. Row 3 contains a collection of useful shift
and harmony effects for melodic and chordal instruments. Presets 3.8 and 3.9
are designed to be used with a foot pedal connected to the rear panel Foot
Controller input. Row 4 is designed for drums and percussion. These presets let
you retune the snare and toms, or even detune the drum reverb and slap delay.
Presets 4.8 and 4.9 provide “scratch” effects on rhythm tracks. (Press Tap twice
to lock in with the beat.)
Bank X1 provides special effects for music and sound design. The presets in
Row 0 let you transform simple sound effects into cosmic events and change
normal speaking voices into cartoon characters or demons from the dark side.
Those in Row 1 use pitch, delay and reverb to create lush echoes in deep spaces
with a variety of monophonic or polyphonic instruments as well as vocals. Row
2 contains musical special effects where a single input note produces pitch
sequences based on a variety of chords and scales. Those in Row 3 are
designed to spice up a synth pad or other sustaining source. Row 4 contains
several useful tools: VSO presets set up for time correction of varispeed
playback material, two dual mono in/stereo out variations that provide pitch
shifting on the left input and reverb on the right and a set of “clean slate” versions
of the algorithms to use when you want to create your own programs from
scratch.
We hope you will find the Pitch FX card easy to use, and a great extension of
the power of your PCM 80. To get the most out of the card, we suggest that you
invest the time to explore this manual. We think you’ll agree that the time spent
investigating will reward you with enjoyment of the full capabilities of the card.
Pitch FX Card Operation
Pitch FX Card
Operation
1
The Pitch FX Algorithm Card is a standard PCMCIA card designed to be used
with the Lexicon PCM 80 (version 1.10 or higher). Care and handling of the card,
as well as some routine precautions are noted here. Please review these before
using the card to avoid damage to the card, as well as abnormal behavior in the
PCM 80. Refer to your PCM 80 User Guide for information on troubleshooting
the PCM 80 itself.
The Pitch FX Algorithm Card is designed for use ONLY with the PCM 80
V1.10 or higher.
The Pitch FX card is a Read Only Memory Card which cannot be overwritten. It
will only load properly into PCM 80s running 1.10 or higher software.
Handle cards with care.
Do not bend the card, or subject it to moisture, extreme temperature, direct
sunlight, or extreme shock.
Insert card completely before attempting card operations.
Incomplete card insertion can cause abnormal behavior.
Do not press EJECT while loading the card.
If the card is inserted before the PCM 80 is powered on, wait for the
completion of Power On Diagnostics and the loading of the first program
before attempting to use or remove the card.
Card algorithms will be loaded automatically into the PCM 80 on power on.
Removing the card before the completion of the normal PCM 80 power on cycle
may cause abnormal behavior.
Handling the
Algorithm Card
Care and Handling
Card Insertion
Operational Behavior
Once the algorithms have been loaded from the card, you can either remove the
card, or leave it in the PCMCIA card slot.
While the PCM 80 is running an extension card algorithm, it will not load
a second algorithm card.
Recognition of a second algorithm card requires returning to the PCM 80's
internal memory by loading a preset or register from one of the internal
algorithms before loading the new algorithm card.
1-1
PCM 80 Pitch FX User Guide
Lexicon
MIDI SysEx register dumps require that the algorithm card used to create
the effect(s) be loaded.
Be aware that, if you create a bank of registers with effects created from more
than one algorithm card, you will need to perform separate SysEx dumps for
each card used.
The algorithm used to create an effect must be loaded into the PCM 80 for a
SysEx dump to occur. If you do not have the appropriate algorithm card loaded
into the transmitting PCM 80, the data for the effect is not transmitted and the
following message is displayed:
Can't dump effect
Need algorithm card
If you do not have the appropriate algorithm card loaded into the receiving PCM
80 when a valid SysEx for an effect created from a card algorithm is received,
the following message is displayed:
Effect unchanged
Need algorithm card
A placeholder is transmitted for any register which cannot be dumped due to the
absence of an algorithm card. This placeholder contains the program name and
algorithm number, but no effect parameter data. This allows an editor to identify
registers which were not sent, and the algorithm card which must be loaded to
complete the dump. The PCM 80 will always ignore the placeholder, and will
display the following message when a placeholder is received:
Effect unchanged
No data in dump
Note that registers made from algorithm cards can be freely copied between the
PCM 80's internal register bank (R) and RAM card banks (C0, C1, etc.) without
loading the algorithm card.
1-2
Pitch FX Card Operation
In order to run the Pitch FX algorithms, the software must be loaded into the PCM
80’s “extension” memory. To do this:
If the PCM 80 is turned off:
1. Insert the Pitch FX algorithm card into the PCMCIA card slot.
2. Power up the PCM 80. The software will be loaded automatically.
If the PCM 80 is already running:
1. Insert the Pitch FX algorithm card into the PCMCIA card slot.
2. Press Control and use SELECT and Up and Down to go to Control 2.1.
The following message should appear:
Card Load: PitchFX 1.1
2.1 (Press LOAD)
3. Press Load/✱. The following message will appear briefly to indicate the
load was completed:
Extensions now
Loading the
Pitch FX Algorithms
available
If the PCM 80 is running an algorithm from a different extension card:
Loading a different algorithm card requires returning to the PCM 80's internal
memory by loading a preset or register from one of the internal banks.
Otherwise, the following error message will be displayed when you press
Load/✱:
Cannot load while
running extension
To load a different algorithm card :
1. Press Program Banks and select an internal preset bank (P0 - P3).
2. Turn SELECT to display any preset in any of these banks, then press
Load/✱.
3. The new algorithm card can now be loaded as described above.
Once extension card software is loaded, you can remove the card from the slot.
The algorithms will remain in
the PCM 80 until the unit is
turned off, or a new algorithm
card is loaded. This makes
the PCMCIA card slot available for loading and storing
registers on RAM cards.
1-3
PCM 80 Pitch FX User Guide
Loading the
Pitch FX Presets
Lexicon
Once the software is loaded, the PCM 80 will have access to the additional
program banks available on the algorithm card. These extension memory banks
are labeled with an X.
1. Press Program Banks repeatedly until the X banks are displayed. These
will follow all of the PCM 80's internal Program banks.
2. Use SELECT, Up and Down and Load/✱ to view and load the Pitch FX
presets.
You can edit these presets and save the changed version into the PCM 80’s
internal registers, or you can save them into RAM card register banks. If the Pitch
FX algorithms are loaded, recalling programs created with the algorithms is as
simple as selecting and loading any PCM 80 program.
If the Pitch FX algorithms are not loaded when you attempt to load a program
created with them, the display will indicate that the selected register requires
extension memory (in this case, the Pitch FX card).
Extension
R 1.1 PitchFixFX
Complete descriptions of all of the Pitch FX presets are given in Chapter 3.
1-4
The Algorithms and Parameters
2
The Algorithms and
Parameters
Digital pitch shifting requires temporal compression or expansion of audio data
and the addition or removal of small audio segments to compensate.
Raising pitch is accomplished by compressing the audio data — making it run
faster. As this shortens the audio segment, a copy of a section of the audio being
processed is added to fill out the remaining time. To lower the pitch, the signal
is expanded, requiring the removal of a section of the audio. These operations
are performed repeatedly at high speed, at intervals which vary according to the
type of audio signal being processed.
At each point where audio is added or removed, the audio signal must be
rejoined, or spliced. If added or removed segments were perfectly correlated
with the remaining audio, splicing would be seamless. In reality, these splice
points are the source of audible artifacts which can be minimized, but not
completely eliminated.
Much of the art of pitch shifting, therefore, is in determining the appropriate
intervals for sampling and the optimal points for splicing. As the PCM 80 Pitch
FX card gives you significant control over these operations, you may find it
helpful to keep in mind some of the other factors which can affect pitch shift
quality:
• Amount of pitch shifting
Large shift intervals require more splicing. As each splice can be the source of an
artifact, increasing their number increases the likelihood of audible artifacts.
• Pitch-complexity of the input material
Pure tones have simple waveforms which can be correlated easily for smooth
splicing. Pitch shifting of simple tones such as those generated by a solo voice or a
monophonic instrument generally produces fewer artifacts than pitch shifting of wide
bandwidth material such as piano chords, full orchestra, etc.
• Low frequency content of the input material
Pitch shifting low frequency material requires the addition or removal of larger
segments of audio than high frequency material. The increased size of these
segments can introduce delays which are heard as artifacts.
• Transient content of the input material
When large amounts of pitch shifting are applied to complex input material with
dense percussive transients (drums, strummed mandolin, complex speech, etc.)
some of the transients may lose definition or be shifted slightly in time.
Overview
The PCM 80 Pitch FX algorithms are designed to provide high quality pitch
shifting and easy access to controls that can enhance the quality of the effects
on any input material. The following descriptions provide the information you will
need to select the most appropriate algorithm for your specific needs, as well as
tips on adjusting the parameters.
2-1
PCM 80 Pitch FX User Guide
Lexicon
The PCM 80 Pitch FX Card contains 6 Pitch Shift algorithms: Quad>Hall, DualChmb, Dual-Plt, Dual-Inv, Stereo-Chmb and VSO-Chmb. Each of these
offers a unique type of pitch shifting, combined with an uncompromised Lexicon
reverb.
The following pages contain diagrams for each algorithm, along with a complete
parameter matrix. Descriptions of all of the pitch parameters follow the algorithm
drawings. The control and submixer parameters which allow configuration and
routing of the effect blocks are described in the next chapter. Refer to the PCM
80 User Guide for detailed descriptions of all other effect parameters.
The Quad>Hall
Algorithm
The Quad>Hall algorithm, is a 4-voice pitch shifter in series with the PCM 80
Concert Hall reverb. As in the PCM 80 multi-voice algorithms, each voice has its
own delay, level, feedback, cross-feedback and panning controls. The maximum delay time for each voice is 1.250 seconds.
In this algorithm, the reverb effect is fixed in position following the pitch shifters,
with a final Mix control allowing control over the amount of reverb in the
processed sound. Quad>Hall is designed for creating pitch effects, and is an
obvious choice for creating sequences of notes or chords, melody fragments, or
small amounts of pitch shift for doubling (or quintupling) effects.
2-2
Concert Hall
The PCM 80 Concert Hall provides very clean reverberation. It is designed to
remain behind the direct sound — adding ambience, but leaving the source
unchanged. This effect has a relatively low initial echo density which builds up
gradually over time.
The Algorithms and Parameters
2-3
PCM 80 Pitch FX User Guide
Lexicon
The remaining five Pitch FX algorithms: Dual-Chmb, Dual-Plt, Dual-Inv,
Stereo-Chmb and VSO-Chmb are created from 3 Reverb blocks and 3 Pitch
Shift Effect blocks. The individual reverb and effect blocks are described below,
followed by the diagrams and matrixes and parameter descriptions for the
algorithms. Descriptions of the Dual FX controls common to all of these
algorithms is presented in Chapter 3.
The Dual-Chmb
Algorithm
This algorithm includes a dual pitch shifter combined with the PCM 80 Chamber
reverb using the Dual FX structure. The pitch shifter has two voices. Each voice
has independent controls for pitch, level, delay, pan, feedback and crossfeedback. The pitch of each voice is adjustable up or down over a 3 octave range
with a resolution of 1 cent. Maximum delay time for each voice is 1.250 seconds.
Dual Shifter
Chamber
2-4
The Chamber reverb produces an even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar
to the Concert Hall algorithm, but the sense of space and size is much less
obvious. This characteristic, along with the low color in the decay tail, makes
Chamber useful on a wide range of material. It is especially useful on spoken
voice, giving a noticeable increase in loudness with very low coloration.
The Algorithms and Parameters
2-5
PCM 80 Pitch FX User Guide
Lexicon
The Dual-Plt Algorithm
This algorithm includes a dual pitch shifter combined with the PCM 80 Plate
reverb using the Dual FX structure. The pitch shifter has two voices. Each voice
has independent controls for pitch, level, delay, pan, feedback and crossfeedback. The pitch of each voice is adjustable up or down over a 3 octave range
with a resolution of 1 cent. Maximum delay time for each voice is 1.250 seconds.
Dual Shifter
Plate
2-6
The Plate reverb mimics the sound of metal plates, with high initial diffusion and
a relatively bright sound, making it a good choice for enhancing any type of
percussion.
The Algorithms and Parameters
2-7
PCM 80 Pitch FX User Guide
Lexicon
The Dual-Inv Algorithm
This algorithm includes a dual pitch shifter combined with the PCM 80 Inverse
reverb using the Dual FX structure. The pitch shifter has two voices. Each voice
has independent controls for pitch, level, delay, pan, feedback and crossfeedback. The pitch of each voice is adjustable up or down over a 3 octave range
with a resolution of 1 cent. Maximum delay time for each voice is 1.250 seconds.
Dual Shifter
Inverse
2-8
Inverse reverb allows you to vary the slope of the initial portion of the reverb
envelope. The slope can decay, remain level, or rise over a variable time interval.
When the time interval is up, the reverberation cuts off abruptly. The resulting
effect is similar to a gate, but is not at all dependent on the level or complexity
of the input signal. Slopes are adjustable over a negative, even, or positive slope.
Positive slopes create inverse effects, while more even slopes create gated
effects. Negative slope values have rather natural reverb tails.
The Algorithms and Parameters
2-9
PCM 80 Pitch FX User Guide
Lexicon
The Stereo-Chmb
Algorithm
The Stereo-Chmb algorithm is optimized for the best possible shifted audio
quality while maintaining the stereo imagery of the source material. Pitch is
adjustable up or down over a 3 octave range with a resolution of 1 cent. This
effect is combined with the PCM 80 Chamber reverb using the Dual FX structure.
Stereo Shifter
Chamber
2-10
The Chamber reverb produces an even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar
to the Concert Hall algorithm, but the sense of space and size is much less
obvious. This characteristic, along with the low color in the decay tail, makes
Chamber useful on a wide range of material. It is especially useful on spoken
voice, giving a noticeable increase in loudness with very low coloration.
The Algorithms and Parameters
The VSO-Chmb algorithm provides the same high quality shifter as StereoChmb, designed for on the fly pitch correction of varispeed playback sources. A
varispeed parameter allows you to match the varispeed setting of the playback
source. The algorithm can match speeds ranging from +55.00% through
–35.48% with a resolution of .01%.
This algorithm is a utility program designed to provide pitch correction of
varispeed material. This is a true stereo algorithm which maintains the stereo
image of source material. It can be used in applications that require on the fly
compression/expansion. Simply match the value of the Varispeed parameter to
the varispeed setting of the playback source.
For example, to compress a 30 second spot to 24 seconds, the playback speed
must be increased by 20%. The spot now has the correct run length, but
increasing the speed created an upward pitch shift of 386 cents. Run the shifted
audio through the VSO-Chmb algorithm. Set the Varispeed parameter to +20%.
This shifts the pitch down 386 cents. The spot now has a run length of 24 seconds
and is at its original pitch.
To expand a 28 second spot to 30 seconds, the playback speed must be
decreased by 7.14%. Set both the playback source and the VSO Shifter to
–7.14%. The spot will remain at its original pitch and have a run length of 30
seconds.
Like the Stereo-Chmb algorithm, VSO-Chmb is combined with a stereo chamber
reverb within the Dual FX structure. This adds considerable flexibility. You can
for example, add reverb to the material as it is being pitch corrected (great for
voiceovers, etc.).
The VSO-Chmb
Algorithm
Note that there is no direct synchronization of the pitch shift with the playback
source. The accuracy of the pitch correction is dependent upon the accuracy of
the playback source’s varispeed mechanism and display.
2-11
PCM 80 Pitch FX User Guide
Lexicon
VSO Shifter
Chamber
The Chamber reverb produces an even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar
to the Concert Hall algorithm, but the sense of space and size is much less
obvious. This characteristic, along with the low color in the decay tail, makes
Chamber useful on a wide range of material. It is especially useful on spoken
voice, giving a noticeable increase in loudness with very low coloration.
2-12
The Algorithms and Parameters
MstrCents
This is a master pitch offset control for all voices. The value dialed in here will
be added to all voices. This control allows you to transpose pitch voices while
keeping the relative interval(s) between them constant.
MstrScale
This is a master pitch scaling control for all voices. The value of each pitch voice
is multiplied by this percentage. This control allows you to shrink or enlarge the
relative interval(s) between all voices.
Low Pitch
This parameter allows you to optimize the pitch shifter for the low frequency
content of the input material. Use low values when shifting single note material
with low frequencies, polyphonic sources or full bandwidth material. Note that
the lower this value, the longer the pitch shifted material is delayed. At the lowest
setting, the amount of delay is about 42ms. At the highest setting it is about
12ms.
Use this parameter to minimize the amount of delay inherent in the pitch shift
process. If the maximum delay of about 40ms is not a problem, you can simply
set this value to its lowest setting. To minimize the delay for single note pitch
shifting, set it to a value that matches the pitch of the lowest note in the input
material. If you are pitch shifting polyphonic input material you may get better
results by setting the value lower than the lowest note in the input material.
Lowest note of some typical sources:
Piano A0
Bass guitar E1
Guitar E2
Trombone F2
Tenor Sax Bb2
Vocal: bass Eb2
Vocal: baritone Ab2
Vocal: tenor Db3
Parameter
Descriptions
Splice
This parameter allows you to change the number of milliseconds used to
crossfade the splices that are constantly occurring whenever pitch is shifted. For
most material a value of 4ms is appropriate. Higher values will produce longer/
smoother crossfades, but the intelligibility of transients and high frequency
content may be affected. Lower values will reproduce transients more accurately and have more high frequency content, but the splices may be more
audible.
GldResp
This parameter is similar to the GldResp parameter in the Master Delay
parameter of the PCM 80 delay and reverb algorithms. It sets the pitch shifters
responsiveness to modulation by internal controllers (LFO, AR, etc.) and MIDI
controllers (AfterTouch, Velocity, etc.). It has no effect on the quality of the pitch
shifted sound. At the highest setting (100) the pitch will track the modulation
source very closely. At lower settings, the pitch will lag behind the modulation
source. Use lower settings to smooth out modulation effects.
2-13
PCM 80 Pitch FX User Guide
Lexicon
Parameter Descriptions
cont'd.
Tips for Setting
Parameters
Voice 1-4 (or 1-2)
These parameters determine the amount of pitch shift for the left and right input
channels. In the Quad Shift algorithm, Voices 1 and 2 are left shifts and 3 and
4 are right shifts. In the 2-Voice algorithms, Voice 1 is left shift and Voice 2 is
right shift. The value is given in cents ( one cent is equal to 1/100th of a semitone
— there are 1200 cents per octave, as shown below). The full range of pitch shift
is up or down three octaves (+3600 cents). The range is adjustable in increments
of a single cent. These values can be modulated smoothly with patch sources
to create vibrato, Doppler, whammy bar and other pitch-related special effects.
Shift L+R
In the Stereo Shift algorithm, this parameter determines the amount of pitch shift
for both the left and right channels. This is a true stereo pitch shifter. The left and
right channels are sample synchronous to maintain stereo imaging.
All pitch shifting algorithms will produce some amount of glitches and all pitch
shift algorithms have some amount of built in delay. Single note sources shift
best. When shifting single notes, Low Pitch should be set at or below the lowest
pitch in the input material.
2-14
When shifting chords or full bandwidth material, first set the amount of shift. If you
need to minimize the delay caused by the shifter, set Low Pitch to the lowest
value and slowly increase it to the highest value that doesn’t produce unacceptable glitches.
The Splice parameter generally works best for most material when set to 4ms.
If the shifted audio sounds a bit harsh, you can smooth it out by raising this value.
If there is a loss of intelligibility or rhythmic accuracy in the shifted audio, try
setting Splice to a smaller value. As with most effect parameters, you should rely
on your ears to find the best settings for a given situation.
Using the Submixer
3
New configuration control is added to basic PCM 80 functionality with the Pitch
FX Card. The most significant aspect of this expanded control is the addition of
a Submixer which is incorporated into each algorithm. This Submixer lets you
arrange any combination of reverb and effects blocks in any configuration simply
by changing the three main Submixer controls: Sends, Returns and Routing.
Additional controls are provided for each block: Input Level, Input Width, Output
Width, Output Level, High Cut and Low Cut filters, and Wet/Dry Mix.
Using the Submixer
The Pitch FX Card contains a
complete dual-channel
effects mixer.
3-1
LexiconPCM 80 Pitch FX User Guide
The Submixer appears as row 1 on the parameter matrix of each of the Pitch FX
algorithms. The first three parameters in the row are the basic Submixer
controls: Sends, Returns, and Routing. Any configuration can be achieved by
simply adjusting these three parameters.
The key to using the Sub Mixer parameters is understanding what the Sends and
Returns parameters do, and how they interact with the Routing Parameters.
Sends
Returns
The Sends parameter routes the PCM 80’s two panned input signals to the four
effect inputs (the Rvb and FX blocks). This parameter has a range of 0–300. The
value of this parameter determines what mix of the left and right input signals is
fed to the stereo inputs of the Rvb and FX blocks. The values 0, 100, 150, 200,
300 correspond to specific configurations and are labeled with text instead of
numbers.
Sends Value Rvb Sends FX Sends
Stereo (0) L to left Rvb In L to left FX In
R to right Rvb In R to right FX In
L=Rvb, R=FX (100) L to left Rvb In R to left FX In
L to right Rvb In R to right FX In
Mono (150) L+R to left Rvb In L+R to left FX In
L+R to right Rvb In L+R to right FX In
L=FX, R=Rvb (200) R to left Rvb In L to left FX In
R to right Rvb In L to right FX In
Stereo (300) L to left Rvb In L to left FX In
R to right Rvb In R to right FX In
The Returns parameter routes the four effects outputs to the PCM 80’s stereo
outputs. This parameter has a range of 0–300. The value of this parameter
determines what mix of the stereo Rvb and FX outputs is fed to the PCM 80’s
stereo outputs.The values 0, 100, 150, 200, 300 correspond to specific configurations and are labeled with text instead of numbers.
3-2
Returns Value Rvb Returns FX Returns
Stereo (0) left Rvb Out to L left FX Out to L
right Rvb Out to R right FX Out to R
Rvb=L, FX=R (100) left Rvb Out to L left FX Out to R
right Rvb Out to L right FX Out to R
Mono (150) left + right Rvb Out to L left + right FX Out to L
left + right Rvb Out to R left + right FX Out to R
FX=L, Rvb=R (200) left Rvb Out to R left FX Out to L
right Rvb Out to R right FX Out to L
Stereo (300) left Rvb Out to L left FX Out to L
right Rvb Out to R right FX Out to R
Using the Submixer
The Routing parameter provides continuously variable control of the FX and Rvb
effect routing: Rvb and FX in parallel, Rvb into FX (series) and FX into Rvb
(reverse series). This parameter has a range of 0–400. The value of this
parameter determines the routing/ordering of the stereo Rvb and FX effects. The
values 0, 100, 150, 200, 300, 400 correspond to specific configurations and are
labeled with text instead of numbers.
Routing Value Effects Routing
Parallel (0) Rvb and FX are parallel
Rvb into FX (100) Rvb outputs into FX inputs (series 1)
Parallel (200) Rvb and FX are parallel
FX into Rvb (300) FX outputs into Rvb inputs (series 2)
Parallel (400) Rvb and FX are parallel
Note that the routing value takes precedence over the Sends and Returns
values. For example, if Routing is set to Rvb into FX (100), no input signal is
routed directly to the FX inputs — and the Rvb outputs aren’t sent directly to the
PCM 80’s main outputs.
It is possible to arrange the stereo Rvb and FX inputs and outputs into a variety
of useful configurations by simply adjusting the Sends, Returns and Routing
parameters. The following illustrations show several of these configurations.
Each illustration contains a block diagram showing signal flow through the
Submixer, as well as the displayed values for the Sends, Returns, and Routing
parameters that will produce the configuration.
Routing
Useful Configurations
Stereo Series 1
• The main stereo inputs are sent into the Rvb block.
• The stereo output of the Rvb block is sent into the stereo inputs of the FX block.
• The stereo output of the FX block is sent to the main left and right outputs.
Submixer Sends
1.0 0 Stereo
Submixer Returns
1.1 0 Stereo
Submixer Routing
1.2 100 Rvb into FX
3-3
Stereo Series 2
• The main stereo inputs are sent into the FX block.
• The stereo output of the FX block is sent into the stereo inputs of the Rvb block.
• The stereo output of the Rvb block is sent to the main left and right outputs.
LexiconPCM 80 Pitch FX User Guide
Submixer Sends
1.0 0 Stereo
Submixer Returns
1.1 0 Stereo
Mono In/Stereo Out Series 1
• A mono mix of the left and right inputs is sent into the Rvb block.
• The stereo output of the Rvb block is sent into the stereo inputs of the FX block.
• The stereo output of the FX block is sent to the main left and right outputs.
Submixer Routing
1.2 300 FX into Rvb
Submixer Sends
1.0 150 Mono
3-4
Submixer Returns
1.1 0 Stereo
Submixer Routing
1.2 100 Rvb into FX
Mono In/Stereo Out Series 2
• A mono mix of the left and right inputs is sent into the FX block.
• The stereo output of the FX block is sent into the stereo inputs of the Rvb block.
• The stereo output of the Rvb block is sent to the main left and right outputs.
Using the Submixer
Submixer Sends
1.0 150 Mono
Submixer Returns
1.1 0 Stereo
Stereo Parallel
• The Rvb and FX blocks process the left and right inputs independently.
• The stereo outputs of both the Rvb and FX blocks are combined at the main outputs.
Submixer Routing
1.2 300 FX into Rvb
Submixer Sends
1.0 0 Stereo
Submixer Returns
1.1 0 Stereo
Submixer Routing
1.2 0 Parallel
3-5
Mono In/Stereo Out Parallel
• The Rvb and FX blocks each independently process a mono mix of the left and right inputs.
• The stereo outputs of both the Rvb and FX blocks are combined at the main outputs.
LexiconPCM 80 Pitch FX User Guide
Submixer Sends
1.0 150 Mono
Submixer Returns
1.1 0 Stereo
Submixer Routing
1.2 0 Parallel
3-6
Using the Submixer
Dual Mono In/Stereo Out
• The Rvb block processes only the left input as a mono signal, and the FX block processes only the right input as a mono signal.
• The stereo outputs of both the Rvb and FX blocks are combined at the main outputs.
Submixer Sends
1.0 100 L=Rvb, R=FX
Submixer Returns
1.1 0 Stereo
Submixer Routing
1.2 0 Parallel
3-7
Dual Mono In/Mono Out
• The Rvb block processes only the left input as a mono signal, and the FX block processes only the right input as a mono signal.
• A mono mix of the Rvb block output is sent to the left main output. A mono mix of the FX output is sent to the right main output.
LexiconPCM 80 Pitch FX User Guide
Submixer Sends
1.0 100 L=Rvb, R=FX
Submixer Returns
1.1 100 Rvb=L, FX=R
Submixer Routing
1.2 0 Parallel
3-8
Using the Submixer
The Rvb and FX blocks shown in the previous configurations represent the
Stereo Reverb and 2-Voice Pitch Shift effects. Each of these blocks has its own
set of controls, shown in the diagrams below.
Rvb Block
Pitch FX Block
Rvb and FX Block
Controls
These effect block controls are also found in the Submixer row of each
parameter matrix.
Press Load/✱ to toggle between Rvb and FX parameters.
3-9
LexiconPCM 80 Pitch FX User Guide
These parameters are described below, in the order in which they appear in the
Submixer row. (All other effect parameters are identical to those in the PCM 80,
and are described in the PCM 80 User Guide.)
RvbMix, FX Mix
These are independent wet/dry mix controls for the Rvb and FX effect blocks.
RvbInLvl, FX InLvl
These are independent input level controls for the Rvb and FX blocks.
Rvb In W, FX In W
These are input width controls for the Rvb and FX blocks. These are essentially
the same as the PCM 80 FX Width and Rvb Width parameters. The difference
is that the width control in the Pitch FX algorithms is located at the input to the
effect. This makes it possible to independently alter the stereo image of material
feeding the two effect blocks.
RvbHiCut, FX HiCut
These parameters provide independent 6dB per octave, stereo high-cut filters
on the outputs of the Rvb and FX blocks.
RvbLoCut, FX LoCut
These parameters provide independent 6dB per octave, stereo low-cut filters on
the outputs of the Rvb and FX blocks.
RvbOutLvl, FX OutLvl
These are independent output level controls for the Rvb and FX blocks.
Rvb Out W, FX Out W
These parameters allow independent control of the stereo image of the output
of each effect block.
3-10
The Presets
4
The Pitch FX Algorithm Card has 100 factory-designed presets which are
organized into two banks of 50 each (labeled X0, and X1). As with the internal
PCM 80 banks, each bank is organized in a matrix of 5 rows of 10. Press the front
panel Program Banks button to display the first bank. Press it again to switch
to another bank. Simultaneously press Program Banks and either the Up or
Down button to backstep through the banks. The display will show the bank label
and the matrix location, the preset name, and the algorithm from which the effect
is derived.
Turn SELECT to scroll through all of the presets in a bank in numerical order. Use
Up or Down to jump forward or backward by 10. Press Load/✱ to load any
displayed preset.
In the Program Banks mode (as in the Register Banks mode), ADJUST is a soft
knob. Each preset has one or more parameters patched to this knob, providing
a quick way to make useful changes to the effect. (A ■ symbol in the upper left
corner of the display indicates that the currently running effect has an ADJUST
knob patch.) When you turn ADJUST, the display will show the name assigned
to ADJUST, as well as the patch value. Continue turning ADJUST to alter the
patch value along its available range. For presets which can be synchronized
to 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.
The Pitch FX program banks are organized as follows:
The Presets
Matrix
Bank Location Preset Type
X0 Vocal & Instrument 0.0–0.9 Vocal Shift
1.0-1.9 Vocal Harmony
2.0-2.9 Guitar Magic
3.0-3.9 Instrument Shift & Harmony
X1 Music &
Sound Design
0.0–0.9 Sci-Fi FX
1.0-1.9 Pitch & Delay
2.0-2.9 Pitch Sequences
3.0-3.9 Pads & Drones
4.0-4.9 Utility Programs: VSO,
Dual Mono, "Clean Slate"
versions of the algorithms
Each preset is described in this section with a header which indicates the matrix
location, the program name, the name assigned to the ADJUST knob, and the
range of ADJUST knob control. This header is followed by a brief description of
the effect.
NOTE: Most presets are set to
100% wet. To hear the harmony/detune in many presets,
dry signal should be added from
the mixer. If the PCM 80 is connected in line, adjust the Pitch
FX Mix parameter (Control 0.0)
to add some dry signal.
4-1
PCM 80 Pitch FX User Guide
Lexicon
Program Bank X0
Vocal & Instrument
Vocal Shift
0.0 FixYerVox ADJUST: Offset 0–100
Turns your marginal singer into a rock’n’roll star. Bounce your vocals to another track and
fix the pitch on the fly. Stereo In/Stereo Out. ADJUST gives you +100 cents of offset to
correct any other intonation.
0.1 FixYerVoxChm ADJUST: Offset 0–100
Similar to FixYerVox with an added vocal chamber for occasions when you run out of
tracks and need to fix the pitch while you mix. Stereo In/Stereo Out.
0.2 ThickFixVox ADJUST: Thickness 0–50
Similar to FixYerVox with stereo detuning for occasions when you run out of tracks and
need to fix the pitch while you mix. Stereo In/Stereo Out. ADJUST controls the amount
of detuning, in cents.
0.3 Cocomo ADJUST: Thickness 0–100
The inputs are detuned. The left is delayed 31ms, the right is delayed 47ms. ADJUST
controls the amount of + and – detuning in cents. Stereo In/Stereo Out.
0.4 QuadDTune ADJUST: Tune Knob 0–100
Fatten up vocals with four pitch shift voices panned across the stereo field. ADJUST sets
the amount of detuning. (Two voices go sharp, two go flat.)
0.5 ADTStereoIn ADJUST: LFO Rate 0–100
The left input is pitch shifted up, the right input is shifted down. An LFO modulates the pitch
from 2-12 cents. Stereo In/Stereo Out. ADJUST controls the LFO rate from 0-25Hz.
0.6 TripleTrack ADJUST: Separate 0–100
Adds two vocal tracks. ADJUST controls how closely the pitch shifted voices track the
pitch and timing of the input track.
4-2
0.7 Quad Track ADJUST: Separate 0–100
Similar to TripleTrack, this preset adds a third doubling to the original track. ADJUST
controls how tightly the three shifted voices track the original.
0.8 Quint Track ADJUST: Separate 0–100
Makes one voice sound like five by adding four double tracks to the original. Each one
is slightly out of time and out of tune with the others. ADJUST controls how tightly the
shifted voices track the original.
0.9 Add Voices ADJUST: How many? 1–4
A variation of QuintTrack with ADJUST adding more doublings to the original. 1=1 voice
with slight detune, 2=2 voices, 3=3 voices, 4=4 voices.
Vocal Harmony
1.0 Major Thirds ADJUST: Inversion 0–4
This preset allows you to treat the input note as the root or third in major third harmony.
ADJUST lets you select the inversion. 0=slight detune, 1=sixth below, 2=third below,
3=third above, 4=sixth above.
1.1 Minor Thirds ADJUST: Inversion 0–4
This preset allows you to treat the input note as the root or third in minor third harmony.
ADJUST lets you select the inversion. 0=slight detune, 1=sixth below, 2=third below,
3=third above, 4=sixth above.
1.2 Major Triads ADJUST: Inversion 0–6
The input note can be harmonized as the root, third or fifth of a major chord. ADJUST
selects the harmony and inversion. 0=slight detune, 1=input is root (1st inversion),
2=input is root (2nd inversion), 3=input is third (1st inversion), 4=input is third (2nd
inversion), 5=input is fifth (1st inversion), 6=input is fifth (2nd inversion).
1.3 Minor Triads ADJUST: Inversion 0–6
The input note can be harmonized as the root, third or fifth of a minor chord. ADJUST
selects the harmony and inversion. 0=slight detune, 1=input is root (1st inversion),
2=input is root (2nd inversion),3=input is third (1st inversion), 4=input is third (2nd
inversion), 5=input is fifth (1st inversion), 6=input is fifth (2nd inversion).
1.4 Major & Dbls ADJUST: Inversion 0–4
The input note is doubled and also harmonized as the root of a major triad. ADJUST
selects the inversion of the chord.
1.5 Minor & Dbls ADJUST: Inversion 0–4
The input note is doubled and also harmonized as the root of a minor triad. ADJUST
selects the inversion of the chord.
1.6 4ths & Dbl ADJUST: Inversion 0–4
The input note is doubled and also harmonized as the root of chord made of four perfect
fourths. ADJUST selects the inversion of the chord.
1.7 MIDI Pitch ADJUST: Rvb Mix 0–100
Use this preset to harmonize source material via single notes played on a MIDI keyboard.
The amount of pitch shift is determined by the size of the interval played above or below
middle C. ADJUST allows you to mix in some reverberation. Note that the audio source
should not be the same source used to generate the MIDI notes.
The Presets
1.8 MIDI Harmony ADJUST: Rvb Mix 0–100
This is a useful variation of MIDI Pitch. Play two notes at once on a MIDI keyboard to add
two voices to the input note to create three part harmony. The harmonies are relative to
middle C. ADJUST allows you to mix in some reverb. Note that the audio source should
not be the same source used to generate the MIDI notes.
1.9 MIDI Chord ADJUST: V2 Pitch 1–25
A variation of MIDI Pitch that allows you to create four part harmonies. You can add two
notes to the input note from a MIDI keyboard and dial-in an additional fixed harmony with
ADJUST which provides 1 octave up or down in half steps. Note that the audio source
should not be the same source used to generate the MIDI notes.
Guitar Magic
2.0 SingleDetune ADJUST: 10=unison 0–20
A high quality detuner. ADJUST shifts pitch up or down 10 cents. Detune is at unison when
ADJUST=10.
2.1 DualDetune ADJUST: cents +/– 0–100
A classic guitar effect. Two pitch shifters are used to spread out and thicken up the sound.
ADJUST controls the amount of shift in cents. One side shifts up, the other shifts down.
2.2 Phat Detune ADJUST: TuneKnob 0–100
A classic detune effect with two additional voices. The four voices are panned across
stereo space to really widen up the sound. ADJUST controls the overall amount of
detuning.
4-3
PCM 80 Pitch FX User Guide
Lexicon
2.3 EGtrPitchRm ADJUST: Fbk Mix 0–50
This preset produces a rich, room-like halo around every note. Sounds like reverb, but
it’s not. How can you tell? Choke off a note and you’ll hear that there’s no decay. The effect
is created by using pitch shifted echoes with cross feedback. The input level controls the
amount of cross feedback. When the input dies out, the X-feedback goes to 0. ADJUST
lets you dial some back in.
2.4 VibroShift1 ADJUST: Rate 0–100
A simple unison vibrato with ADJUST controlling the rate. Mix with the original signal for
chorusing or use 100% wet for straight vibrato.
2.5 VibroShift2 ADJUST: Rate 0–100
Similar to VibroShift1 with a touch of octave down vibrato. Nice on single notes or chords.
2.6 VibroTrem ADJUST: Rate 0–100
Pitch shift vibrato and out-of-phase tremolo combined to create a new take on a retro
sound. ADJUST controls the rate of the throb. For the fullest effect, don’t mix any dry
signal with the PCM 80 output.
2.7 VibroTremRvb ADJUST: Rate 0–100
Another cool take on a vintage effect with reverb added between the vibrato and the
tremolo. Play some chunky chords and listen to the verb pump. ADJUST controls the rate.
2.8 OctDown Verb ADJUST: Oct Mix 0–100
Great with muted single note licks and runs, this preset also works well with chords. The
reverb is fed by a unison vibrato and an additional vibrato shifted down one octave.
ADJUST controls the mix of the unison and octave. 0=unison only, 50=unison and octave
down, 100=octave down only.
4-4
2.9 PitchSlapRvb ADJUST: Rvb Tune 0–100
This preset delivers a tight reverb slap after each note. The trick here is that you can tune
the reverb sharp relative to the original note. ADJUST controls the reverb tuning — a little
goes a long way.
Instrument Shift & Harmony
3.0 24 String ADJUST: 8va Level 0–100
Fatten up your 6-string with both detuning and an octave up. Stereo In/Stereo Out.
3.1 HonkyTonkPno ADJUST: Delay 0–100
Go West, young man, to the frontier...and don’t forget the pretzels and beer. Stereo In/
Stereo Out.
3.2 PowerNotes ADJUST: 5ths Lvl 0–100
This preset is tuned up to give you a power chord when you play a single note. Each note
is doubled at the unison and at an octave down. ADJUST lets you tune in two fifths —
one below and one above the input note.
3.3 4-NoteChords ADJUST: Inversion 0–6
This preset treats the input note as the root or fifth of a major seventh, minor seventh or
dominant seventh chord. ADJUST lets you select the chord and the inversion.
3.4 ModalChords1 ADJUST: Mode 1–8
This preset will produce four-note chords relative to the input note. ADJUST selects the
chord. The chords are voiced in parallel, each chord in root position.
3.5 ModalChords2 ADJUST: Mode 1–8
A variation of ModalChords1 with the chords voice-led in close position to minimize the
amount of pitch shifting required to produce each chord.
3.6 Chromatic Up ADJUST: HalfSteps 0–12
Straightforward and simple, ADJUST lets you tune any chromatic interval up to an octave
above the input note.
3.7 Chromatic Dn ADJUST: HalfSteps 0–12
This variation lets you dial in any chromatic interval down to an octave below the input
note.
3.8 FootPdl Oct ADJUST: Up / Down 0–1
Designed to be used with a foot pedal. When connected, it produces a whammy bar slide
up or down one octave. ADJUST sets the direction of the slide. 0=up, 1=down.
3.9 FootPdlChord ADJUST: UnisonMix 0–100
Designed to be used with a foot pedal. In this case, the pedal slides two voices from unison
to a major sixth (a fourth below and major third above the input note). ADJUST allows you
to mix in the original note so you can pedal-slide major chords.
Percussion & Tempo
4.0 SnareTools 1 ADJUST: Crack 0–100
Natural snare reverb with ADJUST providing “crack” control. Detune is added to the
original input before both are sent to the reverb. FX Mix controls the blend of dry vs.
pitched signal to achieve optimal “crack”. Stereo In/Stereo Out.
4.1 SnareTools 2 ADJUST: Crack 0–100
Trippy backwards effect. Reverb feeds the pitch shifter. Mono In/Stereo Out.
The Presets
4.2 SnareTools 3 ADJUST: Crack 0–100
Inverse snare reverb with “crack” control via ADJUST. Detune is added to the original
input before both are sent to the reverb. FX Mix controls the blend of dry vs. pitched signal
to achieve optimal “crack”. Mono In/Stereo Out.
4.3 TomTomTools ADJUST: Booom! 0–100
Turns oatmeal boxes into cannons. Stereo In/Stereo Out.
4.4 Slap Up BPM ADJUST: pitch 0–100
A tuned percussion plate with a slap predelay. Great for unpitched percussion. Use
ADJUST to tune the pitch of the reverb above the pitch of the percussion.
4.5 Slap Dn BPM ADJUST: pitch 0–100
A variation with ADJUST tuning the reverb below the pitch of the percussion source.
4.6 Thick Slap ADJUST: detune 0–100
This preset detunes the reverb above and below the original source. A great alternative
for thickening drum sounds.
4.7 RepeatSlaps ADJUST: Fbk 0–100
Pitched reverb echoes produce arpeggios. Try this with any short percussive track for an
interesting effect. ADJUST controls the amount of feedback (decay of the arpeggio).
4.8 AutoScratch ADJUST: Rvb Mix 0–100
Run a rhythm bed or drum machine into this preset and it will “scratch it” in tempo.
ADJUST adds reverb. Press Tap twice to lock in the rhythm.
4.9 Stop n Go ADJUST: Rvb Mix 0–100
A more radical version of AutoScratch.
4-5
PCM 80 Pitch FX User Guide
Lexicon
Program Bank X1
Music & Sound Design
Sci-Fi FX
0.0 PullThePlug! ADJUST: Off/On 0–1
Use this special effect to simulate the sound of a tape machine, juke box (etc.) running
down when the power has been cut off in the middle of a tune. Turn ADJUST from 1 to
0 to cut the power, and from 0 to 1 to turn it back on.
0.1 Stargate ADJUST: Velocity 0–100
A dramatic special effect that transforms a single percussive sound into a spatial wash
of ascending and descending pitches. Try this with single drum hits or short sound effect
samples. ADJUST controls the rate of the ascent/descent.
0.2 WhiteHole ADJUST: Big>Small 0–100
A variation of Stargate that transforms a single sonic event into a randomized series of
pitched echoes. ADJUST controls the pitch and delay deviation.
0.3 MotherShip ADJUST: Velocity 0–100
Need some processing for lift-off or acceleration effects? This effect delivers. Drive it with
a single impulse or short sound effect to produce a spatial glide that ascends to the limits
of audibility. ADJUST controls the rate of ascent.
0.4 XplodeDown ADJUST: Velocity 0–100
Use this preset to add more drama to special effects (or even single drum hits). This preset
transforms the input source into an eerie downward glide with ADJUST controlling the
rate of the glide.
0.5 Xplode Up ADJUST: Velocity 0–100
A variation of XplodeDown with the input source transformed into an upward glide.
0.6 DialogCloner ADJUST: Tuning 0–100
A special effect for speech, this preset creates the effect of several people speaking at
once. Four additional voices are added above and below the pitch of the input source.
ADJUST controls the tuning spread of the four clones.
4-6
0.7 Toon Voices ADJUST: Character 0–7
Changes the character of vocals for special effect dialog tracks. ADJUST selects several
different pitch shift amounts to create a range of characters from scary monsters, to
chipmunks, to talking bees.
0.8 Evil Voice ADJUST: Pitch 0–100
Downward pitch shift and a touch of reverb are used to turn a normal male speaking voice
into something decidedly dark and nasty. ADJUST allows you to dial the appropriate
touch of evil.
0.9 Evil Echoes ADJUST: Pitch 1–100
This special effect has echoes that change pitch as they repeat. ADJUST controls the
amount of shift per repeat. 1-49=descending pitch, 50=no pitch change, 51-100=ascending pitch.
Pitch & Delay
1.0 Pitch Across ADJUST: Detune 0–100
A single note produces a 4-voice panned delay. ADJUST controls the amount of pitch shift
for the four voices. Small values produce detuning. The maximum value (100) produces
a major arpeggio. The delay rhythm is tempo-controlled. Press Tap twice to lock in with
the beat.
1.1 PitchEkoRvb ADJUST: Eko/Rvb 0–100
The dual pitch shifters produce a detune/echo effect with reverb. ADJUST lets you set the
balance of the two effects. 0=detune echoes only, 50=detune echoes and reverb,
100=reverb only.
1.2 PitchPong ADJUST: DelayRate 0–100
The inputs are delayed, pitched down a little, then cross fed to the other side. Slap echoes
bounce from left to right and fall slightly in pitch. The LFO adds chorusing to the pitch
change. Stereo In/Stereo Out.
1.3 AR DlyVerb ADJUST: Detune 0–100
When the input level drops, delays fade away into reverb. Stereo In/Stereo Out.
1.4 In The Air ADJUST: Go 0–1
The inputs are detuned + and - 8 cents. When ADJUST is changed from 0 to 1, a quarternote delay recirculates through the detuner. Stereo In/Stereo Out.
1.5 Thick>Ducked ADJUST: Detune 0–100
The inputs are detuned. When the input level drops below the threshold, quarter-note
delays with regeneration recirculates into the detuners. Stereo In/Stereo Out.
1.6 FootPdlEkos ADJUST: Detune 0–100
Designed to be used with a foot pedal. A detune chorus is routed through stereo delays
and reverb. The pedal controls the input level to the delays and reverb. Use the pedal to
capture specific phrases in the delays/reverb. Great with guitar and other solo instruments.
1.7 DualDTuneDly ADJUST: cents +/- 0–100
This preset combines two detuned voices with delays. ADJUST controls the amount of
detune. Controls for the delays (and reverb too) are in the Soft row.
The Presets
1.8 QuaDTuneDly1 ADJUST: TuneKnob 0–100
For thicker detune and delay effects, this preset uses four pitch shifters for detuning.
ADJUST controls the pitch spread of the four shifters. Delay and reverb controls are in
the Soft row.
1.9 QuaDTuneDly2 ADJUST: TuneKnob 0–100
Similar to QuadTuneDly1 with the delays set to rhythmic values (eighths and triplets).
Press Tap to synchronize the rhythms to the beat.
Pitch Sequences
2.0 Major Across ADJUST: MasterDly 0–100
A major triad is arpeggiated across the stereo field. ADJUST controls the overall timing
of the arpeggiation.
2.1 Minor Across ADJUST: MasterDly 0–100
A minor triad is arpeggiated across the stereo field. ADJUST controls the overall timing
of the arpeggiation.
2.2 Dim hARP ADJUST: GlissRate 0–100
The inputs rise in a diminished arpeggiated scale. This preset turns one harp note into
a glissando, or one quarter note into a harp chord. Individual voices are panned across
the stereo field. Stereo In/Stereo Out.
2.3 Dim hARP Vrb ADJUST: GlissRate 0–100
Similar to Dim hARP with an added reverb.
4-7
PCM 80 Pitch FX User Guide
Lexicon
2.4 DimScaleDown ADJUST: ScaleRate 0–100
The inputs descend into a diminished arpeggiated scale. This preset turns one note into
a scale or glissando. Individual voices are panned across the stereo spectrum. A little
reverb is added.
2.5 GlassCascade ADJUST: MasterDly 0-100
A glassy, chime-like tail makes this preset great for sustained single-note melodies.
Spooky and pretty at the same time. Stereo In/Stereo Out.
2.6 Carnival ADJUST: MstrFdbk 0–100
Turns guitar or piano into steel drums, especially if you play diatonic thirds, as steel
drummers have been known to do. Stereo In/Stereo Out.
2.7 Sequence 1 ADJUST: MasterFbk 0–100
Play single note lines. Adds M6 and M9. Tap tempo-driven. Stereo In/Stereo Out.
2.8 Sequence 2 ADJUST: MasterFbk 0–100
Similar to Sequence1 with a very different sound.
2.9 Pentatonics! ADJUST: MasterFbk 0-100
A sequence of notes from the minor pentatonic scale are played for each input note. The
input note is treated as the root of the scale. ADJUST controls the amount of feedback.
Pads & Drones
3.0 JurassicSolo ADJUST: Decay 0–100
A very long plate reverb is pitched down a minor third. Spooky. Good for single-note
melody soundtracks. Stereo In/Stereo Out.
3.1 SwrlWhlNt ADJUST: MasterDly 0–100
Swirling Whole Note — An LFO controls FX Width. FX Mix is 100% reverb. Delay time
is 0ms. Slightly detuned swirling voices produce a reverb that is especially wonderful on
whole notes. Stereo In/Stereo Out.
3.2 Sweet Chorus ADJUST: Spd/Width 0–100
An LFO sine wave alternates detuning from positive to negative pitch values. The pitch
of both outputs is positive, then negative. ADJUST changes both the speed and width of
detuning (faster=wider). Stereo In/Stereo Out.
3.3 MirrorChorus ADJUST: Speed 0–100
An LFO square wave alternates detuning from positive to negative pitch values. The pitch
shift of the left output is the opposite of the right. Stereo In/Stereo Out.
3.4 LFO Detune ADJUST: Detune 0–100
A slow, chorusy detuner. Stereo In/Stereo Out.
3.5 SpatialDuck ADJUST: cents +/– 0–100
This preset produces a wash of detuned echoes with long reverb decay. The reverb
OutWidth is modulated to create spatial movement. The entire effect is ducked by input
level. (The reverb and echo decays increase as the level fades.) ADJUST controls the
amount of detuning.
3.6 Vibrato BPM ADJUST: Depth 0–100
The vibrato produced by this effect is tempo controlled so it can be synchronized to the
beat. ADJUST sets the vibrato depth. Press Tap twice to lock-in the tempo.
4-8
3.7 Verbato ADJUST: Depth 0–100
In this preset, a small stereo chamber reverb is routed through the stereo pitch shifter. The
pitch shifter is set to create vibrato. A nice way to thicken up a track without messing with
the dry sound.
3.8 WetDtune Dly ADJUST: cents +/– 0–100
A detune chorus feeding long delays and reverb. Just right when you need to add another
brick to the wall. ADJUST sets the amount of detuning.
3.9 Acid Chorus ADJUST: speed 0–100
An LFO sine wave alternates detuning of both outputs from positive to negative pitch
values. This preset has an extra large amount of detuning. Stereo In/Stereo Out.
Utility Programs (VSO, Dual Mono, Clean Slates)
4.0 Stereo VSO ADJUST: Rvb Mix 0–100
Use this preset for pitch correcting stereo off-speed playback material. Set the Varispeed
parameter (in the first position of the Soft row) to match the amount of varispeed used
for playback. ADJUST controls the amount of reverb added to the corrected audio.
4.1 Mono VSO ADJUST: Rvb Mix 0–100
Use this preset for pitch correcting mono off-speed playback material. Set the Varispeed
parameter (in the first position of the Soft row) to match the amount of varispeed used for
playback ADJUST controls the amount of reverb added to the corrected audio.
4.2 Pitch + Rvb1 ADJUST: cents +/– 0–100
The left input feeds a mono in/stereo out dual detuner. The right input feeds a mono in/
stereo out reverb. Use this preset to process two mono sources independently or to
process one mono source with independent detune and reverb. ADJUST controls the
amount of detuning.
The Presets
4.3 Pitch + Rvb2 ADJUST: HalfSteps 0–24
The left input feeds a mono in/stereo out chromatic pitch shifter. The right input feeds a
mono in/stereo out reverb. Use this preset to process two mono sources independently
or to process one mono source with independent detune and reverb. ADJUST controls
the amount of pitch shifting — up or down one octave in half steps; 0=down 1 octave,
12=unison, 24=up 1 octave.
Presets 4.4-4.9 are clean slate versions of the Pitch FX algorithms. No ADJUST, Soft row
or patch assignments have been made. Use them when you want to create your own
effects from scratch.
4.4 NewVSO-Chmb ADJUST: none
4.5 NewQuad>Hall ADJUST: none
4.6 NewDual-Chmb ADJUST: none
4.7 NewDual-Inv ADJUST: none
4.8 NewDual-Plt ADJUST: none
4.9 NewSter-Chmb ADJUST: none
4-9
PCM 80 Pitch FX User Guide
Lexicon
Alphabetical Index of Presets
24 String X0 3.0
4-NoteChords X0 3.3
4ths & Dbl X0 1.6
Acid Chorus X1 3.9
Add Voices X0 0.9
ADTStereoIn X0 0.5
AR DlyVerb X1 1.4
AutoScratch X0 4.8
Carnival X1 2.6
Chromatic Dn X0 3.7
Chromatic Up X0 3.6
Cocomo X0 0.3
DialogCloner X1 0.6
Dim hARP X1 2.2
Dim hARP Vrb X1 2.3
DimScaleDown X1 2.4
DualDetune X0 2.1
DualDTuneDly X1 1.7
EGtrPitchRm X0 2.3
Evil Echoes X1 0.9
Evil Voice X1 0.8
FixYerVox X0 0.0
FixYerVoxChm X0 0.1
FootPdl Oct X0 3.8
FootPdlChord X0 3.9
FootPdlEkos X1 1.6
GlassCascade X1 2.5
HonkyTonkPno X0 3.1
In The Air X1 1.3
JurassicSolo X1 3.0
LFO Detune X1 3.4
Major & Dbls X0 1.4
Major Across X1 2.0
Major Thirds X0 1.0
Major Triads X0 1.2
MIDI Chord X0 1.9
MIDI Harmony X0 1.8
MIDI Pitch X0 1.7
Minor & Dbls X0 1.5
Minor Across X1 2.1
Minor Thirds X0 1.1
Minor Triads X0 1.3
MirrorChorus X1 3.3
ModalChords1 X0 3.4
ModalChords2 X0 3.5
Mono VSO X1 4.1
MotherShip X1 0.3
NewDual-Chmb X1 4.6
NewDual-Inv X1 4.7
NewDual-Plt X1 4.8
NewQuad>Hall X1 4.5
NewSter-Chmb X1 4.9
NewVSO-Chmb X1 4.4
OctDown Verb X0 2.8
Pentatonics! X1 2.9
Phat Detune X0 2.2
Pitch + Rvb1 X1 4.2
Pitch + Rvb2 X1 4.3
Pitch Across X1 1.0
PitchEkoRvb X1 1.1
PitchPong X1 1.2
PitchSlapRvb X0 2.9
PowerNotes X0 3.2
PullThePlug! X1 0.0
Quad Track X0 0.7
QuadDTune X0 0.4
QuaDTuneDly1 X1 1.8
QuaDTuneDly2 X1 1.9
Quint Track X0 0.8
RepeatSlaps X0 4.7
Sequence 1 X1 2.7
Sequence 2 X1 2.8
SingleDetune X0 2.0
Slap Dn BPM X0 4.5
Slap Up BPM X0 4.4
SnareTools 1 X0 4.0
SnareTools 2 X0 4.1
SnareTools 3 X0 4.2
SpatialDuck X1 3.5
Stargate X1 0.1
Stereo VSO X1 4.0
Stop n Go X0 4.9
Sweet Chorus X1 3.2
SwrlWholNt X1 3.1
Thick FixVox X0 0.2
Thick Slap X0 4.6
Thick>Ducked X1 1.5
TomTomTools X0 4.3
Toon Voices X1 0.7
TripleTrack X0 0.6
Verbato X1 3.7
Vibrato BPM X1 3.6
VibroShift1 X0 2.4
VibroShift2 X0 2.5
VibroTrem X0 2.6
VibroTremRvb X0 2.7
WetDtune Dly X1 3.8
WhiteHole X1 0.2
Xplode Up X1 0.5
XplodeDown X1 0.4
4-10
Lexicon Inc.
3 Oak Park
Bedford MA 01730-1441
Telephone 781-280-0300
Fax 781-280-0490
www.lexicon.com
Lexicon Part # 070-11674 Rev 1
Loading...